“Odyssey,” Interview with Director Gerard Johnson and Actress Polly Maberly

Director Gerard Johnson and actress Polly Maberly share insights about their new film, “Odyssey“, during an exclusive interview at the 78th Edinburgh International Film Festival. They discuss the film’s gritty realism, morally complex characters, and its unexpected evolution into a brutal, ultraviolent thriller. As one critic describes it, “Odyssey is a punishing, ultraviolent slow-burn thriller set in a grimy real estate world“.

Exploring the world of estate agents and moral ambiguity

Johnson opens up about his fascination with estate agents, viewing them as a subculture similar to the corrupt police officers featured in his previous films. He aimed to explore this world and examine what happens when a character like Natasha lives beyond her means and becomes entangled with dangerous people. “Odyssey” takes audiences on a surprising journey, transforming into something far removed from its initial premise. Critics note that while Johnson’s work often explores the thin line between good and evil, “Odyssey” is his first dedicated character study of a female protagonist.

Polly Maberly on action and performance

Maberly describes the film’s physically demanding climax, especially the fight choreography and wrestling scenes, which she loved performing. Despite the exhaustion, she found the experience exhilarating. Led by stunt coordinator Dan Stiles, the action sequences were carefully prepared in advance, making the shoot both exciting and smooth. Her performance is central to the film’s impact; as one review states, “Maberly is the glue that binds together what could have been two very different scripts cut in half.” She masterfully balances outward confidence with a frantic sense of desperation, adding depth to her character.

The creative process: Workshops and quick turnaround

Johnson emphasizes how vital the workshop phase was in preparing the actors. These sessions, conducted without producers or external influences, helped build backstory and fostered a cohesive team. By the time they filmed, the cast was relaxed and fully immersed in their characters, leading to a more fluid and enjoyable shoot. Remarkably, “Odyssey” was completed in just 24 days, exemplifying efficient filmmaking and strong directorial vision.

A sharp social commentary on London’s changing face

The film also offers a pointed critique of London’s urban transformation. Johnson discusses the obsession with city expansion—highlighting the closure of historic pubs like Smith’s Tavern, London’s oldest restaurant, due to rising rents, contrasted with the construction of new office buildings. This contrast aims to capture the essence of London’s vanishing cultural institutions. As one review notes, “If the changing face of London was the backdrop for Tony, it’s front and center in “Odyssey“ which is, at its core, a dispatch from occupied territory.” Gentrification, capitalism, and morality are central themes throughout the film.

Natasha: Ambition, ruthlessness, and social critique

Maberly describes her character Natasha as ruthlessly driven to succeed in a testosterone-fueled workplace. She found playing this assertive, ruthless role freeing, especially since she tends to be more apologetic in real life. The film offers a brutal critique of the housing crisis and capitalism, contrasting Natasha’s gritty, seedy environment with the idealized ‘golden age’ of yuppie prosperity. The narrative shifts into dark horror territory, with London’s underworld as neon-lit and grimy as it is dangerous. One review states, “Odyssey delves into surprising directions in its final act, almost becoming an entirely different film.”  The ultraviolent climax acts as a release of tension, leaving the story open-ended and unresolved.

Inspiration and european cinema influence

When asked about influences, Johnson mentions “The Kingdom” and references European films like “The Driver’s Seat” (with Elizabeth Taylor) and “Full Circle“ (with Mia Farrow). Maberly admires French actress Laura Calame, citing films such as “Origin of Evil“ and “Full Time.” Both express a strong admiration for European cinema, with “Nostalgia“ being a recent favorite.

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