Jamin Winan’s Ink
Ink is an incredibly low budget feature film (250,000 dollars to cover everything) by director Jamin Winans, but one that I feel is intensely underrated after seeing for the first time. Winans has only made two films as of yet, 11:59 being his first (receiving generally bad reviews, though I can’t state my opinion of it as I have not seen it yet) and Ink being his second made some years afterwards in 2009. For Winans to come from such small beginnings, with an unsuccessful and unknown first movie, only to come back and made an also largely unknown, yet arguably successful, second effort.
Ink is a story about a secret organization group of dream-givers and nightmare-givers invisible and unable to be heard or noticed by the human race. The “good” team are a group of storytellers that attempt to alter people’s lives for the better through the creation of positive dream environments in the minds of people around the globe as they sleep. Also in existence is an alternate group, that aim to control the human race through fear and anxiousness by showing them through nightmares their biggest weaknesses and hatred. Both forces exist in somewhat equal measure, with the storytellers taking a more “Star Wars Rebels” kind of demeanour, but fight for control over light and dark is constant. The story concerns both a man in the real world who has to deal with the aftermath of his daughter falling into a deep and very serious coma while in her sleep, and the regret over not having treated her as good as he should have while he reflects on the risk of losing her forever. In the alternate dream-state, it is revealed that the reason the daughter has fallen into the coma is because she has been abducted by a lowly peon of the nightmare-givers and locked deeply in her dreamstate, having fought off the storytellers and now on the run to deliver her to the organization for the chance to become a powerful figure in the organization and rid himself of his hideous scars and deformities (a suspected consequence of committing suicide in the real world and being thrust into the afterlife/dream-world with a deformed figure). The film concerns both the emotional and moral anguish of the father in the real world, oblivious to the real extent of the story, and the storyteller’s intent to recover the young girl and not lose her forever to the organization.
Even with it’s low budget, the film is brilliantly made and there are some scenes that I enjoy more than many much higher budgeted and marketed films, even some in the hands of experienced and commended film-makers. It has a raw sense of passion in it’s film-making for the director’s intent to create something of substance, out of no interest in popularity or financial gain, but rather the ambition to tell his story in the best way that he can allow himself to and craft a film that mirrors that. The film plays back and forth between emotions, action, progression of the story and character introductions, and does a good job of not cutting too quickly or too slowly into these. There are times when the film’s pacing is slowed considerably and cruises along, but always leaves that room for an insightful perspective on the film’s back-narrative and the more subtle inclusions of the storyline.
There are some scenes that are rather ridiculous, and one character in particular that I grew to hate from his first moments on-screen (about 20 minutes in) up until his big turnaround towards the end (hour and a half or so), something I feel should have been looked over and fixed. While most of the more bizarre scenes have a reason to make their appearance, it is not really stated until the end and very often I’m left thinking of how unintentionally hilarious they are in the moment.
I very much enjoy most of the characters, and for a film with such low costs and obscure casting, Ink has a great script with admirable dialogue and the acting was much better than I would have expected going in. The titular character, Ink, was a stand-out for me and I very much enjoyed his role. The stylization of both parties was nice, with a normal and kind of enlightening, peaceful vibe to the storytellers; with the nightmare organization taking on a much creepier and unnerving tone.
In particular I was astounded by the ending, while the film does drag through certain areas, the ending was a breath of fresh air and I thought it was absolutely wonderful and very well implemented, I would have been ready to like this film and move on, but the ending salvaged itself away from that and I’m sure I’ll remember this as a finely crafted piece of low budget art from here on out.
In short, the film is imperfect and there are some absolutely brilliant scenes, maybe often overshadowed by some lacklustre ones, but for the film’s budget and the alleged difference in quality between this and his debut, I really commend Winans for what he was able to pull out of this and upon having seen the whole production through, I genuinely enjoyed the final result and would definitely recommend it for a viewing. Probably very under-rated and undeservedly obscure, Ink is something to look out for if you’re ever in the mood for a low budget kind of “student film” that is very passionately made and has a lot of admirable virtues that are embarrassingly unincorporated into the grander spectacles of a mainstream film.
In retrospect, I may even be downplaying this film on it’s brilliance, as it is indeed inspiring to see something be made with such inherent quality under more humble circumstances. A must see, as I expect anyone that sees this will be pleasantly surprised by what they manage to take away from it.
(After the deletion of my thread I expected this to be lost in the ether, but I admirably concede defeat to Derek now that I have it back. Thank you Mr. Phoenix mod for taking the time to message this back to me, it was very kind of you and I am grateful. Nice guy that Phoenix guy, brightened my slow and prolonged day.)