EIFF 2026: Mission
George MacKay is perfectly cast as a young man going through an existential crisis in Paul Wright's Mission. His full-bodied performance helps us overlook some of the film's narrative flaws
Paul Wright’s Mission follows a young man named Dylan (George MacKay) who decides he can no longer endure a life of waiting tables and waiting for something meaningful to happen. So he quits his job and vows that, if he can’t find a more enriching mode of existence in the next seven days, he’s going to kill himself. It’s a bold premise that taps directly into an angst that feels especially prevalent in a world of stagnant wages, shrinking job prospects and general enshittification. It’s also the perfect role for MacKay’s haunted expression and fearful intensity.
Dylan’s quest to feel alive leads him in a number of odd directions. He dances alone and steals a monkey from the zoo. He dances in a blue wig, then causes a nuisance on the bus. He almost fights a creep in a club and dances at a punk house party. It’s a very dance-forward brand of existentialism he’s pursuing. There’s not a clear sense of escalation to Dylan’s quest, though. His behaviour remains remarkably tame for much of the film, even as his solemn voiceover reminds us of the life-or-death stakes. But in some ways, that’s relatable too. It’s easy to say that you’re going to live like there’s no tomorrow (or no next week); much harder to actually do it. And one of the compelling things about Mission is that Dylan isn’t suddenly liberated by his newfound life philosophy and transformed into a Nietzschean superman.
And that awkward flow, combined with MacKay’s typically full-bodied performance, lends Mission a curious charm. Like the crowds of people watching on as Dylan plays with knives, we’re not sure where this is heading, and we might not love where it goes, but there’s no tearing our eyes away until we find out.
Mission had its world premiere at EIFF on 15 Aug, with additional screenings on 16, 17 & 18