LOS ANGELES — In the Gospel of Mark, Jesus poses a thought-provoking question to his followers: “What good is it for someone to gain the whole world, yet forfeit their soul?” This question finds unexpected resonance in Nicolas Cage’s character in the film “The Surfer.”
The protagonist in this modern tale seeks to buy his late father’s house, a beautiful property perched on a cliff along Australia’s coast, hoping it holds the answers to his growing troubles. Cage’s character navigates this contemporary landscape — arriving in a Lexus, handling transactions with mobile payments, and struggling to gather the $1.7 million needed for the house. These current settings are sharply juxtaposed against timeless themes of tribalism, revenge, and family trauma explored in director Lorcan Finnegan’s intense thriller.
Scheduled for release by Roadside Attractions on Friday, the film intertwines surrealism with reality. In a conversation prior to the release, Cage and Finnegan discussed thematic elements such as the nature of violence in cinema and an intriguing homage to Humphrey Bogart which involves Cage’s character using a rat in a memorable scene.
Cage has previously shared his thoughts on acting, dismissing the notion that Hollywood’s preference for naturalism is the sole measure of good acting. “I felt a need not to be trapped or stagnated in the world of art,” he mentioned, drawing inspiration from surrealistic artists like Francis Bacon. Cage believes that such creativity can be applied to acting, provided it aligns with the director’s vision and enhances the narrative instead of detracting from it. He elaborated that a character experiencing a breakdown might be presented as spontaneously consuming a rat and forcing it on another character as a justified action within that context. He acknowledges the merit of ’70s naturalism, noting its influence on him as well.
The film also delves into masculinity and tribalism. Finnegan explained that although it touches on elements of masculinity in crisis, this serves the narrative as the protagonist, who lost his father early, searches for belonging and believes reclaiming his father’s house can heal his relational issues. This mindset is challenged by a countercharacter, played by Julian McMahon, who represents alluring but questionable masculine ideals. “A lot of those figures in the world of toxic masculinity are like that,” Finnegan noted. They appear charming and cultured, often misleading those who feel adrift, though Finnegan did not intend this to dominate the film’s narrative.
For all the dramatic elements, Cage acknowledges the cinematic appeal of violence, which forms a crucial part of storytelling. He insists while he personally avoids violence, its progression in film often captivates the audience through compelling drama, constituting one of cinema’s core aspects.
Both director and actor found unexpected humor during filming. Finnegan recalled discovering comedic moments, particularly when Cage decided to keep a rat as a prop. Inspired by a film binge that included Billy Wilder’s “Sabrina,” where Humphrey Bogart amusingly shoves an olive into someone’s mouth, Cage found the scenario humorously adaptable. Bringing this quirky inspiration to “The Surfer,” Cage recounted, “Eat the rat!” as a punk twist on Wilder’s classic film, showcasing an unconventional yet entertaining nod to cinematic history.