The plot of Relay is something not often seen in today’s cinematic releases: It’s drawn-out and paced slowly, with main characters that almost never speak to each other, encouraging the audience to connect the dots.
The concept almost works with the help of some great performances, but ultimately can’t be saved when the deliberately built-up tension is shredded in a move that undermines the precision plot.
The film is a story of corporate surveillance and questionable morals, following a reclusive middleman Ash (Riz Ahmed) who cuts deals between companies and would-be whistle-blowers.
Using a telephone relay service, a public service with tight privacy regulations intended to assist the deaf and hard of hearing to communicate, Ash contacts and updates his clients without ever being seen or heard.
After wrapping a regular assignment, Ash ensures that the company has its documents returned, in exchange for money and immunity for himself and his client.
The established routine changes when he takes on his latest client: Sarah Grant (Lily James) is a scientist who wants to return incriminating medical trial documents to her former employer. Time is critical for Grant as a team of corporate henchmen, propelled largely by Sam Worthington’s acting chops, continues on an escalating, and potentially violent, intimidation campaign against her.
Relay heavily emphasizes the space between its characters, and the audience learns about Ash and Sarah from their surroundings and habits more than their face-to-face interactions.
Ash is a distant person leading a solitary life, a recovering alcoholic who rarely speaks at meetings, living in a blank apartment. When he steps outside to gather intel on his clients, it’s almost exclusively in one of many carefully crafted personas that veil his identity.
Sarah is nestled in a luxurious Manhattan apartment, balancing the emotional stress of being a potential whistle-blower with the struggle of being single in the city. She rarely leaves, out of fear for her safety after her car was set on fire.
The script and speed of the movie have a slow and intentional pace; it flies in the face of many modern movies in a good way, allowing the audience to be fully immersed in the rising tension and danger.
Ash goads the team of company investigators attempting to track Sarah, stringing them along as he sends her codewords, burner phones and forwarding addresses at far away PO boxes.
In symphony with the pair’s hide and seek game with the team of corporate thugs, the audience sees the beginning of a potential relationship blossom between Ash and Sarah.
It’s a style of cinema executed successfully by placing the right amount of faith in its audience. Writer of the film Justin Piasecki described it as a mathematical two plus two equation: “Too many little crumbs they’re not invested and if you give them four, they have nothing to feel like they’re solving.”
Unfortunately for the David Mackenzie led picture, the balancing act fails when the equation breaks down: An unexpected twist different to everything the audience has learned about the intertwining plotlines.
Introduced for the movie’s closing act, the fatal error pulls the rug out from underneath the viewers. It destroys the slow speed of the film, carefully building tension and secrecy, ultimately leaving an unpleasant taste once the credits start rolling.
Relay is unique in today’s quick consumption environment but falls on its face right before its final flourish.
The film had its world premiere at the Toronto International Film Festival on September 8 and does not yet have a theatrical or streaming release date.
