Samuel (Kevin Janssens) is lost in Eastern Europe, looking for his father. As he drives the dirt roads through a seemingly abandoned part of the world, an accident finds him in the presence of a pig farmer’s daughter, Kirke (Laura Silina). As quickly as he believes he’s been saved, Kirke and her family turn Samuel into their slave, forcing him to work on the farm under harsh conditions. Samuel does all that he can to survive, but the foreign land in which he is being held prisoner will prove to be nearly impossible to traverse.
Squeal plays out like the most fucked up fairytale you’ve ever seen. As the narrator (Uldis Verners Brūns) explains the story to the world, viewers are reminded of films like Babe or The Princess Bride–and it works to immerse viewers in Samuel’s story, but even better it manages to even out the tone of the film. Without the calming narration Squeal would be incredibly difficult to stomach, and viewers would likely find it troublesome to get through without taking the occasional break. It’s a wonderful decision to include narration as a way to really understand Samuel and bring great balance to the film. With everything that went into creating Squeal, the narration is the most important part of the production.
Darkness transcends the entirety of Squeal, sometimes physical darkness, and sometimes in terms of the tone and mood. The majority of the film possesses darkness in one way or another, and it weighs heavily on viewers from beginning to end. There’s no doubt that Writers Aik Karapetian and Aleksandr Rodionov intended for this heaviness to exist throughout, and that they wanted viewers to feel downtrodden for a good portion of the film. They appear to do this as a way to create a wonderful juxtaposition throughout the course of Squeal. Playing opposite one another is darkness and comedy, drama and humor–and they feed off of one another in a way that, much like the narration, keeps viewers engaged. There’s a sense of urgency present in the darkness of the film, but the comedy allows the film to become more relaxed at times, effectively shining a light on the novelty of the narrative.
Janssens is massively impressive. With a relatively small cast, he is tasked with leading the film through both comedic and dramatic veins, acting as one of the catalysts to the entire film–ultimately springboarding its success. He quickly becomes the face of the film, and his appearance and his acting ability allow the subtle hints of comedy to rise to the forefront of the film on multiple occasions, playing a pivotal role in how viewers receive Squeal.
Just about every aspect of Squeal is simple enough–and I mean that in the nicest way possible. The set design, the costumes, acting, etc. are all developed in a fashion that makes them feel real and relatable–not like a fabricated nonsensical venture. Even though the story present in Squeal is somewhat ridiculous, viewers are able to get on board early on as a result of its simplicity.
Furthermore as a result of the simplicity, the strange juxtaposition of comedy and drama, and Janssens’ immense talent, Squeal is interestingly enjoyable. The drama created through the darkness, and the lightheartedness of the comedy that manages to shine through creates a film truly unique to itself. Whether it’s comedy or drama that takes hold at any point in the film, there is never a dull moment, never a time when viewers are left high and dry, and they’re able to appreciate each and every moment of the film. Squeal is full of passion and talent, each of which support the film from its opening moments until its conclusion. Viewers can clearly see these elements present in Samuel’s story, and Squeal quickly becomes one of the best films of the year. Whatever it takes, find this film, and enjoy every last second of it.
Directed by Aik Karapetian.
Written by Aik Karapetian & Aleksandr Rodionov.
Starring Kevin Janssens, Laura Silina, Aigars Vilims, Normunds Griestins, Uldis Verners Brūns, Harijs, Rons, Hermione, etc.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10
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