Myth of Man
After an 11-year hiatus (not counting the documentary Childhood 2.0), Jamin Winans returns with a new feature film. When I watched the trailer for Myth of Man, I was a little afraid that Winans' boundless ambition would get in the way of the actual quality, but I was humbled for underestimating him. Myth of Man is one of those rare films that feels like it rolled directly out of the mind of its creator, a film that no other but Winans could have made. I can only hope that he'll bear the fruit of all the hard work he put into this film and that Myth of Man will find its audience.
Even though Jamin Winans is credited as the sole director (while also handling the writing, scoring, and editing), dig a little deeper and you'll notice that Kiowa (his spouse) deserves a chunk of the accolades. She wasn't just a producer here, she was also involved in more practical aspects of the development (like costume design and visual effects). Together they're a power couple who shouldered almost all creative elements of this two-hour spectacle. They've been working as a creative duo since the beginning of Jamin's career, and it's inspiring to see how they collectively bring these unique films to life.
Myth of Man is one of those films that made me think of plenty of other films I love but don't share (m)any common connections. My brain shifts into this mode whenever it comes across something different from anything I've seen before as if clutching at branches to make sense of it. So yes, there was a bit Avalon, Amélie and Poupelle of Chimney Town in there for me, but in the end Myth of Man looked nothing like these three films mixed. Just think of this as a modern silent with fantasy elements that blend steampunk and urban fantasy, and you'll have a rough outline of what to expect.
A deaf-mute woman wanders through a city held captive by a mysterious red cloud randomly appearing out of nowhere. When the cloud rolls through the town, the people need to hide inside to save their lives, because contact with the cloud can be lethal. The woman is convinced she might have been given the solution to the city's problem. She can see auras above the heads of certain citizens, and with those auras combined, she could destroy a star that would protect the town from the cloud. Convincing people to help her in her quest isn't trivial, but she has a strong and righteous heart and she's determined to persevere.
When an indie production wants to create an outright fantasy epic, choices must be made. Some directors would resort to building small/indoor sets and deprive their audiences of their fantasy universe for most of the runtime. Winans decided on a more adventurous path. Rather than make things look as realistic as possible, he opted for an art style with a slightly more animated feel, while compensating with a lovely aesthetic. It's a bold choice and I fear more blockbuster-inclined people will fail to see the appeal, but I thought every frame looked stunning. While I'm fairly sure this was a budget-conscious choice, it never comes across as one and it's one of those examples where restraints foster creativity.
The score is an even bigger treat and a crucial one too. Because there is no audible dialogue, a big chunk of the emotional depth comes from the music. Yes, the performances are important too, but the score truly grounds the emotions, even when there aren't any actors in the frame. It grabs the audience by the hand and guides them through the emotional ups and downs buried within the plot. Winans handled the music himself, giving him full control over what he wanted to accomplish, and that direct connection paid off. Subtle it is not, the music is present for the entirety of the film, but it's a superb score that held me captive from start to finish.
When I mentioned Amelie earlier on, it wasn't just because there's a dash of Jeunet-like dark-but-charming whimsey sprinkled throughout the film, it has also to do with Laura Raunch's doe-eyed performance. She is an absolute delight, displaying constant wonder and love for the world and the people around her, acting as an ideal guide for the audience to explore this marvelous universe. The rest of the cast is good too. Everyone seemed well aware they could be a little extra, as they were essentially performing in a silent movie, without becoming complete caricatures.
Myth of Man is a film that isn't afraid of letting the audience put in some work. Winans created an elaborate, unique universe that is purely explored through the eyes of its protagonists. There is little direct exposition, no text overlays explaining things explicitly, few familiar genre hooks, and no dialogue making sure everyone can follow along. It's not that it's an incredibly complex story, but there are a lot of novel ideas that need to be understood through Winans direction alone. It's a daring choice and one I championed with all my heart, but I think it's safe to say not everyone is looking for this type of experience.
Fantasy is a genre that shines brightest when the universe created feels novel and exciting. Something that can be explored and experienced for the first time, not something that may not exist in the real world but still comes off as comfortable and familiar. Jamin Winans created a unique film and did it with few means, yet he still delivered on all fronts. From the technical aspects to the aesthetic, from the narrative setup to the emotional depth, Myth of Man is a film that hits all the right notes in ways no other films have. It's one of the most impressive comebacks I've ever seen, and with the film hitting VOD and physical on March 25th, I can only hope it finds its audience quickly. A marvel of cinema.