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THE EAST (2013)

People have a love/hate relationship with vigilantism. It has always been a gray area, and rightly so. On the one hand, the public loves a self-righteous superhero - the Batmans and Captain Americas of the world who dole out justice by adhering to a certain moral code. On the other hand there’s a bit of unease about groups like Anonymous, who skirt outside the legal guidelines in the name of equality. While people may agree with some of their motivations, others may not exactly be sympatico with their methods of retaliation. Audiences can expect to explore the same complexities about vigilante justice in the upcoming thriller The East, co-written by and starring Brit Marling. Marling plays Jane, a former FBI agent employed by a private intelligence firm, who goes undercover in an anarchist collective called The East. Jane’s reconnaissance mission reveals some unexpected things about the collective, giving her insight into the people who carry out dangerous, retaliatory acts against various corporate entities. The East’s motivations may be justified, but their methods are extreme. Jane becomes torn between fulfilling her duties as an intelligence officer looking out for the interests of her clients, or aiding the anarchist group in their “culture jams” or missions to dismantle the corporate stranglehold on American society. The result is a riveting, thought-provoking thriller that challenges the audience’s moral compass. The East is smart, well-written and endlessly enthralling, with twists and turns that are as unpredictable as its female protagonist. Not only is Marling’s character now one of my favorite female movie characters, but I was really impressed at how much thought and care went into the crafting of the story. The East also stars Alexander Skarsgård, Ellen Page and Patricia Clarkson, and hits US theaters in May 31, 2013.

Although the trailer makes it seem as though the film broaches controversial topics in an extreme manner, director and co-writer Zal Batmanglij’s film conveys a surprisingly pragmatic message that will resonate with most audiences. During the Q&A that followed my screening, Batmanglij recommended that you see The East with someone you’re sleeping with, because when you wake up the next morning you’ll feel compelled to talk about it. He’s right, because the film does spark discussion in its approach to vigilantism and societal issues like hunger, tort reform, corporate welfare and corruption. However, the film’s pragmatic approach to these issues is what binds the story and the audience together, regardless of which side you lean towards. I was surprised at how thoughtful and conscious both Batmanglij and Marling were in their portrayal of these issues. It seemed as though both writers were acutely aware that there was a danger in promoting only one side of an issue, so their solution was to instead present the complexities of certain situations while leaving the choice to the audience.

My favorite aspect of The East was Brit Marling’s character, who is complex and certainly not without conviction. This is a female character who is smart, savvy and multidimensional, quite the rarity in a cinematic landscape that I wouldn’t say is particularly accommodating to these types of fiery female roles. Marling’s Jane is multifaceted, which makes her infinitely interesting. One scene will show her strength and composure, another will show her uncertainty and self-doubt. It’s difficult to find this kind of complexity in young, female characters in film, and I admire the fact that this was accomplished in a genre that I would consider tough for actresses to flourish in. Spy thrillers are generally geared towards a particular demographic, and tend to star brooding male actors who go on various journeys of self-discovery, often with damsels in distress or femme fatales hanging on their arms like pretty accessories. The East turns this genre on its head by starring a lead female character who, shockingly, doesn’t compromise her own values for the promise of romance. Marling’s character, instead, shows that not only can women be just as effective as men in the area of espionage, but women are entirely capable of not letting emotions cloud their judgment (the opposite of which is a carelessly cliché trope found in many thrillers). When I asked Marling and Batmanglij during the screening Q&A whether they had set out to write a character who is as strong-willed and full of conviction as Jane was, I was delighted to find that they felt that this was simply the best possible decision in the interest of the story. I loved this because it is proof that such strong, female characters can exist without someone necessarily setting out to be champions of feminism. 

Marling makes writing and performing fearless females seem so effortless, and this is why The East succeeds, despite its heavy subject matter and portrayal of relevant issues. It doesn’t come off as merely a fanciful, self-righteous activist project. Instead, it’s a thought-provoking, emotionally-driven film that presents complex issues like the moral quandaries they are instead of the black and white pictures they are often portrayed as in media. The focused, well-written script can be commended for this. Nothing is said that doesn’t foreshadow an upcoming event or character development. Basically, everything that went into the script contributed to the careful construction of a world of anti-consumerist eco-extremism. Frankly, I was amazed at how much content this film was able to tackle, especially when I think about how it was shot on a ridiculously tight schedule (I remember Batmanglij mentioning at the film’s advance screening that it took them about 22 or so days!) and limited budget.

The film also managed to make commentary about both broad and specific subjects. For instance, there’s the broader criticism of a broken system or society fostered by consumerism, greed and a growing lack of community and collectivism. At the same time, there’s also the more specific commentary on the dominance of pharmaceutical companies and their stranglehold on the government, as well as private companies being able to get away with pretty much anything, with a lack of accountability and a complete disregard for neighborly welfare. What intrigued me in particular was the statement that the film made about a deteriorating society, a statement made without really making much hoopla about it at all. In one scene, Brit Marling’s character talks about how Facebook gives people the illusion that they know someone even though they haven’t seen them in years, a reference to Catfish and Manti Te'o perhaps or simply an observation of the loose connections people make in today’s social media-obsessed society.

There are so many things to think about in this film, but the brilliance of it is that it doesn’t come off that way. In fact, these bitter pills are administered to audiences in the form of this captivating espionage thriller slash coming-of-age tale, a description actually provided by Brit Marling herself. I found this really interesting because although the film may be focused on the story of this anarchist group, it also tells the tale of a career-driven woman who discovers a different side of herself that she hasn’t seen before. She learns to stick to her guns even when her emotions are telling her to do something drastic and out of character. It’s a surprisingly pragmatic message to impart to a young woman who is perhaps a little cynical in the beginning of the film but who emerges, not completely changed, but evolved. Overall, it’s clear that a lot of thought went into this film and its characters, and it shows.

Performances were fascinating to watch and Ellen Page, once again, proves that she excels in darker, edgier roles. It was also a pleasure to see Alexander Skarsgård assume the role of Benji, the enigmatic leader of the close-knit group, something that’s a little bit reminiscent of his charming vampire viking Eric Northman from True Blood, but also a bit of a departure from his other work because of the more cerebral subject matter. It’s easy to see how one can be drawn in by a radical group spearheaded by Skarsgård. His character’s back story, although a bit predictable, gave insight into the messiah complex Benji has and why The East is such a passion project for him. It also must be noted that aach time Alexander Skarsgård shows some skin, all is right in the world, and I certainly didn’t mind the bit of nudity from the Swedish actor. Marling carried the film really well and showed her character’s many layers. I really loved the way this character developed and every scene is a revelation of her state of mind. The audience is right there with Jane/Sarah (Sarah is Jane’s alias while undercover in the collective), and like the character we’re not quite sure what the right decision is. I also liked the way the story balanced the sexual tension between Benji and Sarah with the taut suspense of the larger plot. The espionage aspect of the film was sexy and well done, and it almost felt like a Bourne film in certain parts, which was pretty cool. One particularly poignant scene involves Marling’s Jane talking to her boyfriend (played by Jason Ritter) about her experience in The East, describing it as both foreign and familiar. It really resonated with me because many experiences can be described this way, and in Jane’s instance, it’s a statement that holds a lot of meaning. 

The ending of the film is really where it soars. It’s unexpected, captivating and a real gamechanger in terms of the way the female protagonist is portrayed. I was very impressed at the ending, which took me completely by surprise in a good way. If I had to nitpick, I would say that perhaps the film is a tad too plot-driven, with little room for other characters to really make an impression. However, I understand that for pacing purposes it may have been beneficial to keep audiences on the edge of their seats. Overall, The East is an excellent film that I would highly recommend checking out. The filmmakers mentioned that it was made with the intention to spark a generational discussion about issues that should matter to everyone, regardless of where they stand on the political spectrum. I think it’s a film that is conscious of how influential media can be as a platform, so it tackles complex issues in ways that don’t preach, but provoke. I will also say that Brit Marling’s character is perhaps one of my favorite female characters in a recent film because of how well-developed and fully-formed she is. I look forward to Marling’s and Batmanglij’s future collaborations. I expect it will be as riveting as this one.