Dinghy

DINGHY (UK) Sangeet Prabhaker

By Adrian Perez, Founder Lonely Wolf International Film Festival

In Sangeet Prabhaker's debut short film "Dinghy," a refugee named Merhan and his smuggler navigate the perilous waters of systemic oppression, marginalization, and identity as they seek safety on the English coastline. Prabhaker, a prosthetic makeup designer with an Indian father, a Spanish mother, and a London upbringing, infuses the film with the complexities of his own diverse background, creating a multifaceted narrative that echoes the voices of countless others grappling with the grey spaces between multiple identities.

"Dinghy" is a dark, atmospheric, and poignant exploration of the power dynamics and societal ills that have emerged in a world built on fear, ignorance, and misinformation. The film's striking visuals, combined with its haunting and unsettling score, create an immersive experience that challenges viewers to confront their own biases and assumptions. Prabhaker masterfully interweaves themes of racial identity, toxic masculinity, and the insidious ways in which power can be wielded without consciousness into a narrative that is both gripping and thought-provoking.

The film's protagonist, Merhan, embodies the struggles faced by refugees seeking a better life in the UK. The film's visceral portrayal of his journey is underscored by the tension and danger he faces at the hands of those who exploit the vulnerable. Meanwhile, the smuggler character reveals traces of Prabhaker's own father, who similarly left his home and culture to build a life in the UK.

"Dinghy" is unafraid to delve into difficult topics, creating an environment in which change, however small, can occur. The film's dialogue, which is often perplexing and disconcerting, serves as a reminder of the complexity and multitude of layers that make up capitalism and systemic oppression. The final scenes, in which a monstrous figure is revealed to be an imposing man in a suit controlling a woman like a puppet, speaks to the futility of power wielded without consciousness.

Prabhaker's use of the horror genre is a masterstroke, enabling him to examine complex and challenging themes in an accessible and relatable manner. By fusing horror with social commentary, he crafts an experience that encourages viewers to think more deeply about the state of our world and the inherent complexities within it.

In "Dinghy," Sangeet Prabhaker emerges as a bold and innovative filmmaker, unafraid to tackle the complexities of identity and systemic oppression through a thought-provoking, visually arresting, and emotionally resonant narrative. With this debut, he has undoubtedly made a lasting impression on the world of independent cinema, and his future endeavors will surely be met with anticipation and eagerness.

Written and directed by Sangeet Prabhaker, 'Dinghy' is a drama short that stars Jack Bradley, Laura Bay and Faheem Hussain. The film chronicles the unexpected difficulties that a group of refugees encounter after reaching ashore a European coastline. Faced with unexpected danger, a game of mayhem ensues that ends in disastrous consequences for all.

I never expected a film featuring the European refugee crisis to be full of such monstrosity and gore and one would not put the two entirely different aspects together in any capacity. However, against all odds Dinghy works perfectly as it is; a mishmash of two completely unrelated genres that writer and director Sangeet Prabhaker aces in a glorious way. As the refugees descend on a European shore, one expects the locals to put up some resistance (as xenophobia and racism do indeed find a way to make themselves visible in such situations). However, what follows is completely unexpected. If Sangeet's intention was to horrify and surprise the audience, he succeeded and he did so with flying colours.

Amongst the film's strongest suites are the performances. From the actors portraying the refugees to those who play the natives, each performance is authentic and nuanced. AJ Jones and Laura Bay portray the crazy natives with zany energy whilst Faheem Hussain and Iman Borono authentically bring to light the refugees escaping the war back home. Their meeting is expectedly tense and what follows is a game of life and death that will have no winners.

Equally impressive in Dinghy are the makeup and the special effects. From the practical effects of the demon seemingly aiding and abetting the natives in engaging in an orgy of death and blood to the bloody and brutal violence that follows, the effects are what make the short what it is. Selling the outlandish nature of the story without fail, the effects are not only masterful; they are an important aspect of the story itself. In addition, the narrative pacing and the editing are also top notch and there is not a single dull moment in the entire film.

In addition, it is the work of cinematographer Deane Thrussel that gives the story it's zany energy. Combining fast paced drone shots with facial closeups to replicate the chase of a thrill, Thrussel uses a variety of visual techniques to depict the desperate fight for their lives that the refugees find themselves in. The sound mixing and sound editing also impress and the whole audiovisual aspect of the production succeeds in every way imaginable.

Violent, unexpected and wholly original, Dinghy is a short that will stay with you long after it has ended. Featuring a different take on the refugee crisis that has come to Europe's shores after wars in the Middle East and North Africa, the film will shock you to your core. Featuring a resonant central story, good acting and fantastic special effects, Dinghy is a film that succeeds in more ways than one and is a commendable effort from Sangeet Prabhaker.

How does such a haunting, raw exploration of racism, xenophobia, and the brutality of the immigrant experience in the UK fit into just 6 minutes?

Sangeet Prabhaker (writer, director, and practical effects pioneer) wields the genre with precision, turning fear and prejudice into something literal - and monstrous. When the film's true antagonist reveals itself, the message hits hard: hate dehumanizes everyone it touches.

I'd recommend this film with the guarantee that you've never seen anything like it. It isn't a high-minded think piece - it's an experience. It forced me to feel and won't let me forget.