Claustrophobics, beware. “Buried,” Rodrigo Cortés’ latest film, offers no respite for those who fear tight spaces. From the initial scene to the final moments of the film, the viewer cannot help but feel cramped as the protagonist Paul Conroy (Ryan Reynolds) desperately seeks freedom from the confines of a coffin.
The film begins in darkness. All that can be heard are a few grunts and groans, until finally a face is shown by the flame of a lighter. Conroy is a truck driver working for a civilian contractor in Iraq. He has been trapped underground with a limited supply of oxygen, a cell phone running out of battery and a Zippo lighter as his only source of light.
Conroy soon realizes the gravity of his situation. He quickly sets out to call as many contacts as he can in order to attain freedom. This, however, proves to be a frustratingly difficult task, as he tries to maneuver his way through the exasperating government while struggling to maintain consciousness. To make matters worse, a mysterious Iraqi (José Luis García Pérez) demands a ransom.
With the odds stacked against him, Conroy must put his survival in the hands of a hostage-recovery expert, Dan Brenner (Robert Paterson). However, Conroy is not reassured by Brenner who tells him that others have faced his deadly circumstances.
Facing challenges both inside and outside of the coffin, the viewer can sympathize with Conroy’s desperation. With sand slowly filling the coffin and pressure mounting from his captors, survival seems doubtful. “Buried” screenwriter Chris Sparling cleverly raises issues such as callous bureaucracy, the dehumanization of the enemy and corporate opportunism all while maintaining a fast-paced, airtight script.
Despite facing the daunting task of having an entire film set in a coffin, Cortés does an excellent job in his debut in American cinema. As if the premise was not terrifying enough, Cortés expertly uses camera angles and close-ups to build the anxiety. Using camera techniques akin to those in Alfred Hitchcock’s “Rope,” a feeling of claustrophobia persists throughout the film. Cortés and cinematographer Eduard Grau use a plethora of camera angles to keep the audience guessing, while Reynolds’ performance is eerily credible.
With the recent advent and success of 3-D technology in movies, it is refreshing to see a film that does not depend on special effects to attract its audience. With a budget of less than two million, the film must rely on its script and Reynolds’ acting. As it turns out, both perform well in the clutch. “Buried” may suffer at the box office due to a lack of advertising but it is sure to garner considerable attention at various film festivals. Although Reynolds is typically known for his roles in romantic comedies such as “Definitely, Maybe,” his venture into more serious material may earn him Oscar consideration. Such was the case with Sandra Bullock, his co-star in “The Proposal,” who won an Oscar for her role in “The Blind Side.”
With a film like “Buried” under his belt, Cortés puts his foot firmly in the American film industry all while articulating strong arguments through Conroy’s frustrations. This is no small feat for a director who had made only one feature length film prior to “Buried.”
As both a mystery and psychological thriller, “Buried” delivers on every level. Don’t let the unconventional premise dissuade you — this movie is a thrill ride from the get-go. Just don’t forget to breathe.
