However, we later learn that the process is not random, rather it is a democratic vote. Each participant in the “game” is able to individually control the red beams on the floor to vote for another player to die. A person must die every two minutes, regardless of if the group votes or not. As the group grapple with trying to understand why this is happening and why they are there, one of the participants suggests it is a political experiment designed by greater, alien forces. Or perhaps, it is a question of morality and philosophy about who deserves to live and who does not.
It becomes clear that the characters have been deliberately chosen for their diversity and demographic difference. Old, young, gay, straight, rich, poor, disabled, black, white, pregnant, religious. Although the cast is fairly unknown, this only emphasizes the ordinary nature of the people. Hann and Miscione exemplify how this group of unnamed individuals could be anyone, instantly involving the average audience in their film. There is no likable actor or actress to root for. Judgement is purely based on the fundamental characteristics of each player. The audience is transformed from passive witnesses into active, powerful contestants, debating in their own head whom they would save in the process and who they would reluctantly murder.
“Circle” is not afraid to confront us with the divides and cracks prevalent in modern society. It covers a range of political themes from racism, sexism, agism, police brutality, homophobia, religious discrimination, and illegal immigration. We watch as individuals are saved for their youth, their valuable contributions to society and for having families, whilst other are picked off for their skin colour, controversial political attitudes, outspoken nature, and criminality.
Although a simple storyline and shot in a single, low-budget location, “Circle” definitely keeps us gripping the edge of our seat and anxious to know what will happen when there are only two people left standing. The question of the last two is something that splits the group into opposing sides. One side believes that the youngest player, a 5-year-old girl, and a pregnant woman should be protected until the end. The other group argues that every individual is equal, and no special privileges should be afforded. Is protecting women and children an outdated, unfair value? Can innocence be measured purely by age? Should we champion equality as we have always been taught? “Circle,” reflecting its title, cleverly utilises its life or death plot to repetitively pressure the audience to question themselves what we would do in that situation; would we sacrifice ourselves for the good of others? Or would we naturally want to do everything we could to survive?
The concept of “Circle” is exciting and unique, offering a raw commentary on identity politics, alongside a sickening twist at the end. However, the script was unintelligent and cheesy, and lines were overacted. The set and graphics were extremely budget and cheap, and the soundtrack was limited. We barely knew much about the characters; it was hard to gain attachment to individuals who would die just a few moments later. Yet, “Circle” can be praised for managing to successfully maintain its intensity throughout the hour and a half. Although, lacking sophistication and complexity, I enjoyed this film, which simultaneously made me feel frustrated, hopeful, and hopeless. “Circle” can certainly be classed as a surprisingly good underdog, worthy of a watch.
