‘Inside’ Review: Guy Pearce Is a Lit Fuse of Internal Contradictions in Haunting Australian Prison Drama

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As a passionate viewer, I found myself deeply immersed in the intense atmosphere of “Inside”, a drama that delves into the damaging legacy passed down through three unique characters, each grappling with their predestined fates within a prison system. Guy Pearce, building upon his impressive performances in “The Brutalist” and “The Shrouds”, once again showcases his remarkable acting talent here. Charles Williams’ directorial debut masterfully crafts a tense triangle of flawed men, bringing to life unforgettable portrayals by Cosmo Jarvis and the promising newcomer, Vincent Miller.

Though not personally experiencing these events himself, Williams formed his perspective based on his working-class background, which included relatives in prison and a father who left him at the age of 12. This upbringing influenced him to create an authentic and unyielding yet empathetic viewpoint.

The story within isn’t your typical tale of damnation or salvation, cycles of crime or the benefits of rehabilitation like “Sing Sing.” Neither is it another effort to confront Australia’s penal colony past. Instead, it delves deep into a somber, frequently heavy exploration of psychological character, albeit interspersed with genuine moments of hope.

The story’s narrator, 18-year-old Mel Blight (Miller), is the one whose voiceovers tie together the narrative. He’s an individual who, following a violent incident in a juvenile detention center where he took another life, has reached the age of maturity. A shaky home video captures the wedding of Mel’s mother (Georgia Chiara) and father (Angus Cerini), which transpired within the prison walls where his father was serving his time. He remembers his father predicting that being conceived in prison would set Mel on a destructive path, and indeed, it proved to be true.

Despite acknowledging that the conditions are less than perfect, Mel finds himself sharing living quarters at his new location with Mark Shepard (Jarvis), a long-term inmate who was found guilty of raping and murdering an 11-year-old girl when he was only 13. This crime has made him one of the most despised figures in the country. Similarly, Shepard is also a recent transferee to this lower-security institution following years in maximum security prisons, where he spent considerable time isolated from others.

With stooped posture, slow stride, and hushed words, it’s evident that Shepard is a man wrestling with troubles, his psychological wellbeing uncertain. However, he holds faith that he has discovered a spiritual route to redemption, having embraced Pentecostalism as a newborn believer. He persuades Mel to accompany him on the electronic keyboard at these religious gatherings where he delivers sermons to a predominantly skeptical audience of inmates. They watch with gaping mouths during the instances of ecstasy when he speaks in tongues.

Jarvis’ acting is extraordinarily impactful, leaving Mark feeling both pitiful and intensely alive, his heart-wrenching regret appearing sincere. (The actor from the TV series ‘Shogun’ flawlessly adopts an Oz accent.) One particular scene is powerfully gripping as he subtly reveals a self-harm act by implying that it’s the soul, not the body, that requires transformation. There’s a striking amount of compassion in Williams’ script and direction as Mark presses Mel to undergo baptism to alleviate his suffering and guilt.

Warren Murfett (Pearce), the third cornerstone of the triangle, is nearing parole eligibility after serving 15 years behind bars and participating in every self-help program available. With a thick, salt-and-pepper beard and weary eyes that hint at his life experiences, Pearce embodies a complex character – one that combines aspects of tragedy and cunningness. Instead of being just the stereotypical wise, long-term inmate, Pearce’s isolation has led him to lose parts of his humanity.

When Warren, a convict pedophile, is photographed threatening his fellow inmate with an image of his son when he was young, the stern warden Tammy MacIntosh becomes suspicious that he’s intentionally undermining his chances for parole, a tactic commonly used by prisoners who dread returning to society after long terms. As punishment, she assigns Mel as his new cellmate, ordering Warren to maintain control over the volatile youngster and keep him out of trouble.

Warren’s guidance style leans towards tough love, possibly stemming from his longing for reconciliation with his grown son, who consents to visit him under supervised day-release. However, it’s important to note that Warren also caters to some personal desires of his own.

In severe financial trouble due to gambling and facing threats from prison gangs who wouldn’t hesitate to harm him, Warren convinces Mel to assassinate Sheperd for the reward on his head. He guides Mel on how to execute the killing, making it appear as self-defense. He even crafts a makeshift knife (a shiv) for Mel in the prison workshop.

Similar to Warren, Mel may have personal reasons for accepting the proposal, not primarily for the monetary reward, but possibly as a way to eliminate an unsavory individual, serving as a cleansing act, and helping him distance himself from the notion that individuals like him are tainted and should be excluded from society.

In his debut screen performance, Miller manages to keep pace with his veteran co-actors. Instead of overtly portraying the frequent blinking that symbolizes Mel’s twitchy anxiety, he subtly expresses it through various means, oscillating between fits of anger and tranquil instances where he appears as a lost child. The underlying desire for connection within his character adds an element of unpredictability to Mel’s interactions with both Warren and Mark.

Miller’s acting strongly mirrors Raif Weaver’s portrayal of young Mel during his traumatic flashbacks. When Mel and his sister are told that their father will be released on day pass, their mother advises them not to disclose their home address to him. It becomes apparent that Mel can’t conceal the truth from his father once he is picked up from school. The nerve-wracking car ride to their house, with a plastic sheet covering a damaged window flapping loudly, only intensifies the tension. This is particularly unsettling because the ensuing events are depicted offscreen.

One striking moment – possibly Pearce’s most powerful performance in this film – occurs when Warren visits the home of his son Adrian (Toby Wallace, impressive). During this visit, his forced friendliness slowly deteriorates as he encounters the chilly indifference that escalates into a harsh betrayal.

The movie presents numerous scenes that make viewers contemplate criminal figures from various perspectives, viewing them not just as offenders but also as victims. This perspective deepens the intensity of the climax and adds a touch of hopefulness to the moving ending.

The film “Inside” is not simple to watch. It creates a sense of suffocating confinement, intensified by being trapped alongside unpredictable men who might do anything at any moment. The atmosphere is further darkened by Andrew Commis’ cold, institutional cinematography in blues and grays, and Chiara Costanza’s enveloping synth score that adds to the gloomy tone. However, the powerful drama offers meaningful insights, exploring themes such as mental health, inherited trauma, self-determination, and the impact of absent or unrepairable fathers.

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2025-06-10 18:25