Miguel Gomes’ Grand Tour (2024) is a polydirectional riddle of a film, that while shot in black and white, totally lacks any binary. At the most skeletal level, it is the story of Edward’s (Gonçalo Waddington) flight from his fiancée Molly (Crista Alfaiate) on the day they are to be married after a 7-year engagement. Off through Southeast Asia Edward goes, pinballed on by a mix of good and bad fortune in turn. Pursued by deep melancholy and his determined fiancé, Edward tries, to no avail, to rid himself of both.  

Shot in the style of silver-screen Hollywood films, complete with smoky lighting and noir-esque shadow, the film is a feast for the eyes. Every scene is layered, full of movement and a well-choreographed dynamism that feels unlike anything being made today. The dialogue is appropriately dated but charming, and the set design is totally convincing. The critiques of Grand Tour being a narrative of “Western Fascination” in the land of the Other are on some level fair. On the other hand, I think it’s fair to claim that Gomes is probably suggesting something more complex with his use of the protagonist-out-of-place trope because of the other key element that makes Grand Tour what it is – the documentary footage. In between the old-school scenes, the narrator continues the story against b-roll of contemporary South-East Asia. This creates an interesting dissonance between theatrical narrative component and reality. The longer you watch, the more the two blend together, and the tension of this synthesis is highly compelling. Gomes’ writing is witty, even amiable, and the chemistry between the stars and ensemble is palpable. He takes the story in an interesting, reflexive direction, and I was perplexed in my favourite way once the credits rolled.

Grand Tour is a one-of-a-kind film, and one that will stick with you. Showing until the 9th of March at the Perth Festival.

4 out of 5