Jonathan Parkinson’s first foray as a film director is a biting, razor edged success. It’s not everyday that you get held hostage at gunpoint while looking for inspiration to write a film script but Parkinson maintains a seamless flow of events as the film unfolds and enhance a grand canvas for the film that it makes you as a viewer to fully immerse yourself into the story as if it was happening right at your feet too.
There aren’t many filmmakers capable of translating their will and vision into the big screen but Parkinson did exactly that with The Drop. As a film fanatic, I’m used to going into unfamiliar spaces to see stories being told through new perspectives, finding a space in cinema that has never been touched before. The Drop is so artful in that department. The way it infuses the themes of suspense, sexual freedom, crime, fear, ambition unfold in a no-linear fashion that we’re used to seeing on our screens. In many ways The Drop is a film aimed at catharsis and from the beginning of the film, Parkinson’s directorial vision is clear: messy, funny, totally contemporary and aware of what it’s doing.
