Prison dramas often highlight the fearless leaders, untouchable tough guys, or unexpected heroes who rise above brutal conditions. But in Cal McMau’s directorial debut Wasteman, the spotlight shifts to the forgotten type of inmate: the man who is easily broken, overlooked, and used by others.
At the center is Taylor (David Jonsson), a soft-spoken prisoner burdened by regret and desperate to reconnect with his young son. His calls to the child’s mother are met with rejection, as she insists their son “doesn’t know him.” The only thing that numbs his despair is opioid use, part of a thriving drug trade within the British prison system.
When Taylor is unexpectedly offered early parole due to overcrowding, he sees a glimmer of hope — but only if he remains completely trouble-free. That becomes nearly impossible when he’s assigned a new cellmate, Dee (Tom Blyth), an aggressive dealer eager to exploit Taylor’s vulnerability. Their toxic relationship highlights how prison violence and drugs strip men of their identities, forcing them into brutal survival roles they never chose.
Visually, the film alternates between Lorenzo Levrini’s carefully lit, shadow-heavy cinematography that mirrors Taylor’s loneliness, and vertical phone footage of prison fights. However, by blending traditional camerawork with found footage without fully committing to either, Wasteman weakens its storytelling impact. Fight sequences lean heavily on shaky camerawork, often obscuring the very violence the film seeks to critique.
Despite its flaws, David Jonsson delivers a remarkable performance, imbuing Taylor with innocence and a quiet resilience that refuses to be erased by years of incarceration. His nuanced portrayal contrasts sharply with Blyth’s explosive aggression, creating a compelling dynamic that elevates the material. Still, critics argue that Jonsson’s brilliance deserved a stronger film to showcase the depth of his character.
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Premiering at the 2025 Toronto International Film Festival, Wasteman has yet to secure U.S. distribution. While its message about the senseless brutality of prison life is clear, the film’s inconsistent style and reliance on chaos over clarity hold it back.
Grade: C+
