The British prison system, grappling with overcrowding and underfunding, forms the stark backdrop for Wasteman, a debut feature from director Cal McMau that’s already generating significant buzz. The film, starring rising talents David Jonsson and Tom Blyth, offers a brutally realistic and unsettling look at life inside, and is earning comparisons to landmark social-realist dramas like Scum and A Prophet.
Wasteman immediately establishes its unique visual language, opening with scenes framed within the aspect ratio of a mobile phone. This stylistic choice isn’t merely aesthetic. it reflects the pervasive presence of technology within prison walls, and the way violence and daily life are increasingly documented and disseminated by inmates themselves. The film doesn’t shy away from depicting the harsh realities of incarceration, showcasing the chaos, brutality, and desperation that define the environment.
The narrative centers on Taylor, played with quiet intensity by David Jonsson. After thirteen years behind bars, Taylor is unexpectedly offered the possibility of early release due to a government scheme aimed at alleviating prison overcrowding – a direct reflection of a real-world initiative launched in 2024. Jonsson, who has quickly become one of the UK’s most compelling young actors with roles in Rye Lane, The Long Walk, and Alien: Romulus, delivers a nuanced performance as a man yearning for a second chance, haunted by his past.
Taylor’s fragile hope for freedom is threatened by the arrival of Dee, portrayed by Tom Blyth (known for his role in The Hunger Games: The Ballad of Songbirds & Snakes). Dee is a volatile and charismatic figure who immediately disrupts the established order within the prison. He arrives with a swagger and a network, quickly establishing himself as a major player in the prison’s illicit drug trade, utilizing drone deliveries to bypass security. Blyth’s performance is described as a stark contrast to Jonsson’s, embodying a dangerous and unpredictable energy.
The dynamic between Taylor and Dee forms the core of the film’s tension. Initially, Taylor attempts to distance himself from his new cellmate, recognizing the threat Dee poses to his impending release. However, the allure of access to drugs and a means of contacting his estranged son proves too tempting, leading to a complex and uneasy alliance. This pact, however, comes at a cost, drawing Taylor deeper into the prison’s criminal underworld and escalating the risk of violence.
McMau’s directorial approach prioritizes authenticity. He worked closely with the rehabilitation charity Switchback to ensure the film accurately portrays prison life, and notably cast real former inmates in supporting roles. This commitment to realism extends to the film’s visual style, with McMau often employing a vérité aesthetic, blurring the lines between staged scenes and actual footage. The film’s intensity is further heightened by cinematographer Lorenzo Levrini’s use of unconventional camera angles, such as shots through floor grates and overhead views of the prison courtyard, positioning the audience as voyeurs within this brutal system.
While Wasteman treads familiar ground in its critique of the prison system – highlighting its failures to rehabilitate and its role in perpetuating cycles of violence – it distinguishes itself through its visceral energy and unflinching portrayal of contemporary prison life. The film doesn’t shy away from depicting graphic violence, including a particularly unsettling scene involving a tin of tuna, but it’s the psychological tension and the compelling performances of Jonsson and Blyth that truly resonate.
The film’s exploration of the current crisis within the British prison service – chronic overcrowding, understaffing, and inadequate resources – feels particularly timely. Wasteman doesn’t offer easy answers or simplistic solutions, but it does raise important questions about the effectiveness of incarceration and the human cost of a failing system. It’s a film that lingers in the mind long after the credits roll, prompting reflection on the realities of life behind bars and the challenges of reintegration into society.
Wasteman is a Bafta nominee in the outstanding British debut category, and is already being hailed as a significant achievement for its director, and cast. The film’s success underscores the growing demand for gritty, socially relevant dramas that offer a raw and uncompromising look at the world around us. It marks Cal McMau as a director to watch, and further solidifies the rising star power of David Jonsson and Tom Blyth.
