‘The Lascar’ is a deeply cinematic short film that slices through the polite façade of period drama and lays bare the rot of empire. Told in three chapters, Adi Parige’s historical drama conjures a world of spectacular coastlines, unspoken betrayals and the moral tremors of survival.
Vinith Shiva is Dasa, an Indian sailor stranded and suffocating under the cracked whip of British authority. Opposite him, Mark Matthews plays British gang leader Freddie. Their dynamic is not just about colonial tension. It’s about power, silence, pride and the consequences of being seen as expendable.
Jenna Eriksen’s cinematography deserves serious attention. The landscape is beautifuly wild, desolate and stunning. The use of varient languages – Urdu, Te Reo Māori, English – is deliberate and powerful, transforming the film into a rich blend of displacement, resistance and stolen dignity. The sound design is immersive without being intrusive, underscoring each decision, each moment of doubt, each turn of fate.
Vinith Shiva brings strength and vulnerability that grounds the film. Mark Matthews commands the screen with a restrained menace – his controlled performance creates a constant simmering tension. Together, they bring a powerful, believable clash of wills, supported by a solid and respectful supporting cast that adds real depth to this harsh world.
Parige doesn’t preach or sugarcoat. He doesn’t tidy up uncomfortable truths. He just shows things as they are, without flinching or distraction. ‘The Lascar’ isn’t polished history – there’s no gloss, no easy answers. This is storytelling that trusts its audience to sit with discomfort, to reckon with the harshness beneath the surface. It’s a true cinematic achievement that demands your attention – not just for its craft, but for the weight of the story it carries.
