Pascual Sisto’s directorial debut, “John and the Hole,” carves a unique, unsettling path through the well-trodden terrain of coming-of-age narratives. Written by Oscar-winner Nicolas Giacobone, the film immediately distinguishes itself by veering away from typical teenage tropes and plunging into a disquieting scenario: what happens when a child abruptly decides to imprison his family? Thirteen-year-old John, portrayed with chilling detachment by Charlie Shotwell, isn’t your average adolescent. While he engages in ordinary activities like tennis, video games, and piano, a palpable sense of unease permeates his interactions and demeanor, hinting at a darkness lurking beneath the surface of his privileged suburban life. “John and the Hole” isn’t a spoiler-heavy experience, as the trailer itself reveals the film’s inciting incident: John, using a drone to scout, discovers an abandoned bunker and subsequently drugs and confines his parents and sister within it. This isn’t a build-up to the shocking event; it’s the starting point for a deeper, psychological exploration.
Upon awakening in the murky depths of the “hole,” John’s family – mother (Jennifer Ehle), father (Michael C. Hall), and sister (Taissa Farmiga) – are understandably terrified and bewildered. When John appears, not with remorse or explanation, but with food and blankets, the film pivots away from expected thriller conventions. Instead of escalating into violence, “John and the Hole” delves into John’s peculiar interpretation of freedom and adulthood. He doesn’t descend into chaos; rather, he meticulously mimics the adult world he observes, indulging in classical music, fine wine, cooking, and the financial freedom afforded by his parents’ ATM card and car. This manufactured autonomy, however, is viewed through the lens of a thirteen-year-old’s underdeveloped understanding of consequence and maturity. The film masterfully creates tension not through jump scares or action sequences, but through the unsettling calmness of John’s actions and the audience’s growing anticipation of inevitable repercussions.
The setting itself, a wealthy family residing in a “glass house,” serves as a potent metaphor. Their transparent existence, seemingly enviable, belies a deeper fragility and disconnection. The parents’ preoccupation with material pursuits and perhaps a sense of entitlement has blinded them to the emotional landscape of their teenage son. Whether their confinement in the bunker offers them a moment of clarity regarding their parental shortcomings remains a question the film subtly poses. Framed by a mother recounting John’s story to her daughter, the narrative adopts an unusual, slightly distancing perspective, adding another layer to the film’s already complex psychological tapestry. Cinematographer Paul Ozgur’s work is noteworthy, capturing the sterile perfection of the family home, the ominous isolation of the woodland bunker, and the unsettling stillness of John’s character.
“John and the Hole” operates more effectively as a psychological drama than a traditional thriller or character study. While drawing thematic and stylistic inspiration from directors like Michael Haneke and Yorgos Lanthimos, it forges its own path, albeit without reaching the heights of those cinematic masters. Nevertheless, the film possesses a distinct style and leaves a lingering unease, prompting reflection on teenage psychology and familial dynamics. Ultimately, “John and the Hole” serves as a stark, if understated, cautionary tale, reminding us of the often-unpredictable nature of adolescence and the potential consequences of parental neglect, even within seemingly idyllic settings. The film opened in select theaters and On Demand on August 6, 2021, offering audiences a chance to confront this chilling and thought-provoking cinematic experience.
