Review: ‘Tyger Tyger’ Is a Dystopian Poem in Motion
Tyger Tyger, a mystery thriller from Kerry Mondragon, may not fit into its labelled genres, but it certainly hits all the marks when it comes to making art.
Starring Sam Quartin, Dylan Sprouse, Nekhebet Kum Juch, Eden Brolin, Craig Stark, and Thea Sofie Loch Næss, Tyger Tyger is a slow and stylish journey from society to dystopian madness.
The plot is lacking in terms of traditional standards. It’s slow, methodical, and a little mad at times. It’s not a film meant to welcome in all viewers, but rather quench a thirst for a more raw take at filmmaking and the art that goes with it. In a world of big budget films and remakes, Tyger Tyger brings a breath of fresh air as it returns to this more artistic side of films.
The story begins with Blake (Sam Quartin) and her friends robbing a pharmacy to obtain life-saving medication in a world amidst a new pandemic (the film is from pre-COVID times, how about that timing?). They end up kidnapping Luke (Dylan Sprouse) and they head out on a journey to the edges of civilization to deliver these needed medications to those in need. However, things go awry when they arrive to the wayward transient camp, and this is where the story changes its tone from thriller to what could almost be described as delirium.
There’s no real rhyme or reason to the story, but its writing aids the beautiful cinematography and powerful performances from its cast, particularly Quartin, Kum Juch, and Loch Næss who create women who could take on the world, but understand its pain and fragility as well.
Tyger Tyger isn’t going to keep you on the edge of your seat or shock you with a massive plot twist, but it will take you on a beautiful journey as a poem in motion.
