Then there are the flashbacks to during (?) the Crisis when David gets help from Gabriel (Couch himself), an old client of his. These sections are strewn throughout, but it would have been more satisfying had it played out in one long scene closer to the end of the movie. That relationship is needed to understand certain things at the end, but the constant cutting away fractures the story structure in unintended ways.
See, much of The Tent plays around with what the audience sees, and what they aren’t shown, mimicking David’s deteriorating mental health during this world-changing apocalypse, of sorts. As editor David Peterson masterfully balances the forward momentum of the story with the characters’ unreliable point of view, it is spellbinding. It hypnotizes the viewer, leaving them on the edge of their seat. But, the flashbacks have a different style to them altogether, so they interrupt this masterful flow. Having it play out in bulk would still give the viewer the needed realizations while not sacrificing the film’s structure.
Luckily, even when the movie takes a misstep, the actors are there to keep everything float. While a few other people make appearances here or there, the thriller is by and large the Tim Kaiser and Lulu Dahl show. Kaiser is perfectly cast as the resilient, somewhat crotchety older man who just wants to survive this strange new world. After telling Mary that she is not allowed in the tent whatsoever, David realizes that the meal protrusion in his leg is too large for him to get out on his own. The way he invites her is played with a wonderful resignation by the actor.
“…manage to keep up the suspense and intense atmosphere for most of the film…”
Dahl is just as good, with her slow prodding of David’s hunting methods and seeming distaste of humans coming out as both humorous and a strong need to withstand all that the world has thrown her way. In his brief role as Gabriel, Couch does a fine job as the face of those David left behind after the Crisis becomes all too real.
What really makes The Tent soar is how it deals with losing the memories we long to keep and dealing with those we wish would remain buried. Saying anymore would be unfair to both the filmmakers and the audience, as watching everything play out is mesmerizing and well worth it. But those strands laid throughout culminate into a profound ending, even if certain revelations are more predictable than the film thinks.
The Tent has a few minor structural issues, but they are small potatoes compared to what the film overall offers. It’s two leads, Kaiser and Dahl, are perfectly matched to each other and deliver fantastic performances. The cinematography is excellent, and the sound design is some of the best in a movie, budget be darned, all year. The way in which the director visually represents the themes is gripping, putting the audience on the edge of their seat. The Tent is, as the Bard said, a hit, a very palpable hit.
"…the sound design is some of the best in a movie, budget be darned, all year."
