‘In the Earth’ Is a Ben Wheatley Film in the Best Way Possible

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Ben Wheatley seems like one of the few directors who seems to be doing whatever he wants. From the occult thriller, Kill List; to an estranged couple who rekindle their spark through serial killing in the dark comedy, Sightseers; to one long shootout between arms dealers in Free Fire; to a faithful adaptation of one of J.G. Ballard’s strange works of fiction, High-Rise.

These films are often hard to quantify with one specific genre. Kill List might be a thriller, but could easily be hailed as an example of English folk horror, as well as a character study and a family drama. Sightseers is both a relationship drama, a portrait of two dysfunctional lovers who happen to go on a killing spree (think a less romantic Badlands on the English countryside), and a pitch-black comedy that would make John Waters proud. High-Rise, probably due to Ballard’s material, is both an anthropological look on the savagery of human beings — sometimes venturing into horrific imagery that could qualify it as a horror film — as well as a darkly humorous critique on Thatcherite capitalism. What connects these films is the sense of gleeful cynicism about the state of humanity. The problems these characters face are often exacerbated by their own inherent flaws, by problems they aren’t willing to confront, by a selfishness they aren’t willing to admit to. None of these characters are guaranteed a happy ending.

My favorite of his work has always been A Field in England. It’s a film that’s nearly impossible to describe in mere genre terms. Taking place in 17th century England, it’s a period piece filled with surreal horror, dark comedy, and existential character drama. As the title suggests, it takes place on a small piece of the English countryside, as four characters must defy the whims of a sinister alchemist. It’s beautifully bonkers but it’s also strangely heartfelt in comparison to Wheatley’s merciless oeuvre.

If you’re only familiar with Wheatley from his slightly controversial remake of Rebecca, please check out his earlier filmography, to truly understand the appeal of his filmmaking.

Unfortunately, Wheatley has apparently been courted to do some big-budget Hollywood shlock. Future projects include a sequel to The Meg (you know, the giant shark movie starring Jason Statham) and a sequel to Tomb Raider (not the Angelina Jolie one).

Perhaps Wheatley is genuinely interested in tackling some conventional Hollywood fare, or perhaps he’s doing this so he’s able to finance something more idiosyncratic. In either case, neither of those films are made for geeks like me. But before he’s giving us his cinematic interpretation of a giant shark, Wheatley has helmed another indie-horror film — filmed in secret, during the start of the pandemic — In The Earth.

Go in Blind

It’s an annoying cliché to say, but nonetheless true: It’s best to watch In the Earth completely blind. An experienced genre aficionado will probably guess some of its twists and turns, but even so, this is the kind of film where becoming enamored by the sinister unknown, is one of its most joyous features.

A mysterious outbreak, obviously inspired by COVID-19, has lapsed the world into chaos. But the viewer won’t see any of this chaos, as we follow scientist, Martin (Joel Fry), journeying to a research center in a forest. Due to having been quarantined for several months, Martin has trouble adjusting to the old-fashioned norms, as evidenced by his awkward conversations with fellow scientists. As a researcher of micro-organisms, Martin has arrived at the research facility to work with Dr. Wendle (Hayley Squires), who has disappeared. Before the other scientists lost contact with her, Dr. Wendle was doing research into a mysterious fungus that seems to dominate the forest, and possibility communicating with its singular consciousness that drives it.