Inland is a modern fairy tale about an unnamed young man (Rory Alexander) grappling with identity issues, loss and despair after his mother’s mysterious disappearance a decade earlier.

When we first see Rory, he returns from a stint in a psychiatric unit. A mechanic called Dunleavy (Mark Rylance), who acts as a father figure, tries to help Rory integrate back into society. We find snippets of what happened to the broken man via his memories.

Inland is set in Gloucester, in the southwest of England. It’s the debut effort from 22-year-old German filmmaker Fridtjof Ryder. He shot the film in 2020.

The director is present at the BFI London Film Festival, where the film premiered. He came along with actors Rory Alexander and two-time Golden Globe-nominated Mark Rylance. The film is followed by Q and A.

Ryder talks about the film’s origin story. “It came together in fragments. At a certain point in time, and having a folder of notes on my phone that builds and builds and builds, you realize, ‘It feels like there’s something here.’ At a certain point, it starts asking to be something more than a couple of scenes, ideas, and a walk in the forest that you had once in Gloucester,” he says. “I also read Underland (by Robert MacFarlane), a wild book about a father, a lost child, and a mother. That is the dynamic of the film, the heartbeat of the film.”

The look and feel of Inland are magical, with large forest scenes enhanced by ominous and atmospheric music. “Gloucester is rimmed by a load of forests, [a vision] which takes me back to being a child playing Robin Hood with woodland all around. For me, it’s a place where you can feel free. I was also interested in the Arthurian legend and folk tales, which all came together.”

One of the world’s most sought-after actors, Sir Mark Rylance, recalls how he came on board and, also, about the experience of working with a first-time director. “Well, the screenplay draws me to most things, if it resonates with me. What Fridtjof was saying about the forest on the edge of town and walking in the forest…” Rylance tries to find the words, then continues. “I’ve always been drawn to the bit of scrap land or wilderness and forest. I’ve always been drawn to those places and into all the myths and fairy tales I grew up loving. They usually involve a journey into the wilderness, darkness. A dappled light, rather than the rational light of open ground.”

The actor adds: “I also loved the theme of a young mythological searcher that Rory plays, looking for a lost mother. I connected with that. I connected with my feelings about ecology. So, those things really drew me in.” He pauses. ‘Also, it was in the early days of the pandemic, a few months in. I had no work. I thought, ‘Why not go out and hang out with these guys?’ It was fantastic. I hadn’t made a film with a very young filmmaker in a while,” he said. ‘As well as filming the scenes, we’d sit around a big fire, 25 of us. Everyone in their 20s. Had the most wonderful discussions and debates. Fridtjof’s ambition is high. He’s not in it to make a living. He’s in it to do something remarkable as the filmmakers that he loves have done.”

Rory Alexander (Pistol, Alex Rider) nods. “I learned more on this project than on everything I’ve done since. Before we started I was having a bit of an existential crisis and said to Fridtjof, ‘Look, I don’t know what the hell I’m doing.’ He said, in his way: ‘Yeah, nor do I. But you’re not the only person telling this story. I know you’re probably sitting in your bedroom, thinking ‘I’m the lead in a film!’ But I’m doing a lot of work. Ravi, our wonderful director of photography, is doing a lot of work. The lights are doing work. The music is going to do work. The edit is doing work. And, of course, Mark is doing a lot of work.’ There was such an understanding from him, which came through,” he explains. “I haven’t worked with enough people yet but I assume the way he works is very special.”

Ryder, the director, adds candidly: “To a certain extent, there’s an element of being shit-scared. There’s another element of being excited.”

Rylance, who is an accomplished playwright and theater director, curates a glorious career that includes an Academy Award, three BAFTAs, two Laurence Olivier awards, and three Tony Awards. He was impressed by this first-time director: “I definitely want to work with Fridtjof again. There are times when a director absolutely needs to make decisions and lead. But he wasn’t leading with forcefulness. He was leading with light and inspiration. And love. Working with Fridtjof was a good reminder of the beauty of collaboration.”