Slow-motion, skull-cracking violence sets the scene for Below, inspired by Ian Wilding’s award-winning play of the same name. Wilding’s screenplay shifts the action from a mining town to a slightly dystopian outback immigration detention centre run by the evil guards from Newhaven Border Solutions, no doubt privatised out by the Australian Government. Dark web con-artist Dougie (Ryan Corr) finds himself working there to repay a debt to his Scottish stepfather and detention centre guard Terry (an almost unrecognisable Anthony LaPaglia), after an online bribery scam he sets up under the moniker ‘Dreadnought’ goes south.
Detainees faced with little to no chance of freedom are microchipped and numbered. Self-harm becomes the norm, so to flatten the curve inmates, or their extended family members, are threatened with a trip to ‘the cage’ as punishment. Curve flattened, Terry and his cohorts reinvent the cage as a fight club for their captives. Ever the shyster, Dougie revitalises his Dreadnought persona and offers a live stream of the fights to voyeurs on the dark web. When champion fighter Azad (great work from Phoenix Raei) cops a shiv to the throat, Dougie’s conscience kicks in and he must find a way to help Azad’s orphaned little sister Zahra (Lauren Campbell) escape to a new life of freedom in Australia.
Skilfully directed by Maziar Lahooti on his first feature-length film, Below paints a pitch-black comic portrait around the horrors of Australian immigration detention. At one point Dougie exclaims ‘every day in here is like a holocaust movie’, he wants out, so sets up another pay per view fight, this time between detainee ‘King Ciggy’ (Robert Rabiah) and three double-ended dildo wielding female MMA fighters (Deanna Cooney, Lee-Ann Temnyk, Shimain Osbourne).
Performances are inventive and energetic, with Corr and LaPaglia excellent and Morgana O’Reilly as detainee guard Michelle hilarious. Director of photography Michael McDermott adds another character to the film with his footage of the foreboding detention centre.
Below‘s darkly comic undertones don’t shy away from the nightmare existence of a people locked away in a system designed to break them. Lahooti’s film, while bleak, shines a light on Australia’s moral compass and when those ethics are questioned, we’re left with a glimmer of hope.