How convenient is it that we always have tomorrow to look towards when putting off solving an overwhelming series of problems? We can hope to have all the time in the world when formulating a plan and methodically figuring out the best course of action for ourselves. But as the world seems to spin more and more off its axis at a rapidly alarming rate, that opportunity for rational decision-making shrinks. The stress has undoubtedly permeated the state of everything around us, so why should cinema be exempt? It’s through that shrinking window which the great Kathryn Bigelow’s first film in eight years is looking through. But by the time A House of Dynamite, celebrating its North American premiere at the 63rd New York Film Festival, begins, the window is moments away from being permanently slammed shut. We can see it happening, and the powerlessness of it all haunts us. Surely the systems in place designed to safeguard what little peace we still cling to are prepared for the most dire of circumstances. That’s the hope at least. A House of Dynamite refuses that notion outright; the reasoning behind why is simple. Bigelow and screenwriter Noah Oppenheim understandably feel there might not be many tomorrow’s left.
This is escapist cinema only in the sense that it depicts somewhat rational people operating within the U.S. government. But A House of Dynamite importantly doesn’t rely on this as a way to ease the tension baked into its scenario. On the contrary, it only makes for a more haunting experience. From the moment the countdown to potential armageddon initially appears, we instantly see the cracks forming in the foundation we based our entire system of trust and calm around. It’s quite chilling to see a series of performers actively breaking down in real time. The steely-eyed looks of Rebecca Ferguson or the hulking charisma of Idris Elba transform into sheer terror and an inability to grasp the reality they’re facing. Meanwhile, Bigelow shoots so much of her latest as if it’s your average workplace sitcom. It’s near impossible to not picture The Office or Veep while you’re trying to quell the anxiety this film easily conjures. And this isn’t just a quirk of filmmaking; it instead feels wholly intentional.
An essential conceit of A House of Dynamite is that we never see the threat directly. The path of this missile is all captured via screen. What we learn about it is relayed through rapidly-delivered facts and theories heard coming through the chain of command. It’s an overwhelming experience. Yet it’s never one that leaves the viewer confused as far as the jargon goes. We’re only disoriented because of the emotions Oppenheim and Bigelow are preying on. And the deeply stacked ensemble this film utilizes goes a long way when mining the emotional resonance for all it’s worth. Despite such a suspenseful time-crunch, Oppenheim has no problem quickly building a rapport amongst characters within any quasi-chamber section of the film. Bigelow also effectively captures such minute human elements within these characters that they feel fleshed-out and realistic in their behavioral and emotional responses. Her handheld camera, use of high-angled surveillance camera footage, and sometimes even low-angled video conference through a screen captures people exactly as they are.
In capturing her characters with such an unshakable camera, Bigelow conveys the dilemma at the center of this frightening scenario. In the end, all we seem to have is a sense of blind faith. Most things appear to us as inconvenient until they become inconceivably real. It’s after that pivot into terror, when tomorrow looks irrevocably different than we could have ever imagined, that these individuals reveal themselves to be as human as can be. We can hope that those who are placed in charge at the highest level have the strength to remain stoic and steadfast in the face of such terror. The plain truth of the matter is that it’s just not very likely. This isn’t something Bigelow or Oppenheim malign or depict with judgement. They simply illustrate that all the preparation and resources in the world are liable to fail us when it matters most. It’s how we handle ourselves in the aftermath that Bigelow and Oppenheim seem equally interested in beyond creating a miserable, torturous scenario.
Ultimately, A House of Dynamite asks us to connect with others and the world around us on a human level. It’s interesting that such an inhumane, dehumanizing event as the one portrayed in this film captures such staggeringly human traits. We see how morale very casually crumbles amidst realizing systems and training can never adequately prepare us for the real event. Ferguson’s eyes dart across the screen as she searches for any potential breakthrough. We see people fall back on nervous tics or steel themselves against the most grim of thoughts. Do we allow fear or compassion or trust or faith to dictate our actions? Once all else fails, what else is there to do aside from reverting to our most base of instincts in the potential threat of total annihilation? It’s a haunting prospect, but it’s what allows A House of Dynamite to remain rooted in its deeply human interests in the face of a scenario that turns us all into possible statistics on a screen. What else can we rely on other than our own humanity? Perhaps all we can hope for is that both our loved ones and ourselves are not alone in times when it matters most.
Ultimately, there’s no happy ending to A House of Dynamite. In fact, there’s not much of an ending at all. It’s honestly a confounding decision that sees the point Bigelow and Oppenheim hope to convey with A House of Dynamite taken to its furthest extreme. It may not be the most satisfying ending for a film, but it’s ultimately the most logical and plain crystallization of their chilling thesis. In a film which attempts to highlight the stakes of humanity in such an isolating and dehumanizing situation, it’s shocking to see what feels like a filmmaker actively throwing in the towel on the entire thing and hoping against hope that this filmic scenario might someday be seen as overdramatized. Regardless of the impact the finale leaves on audiences, it feels undeniable to say Bigelow’s latest isn’t an intensely crafted and hauntingly effective piece of filmmaking for the rapidly-paced modern age.
A House of Dynamite celebrated its North American premiere at the 63rd New York Film Festival as part of the Main Slate section.