I’ll admit that while I was aware of Markiplier (Mark Fischbach) and his massive YouTube following, I had never watched him. When I found out he had made a horror movie (thank you, children) and a purely independent movie, I was intrigued. Iron Lung, flaws and all, is a solid film and a great accomplishment, not just for Fischbach, but for independent filmmakers everywhere. It was a huge risk for many reasons but it paid off, in all its blood-soaked, claustrophobia-inducing glory.
Based on David Szymanski’s 2022 video game of the same name, Iron Lung wastes little time in setting the stage. An event called “The Quiet Rapture” has put the human race on the edge of extinction. Planets and star systems have vanished with no explanation, so every little ounce of hope has to be explored.
A convict named Simon (Fischbach) has the misfortune of piloting a submarine in an ocean of blood on a desolate moon to search for clues on what has happened. Things obviously go wrong, and the film becomes a struggle for Simon to survive, both physically and mentally, as he fights against forces both real and possibly imagined.
We are essentially left watching Simon fight his inner demons for two hours, whatever is hunting him on this ocean floor, and the people who sent him down here. As a convict, he is doing this to regain some semblance of freedom, something promised to him by Ava (Caroline Kaplan), who we briefly see on one of Simon’s ascents from the blood ocean, but for the most part, we only listen to her on the intercom. The deep mistrust of the powers that be to keep their word is real, and that only adds to the paranoia that Simon begins to feel. The film has a nice setup and sets the tone for what will become a battle that looks like he’ll never win.
Mark Fischback stars, directs, executive produces, edits, and finances this film, which is a long-winded way of saying it will sink or swim with him. One of the first things that surprised me was his acting. There were many stretches through the movie where I simply forgot who he was, and I was invested in his struggle inside this submarine called the Iron Lung.
He does an admirable job of a man fighting for his sanity and life while trapped in a vehicle surrounded by blood and a lot of unknowns. You feel for his character and begin rooting for him, hoping that somehow he will triumph over all the adversity and survive.
The director of photography, Philp Roy, does a great job setting the mood with a vast collection of different views and angles, long and short shots and close-ups of Simon in various stages of the film. There is a real feel of tension and paranoia as the claustrophobia and gravity of the situation begin to take their toll on Simon.
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As the director, Fischback makes some great creative choices, including the only way to see outside though the blood is a camera that uses radiation and only works in very short bursts. It helps the budget and the narrative, and keeps the audience guessing on what will happen next.
However, the movie does feel like one of those films that was originally a short film, and then an attempt was made to transition it into a full-length feature. With a runtime of two hours, there are some instances where scenes go on too long, and at times the film struggles with whether it’s going the campy route or something more serious, making some of the dialogue feel cheesy and over the top. Some instances can be forgiven, as Simon is alone, and he only has himself to keep his sanity intact.
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You really can’t discuss this film without talking about how successful it is as a small, independent project. After making the film with a budget of a few million dollars and no professional marketing and distribution, Iron Lung has grossed $30 million worldwide. Not only is this a huge financial success for Fischback and those involved, but a great win for the independent filmmakers, showing them that there is the possibility of having success without being hitched to the Hollywood star.
Iron Lung is a good movie, and Fischback took a big swing and is now being rewarded. Let’s hope it helps breathe life into the independent film community and show that success can be had without a major studio, and creativity does not to be stifled by the big Hollywood machine.
