The Accident Review: A Witty Dark Comedy Featuring an Ingenious Structural Device

      Note: This review was initially published as part of our 2024 Slamdance coverage. The Accident is now available on Fandor.

      It's refreshing when a film decides to keep its runtime concise, something writer-director Giuseppe Garau accomplishes with The Accident. In just 65 minutes, Garau introduces us to Marcella (Giulia Mazzarino), a single mother whose life is unraveling. On a single day where she is late to pick up her daughter from school, she is fired by her boss—who is also her ex’s father and her child’s grandfather—she gets into a minor car accident with her daughter, and ultimately loses custody. Through a clever narrative device that confines the story to one perspective, The Accident offers a dynamic, inventive, and unexpectedly humorous experience as we witness Marcella struggling not to ascend but rather to slog through a series of humiliations, navigating her way through adversity.

      The narrative style quickly becomes clear following the intense opening scenes of Marcella’s firing and car accident. Garau, along with cinematographer Giulia Scintu, utilizes a 16mm format on a low budget, capturing everything from a single viewpoint on the far side of the car, predominantly framing Marcella in a shallow-focus close-up throughout the film. After the accident, a talk with her tow truck driver motivates Marcella to pursue an unconventional route to regain her financial stability and reunite with her daughter: she buys an old tow truck and attempts to establish her own towing business. This straightforward setup aligns perfectly with the camera's self-imposed limitation; the close-ups and confined space of the car create a sense of entrapment, while the continuous driving ensures there's never a break in the tension. It quickly becomes evident how frazzled Marcella's mental state is and the precariousness of her situation.

      Filming primarily inside a vehicle invites comparisons to The Plains, David Easteal’s 2022 film, which also uses the back seat perspective of the protagonist’s car. However, while Easteal opts for a static camera with lengthy takes, Garau employs handheld shots combined with jump cuts. The Accident echoes the social-realist style made famous by the Dardenne Brothers; it’s a surprise to discover that the film leans more towards dark comedy than intense drama. Although Marcella is well-intentioned and genuine, her naivety about the towing industry leads her into trouble. As she sets out to establish her business, other drivers intimidate, harass, and attack her in an effort to drive her away. These dark moments evoke humor stemming from Marcella’s stubborn ignorance. (“We’re in Italy. It’s a civilized country,” she insists just before a sudden cut proves her wrong.) As she finds clever ways to gain the upper hand against aggressive competitors, it's easy to hope she ultimately triumphs.

      Without delving too deeply into the narrative specifics, Marcella discovers a convoluted, yet unethical solution, which she embraces. With this development, Garau highlights a broader commentary on how capitalism can degrade individuals into resorting to desperate measures for survival. It is in this limited setting that The Accident thrives, with its plot's immediacy and action developing the film's themes organically. A brief runtime may make the film feel a bit light for its own good, but The Accident is an engaging, succinct piece that successfully carves out its own niche.

      The Accident made its debut at the 2024 Slamdance Film Festival.