Something about director David Mackenzie’s (Hell or High Water, Outlaw King) tonal approach to his latest film, Relay, reminded me of the recent The Amateur, in that both are the stories of seemingly normal, unassuming people becoming men of action because of a personal connection they make in a job that normally requires them to stay impersonal.
Written by Justin Piasecki, Relay tells the story of top-notch fixer Ash (Riz Ahmed) who specializes in brokering massive payoffs between corrupt corporations and individuals who threaten to expose them. Normally, these individuals would be whistleblowers, but often, fear and intimidation overcome them and they’re willing to take money for their silence.
The film opens at the conclusion of such a deal. Ash requires a company’s CEO to come personally to deliver the money in exchange for whatever file a person has. Ash always keeps a copy for safety, promising that if anything ever happens to his client (in this case, one played by the great Matthew Maher), the sensitive material will go out to every news outlet of any note. Ash keeps his identity secret, using careful planning and a relay service normally used by hard-of-hearing folks where he can type something on a keyboard and an operator reads it to his client. He doesn’t work for anybody, and his motivations for doing this type of work are unclear for much of the film, making us wonder about him, his unique methods, and how he choses his clients.
Case in point: Sarah (Lily James) approaches him about a forced environmental report for an agricultural company she used to work for until being unceremoniously fired and later harassed about what she knows. When it becomes clear to Ash that Sarah’s life may be in danger from a privately hired group of investigators (led by Sam Worthington) working for the company, he doubles his efforts to not only avoid detection to protect himself but also keep tabs on Sarah’s activities, which draws him into her life and sparks an extra level of protective feelings toward her.
When they talk via the relay service, she starts asking him questions about his own life, and he’s hesitant to be forthcoming, but that doesn’t stop him from actually feeling something for her, which he knows is dangerous for many reasons. He demands she follow his instruction to the letter, and naturally in her anxiety-riddled state of mind, she makes mistakes that he must correct, putting his identity at risk with both her and her pursuers.
We also learn early on that Ash is an alcoholic and attends AA meeting, but never talks (true to form), even after being encouraged by his sponsor, Wash (Eisa Davis), who comes in clutch for him late in the film. Ahmed’s intensity and focus draws us deep into the world of Relay, and he’s absolutely the reason to see this film. But the filmmakers’ use of details about the characters’ worlds and personalities are essential in setting up this complicated story and having it make sense.
There are a couple of twists that I predicted just minutes before they happened, but I mostly just wanted to spend time with Ash and slowly piece him together. Often, Relay feels like a psychological thriller from the 1970s, with its tactile use of New York City. I also loved the way the Maher character continues contact with Ash and slowly makes it clear he wishes he’d gone whistleblower rather than turn over his documents. It’s all connected; it all mostly works; and it’s a great-looking movie, with a intelligent edge. Considering I hadn’t heard of this film before two or three weeks ago, this one got to me.
The film is now playing in theaters.
If you enjoyed this post, please consider supporting Third Coast Review’s arts and culture coverage by making a donation. Choose the amount that works best for you, and know it goes directly to support our writers and contributors.
