Summary
Matty Brown’s The Sand Castle is a hauntingly beautiful and emotionally charged debut that masterfully blends survival drama with heartfelt family dynamics.
Make no qualms about it – Matty Brown’s Arabic-language film The Sand Castle is beautiful. Maybe the director can correct me, but this appears to be his debut feature-length film after a plethora of involvements in shorts. This is an incredible first impression, highlighted to the world on Netflix.
It’s hard to discuss The Sand Castle, first presented in Saudi Arabia at the Red Sea Fim Festival, without spoiling it. So, for you, reader, I will keep this review as simple as possible so I do not tie myself in knots and doubt what I am revealing.
The bare bones of the premise are as follows: a family of four is stuck on an island in the middle of the sea, home to an impressive lighthouse. While the story appears innocent at first, it slowly transpires that the family faces a shocking reality. The director reveals the crux of the story right at the end, which is a brave choice that works in the manner of the film.
The film juxtaposes dark themes with the innocence of children. The parents (Nadine Labaki – Capernaum and Ziad Bakri – The Weekend Away) are desperate to display normalcy for their children, Jana (Riman Al Rafeea) and Adam (Zain Al Rafeea, also in Capernaum), but it is almost impossible. Every day, without their radios being responded to and no one saving them, their scenario is a task for survival rather than a brief family challenge.
The reasons for their abandonment on an island are unknown, but The Sand Castle does provide subtle hints to their despite. You can assume that they have asked to be smuggled, as the father does bring the inclination that he paid someone on their travels, resulting in his family being stuck on the island. But all sense of closure in the story ends there. I’ll be frank; you have to be patient.
And patience in this film is not a big ask. It’s a visual and emotional feast, propped by an invested cast. There’s a master behind the camera, sound, and editing, which is no surprise. This is the first for an Arab film that involves an absolute pedigree of known talent, including sound designer Martín Hernandéz (The Revenant; Birdman; Pan’s Labyrinth), editor Nacho Ruis Capillas (The Others; White Elephant) and composer West Dylan Thordson (Split; Glass; I, Tonya, Joy).
Make no mistake—director Matty Brown uses the talent around him well. The story is about the island, the characters’ experiences, and its meaning. There’s an unsettling chaos throughout that ramps up as the film approaches its conclusion. It is difficult to keep your eye off, as it is haunting and thought-provoking, but it is equally uncomfortable to watch.
Some will be critical as to the “why” and what.” Why is this family in such a terrible predicament, and what is happening to them? Admittedly, there were times when I did doubt the purpose of The Sand Castle, but when you reach the ending that comes with an anecdote, you will be tempted to watch it all over again, and this time, to learn more.
