It feels unusual for an opening gala of a film festival to be a subdued affair. But writer / director John Maclean’s Tornado definitely errs on the side of quiet … until it doesn’t. It’s a fascinatingly unusual blend of genres (namely the revenge thriller, the Western and the Samurai action film) that revels in the abilities of its cast whilst never rushing to get to its conclusion.
It’s 1790, somewhere in the British Isles, and Tornado (Kōki) performs in a Samurai puppet show with her father, Fujin (Takehiro Hira). Thanks to some missing plunder, she soon finds herself a target for the merciless Sugarman (Tim Roth) and his gang of bandits. A breathless cat and mouse chase ensues as Tornado must not only evade capture, but also come to some sort of reckoning as to who she is and what she is capable of.
Maclean makes use of the sepia toned landscape. Autumnal colours flood the screen and a relentless wind pulls at the costuming of each character as a storm brews overhead. You can feel the chill in the air as the bandits move from one location to the next. There’s slippery mud, thick and tufty grass and seemingly endless acres of forest. Yes, there are places to hide, but the landscape is difficult to navigate. You can hide and stalk but you can also fall or get stuck.
Jed Kurzel’s score is a joy to take in. He, too, blends genres, offering the audience everything from a distinct Western twang to luminous organ music. There’s percussive sounds that mimic footsteps or a twig cracking underfoot; there’s an emotionally charged strings motif that is laden with both sadness and determination. Whilst the action can sometimes be quiet, Kurzel’s score brings the bombast.
The performances are equally interesting. Tim Roth’s Sugar, full of swagger and menace, is treated to Western style, scrunched up eyes close ups as he embarks on his ruthless mission. Jack Lowden’s Little Sugar is a bandit riddled with daddy issues – desperate to prove that he can fill his father’s mud-soaked boots and ever-ready with his knife. Kōki is absolutely striking in the lead role. She is the quintessential ‘strong woman’ without ever having to declare herself so. She is menacing yet slight; determined yet vulnerable. It is her breathless pitch for freedom that opens the film – and you will not be able to take your eyes off her thereafter.
John Maclean is clearly a lover of Westerns, anime and Japanese revenge horrors. It shows – but not in the way you might expect. There is bloodshed here – pillar box red in all its Peckinpah glory – but that does not make up the bulk of the film. The violence is usually quick, albeit brutal. Instead, he toys with the audience as Sugar does with Tornado. There’s a cruelty in the prolonged agony for all involved.
And yet, there are moments of humour and knowing nods to the audience. One particular bandit – about to be dispatched by the mighty Tornado – falls on his accordion, playing himself a sad little death note. Fujin cannot understand why his audience root for the ‘bad’ Samurai in his puppet show. “Because good is boring,” Tornado replies, almost unblinking.
Tornado feels like an unusual film because it’s almost uncertain where it belongs in terms of genre and style. But it’s worth seeking out for that very reason – it’s so different to most other films you could choose to see in any given week. It’s definitely one that will linger with you for days after you’ve watched it.
With an impressive cast, a striking score and just enough blood to keep you wincing, the film gets the Glasgow Film Festival off to a great start.
Tornado was the Opening Gala for the 2025 Glasgow Film Festival and will be in UK cinemas on May 23. Find out more here.
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