The Overlooked Dystopia: Jacob Lofland, Patrick Schwarzenegger, and the Quiet Power of 'Go North'
There’s something oddly captivating about a film that refuses to scream for attention. Go North, a 2017 post-apocalyptic drama starring Jacob Lofland and Patrick Schwarzenegger, is one such movie. It’s the kind of film that slips through the cracks of mainstream cinema, yet lingers in your mind long after the credits roll. Personally, I think what makes Go North so intriguing isn’t its plot—though it’s solid—but its refusal to conform to the tropes of YA dystopian fiction. It’s not flashy, it’s not loud, and it doesn’t try to be. And in a genre saturated with explosive finales and angsty protagonists, that’s a bold choice.
A Dystopia Without the Glitz
One thing that immediately stands out is how Go North approaches its post-apocalyptic world. Unlike The Hunger Games or Divergent, which often use dystopia as a backdrop for teen rebellion, this film feels more like a character study set in a broken world. The adults are gone, and the remaining kids are left to navigate a society ruled by jocks and bullies. It’s a premise that could easily devolve into cliché, but director Matt Ogens avoids that trap. What many people don’t realize is that Ogens, a documentary filmmaker by trade, brings a sense of realism to the genre. The film was shot in Detroit, and the city’s abandoned spaces become a character in their own right. This isn’t just a dystopian world—it’s a lived-in one.
From my perspective, this grounding in reality is what sets Go North apart. It’s not interested in making its dystopia look cool or romanticizing teen angst. Instead, it asks: What happens when the rules of society collapse, and all you have left is your humanity? It’s a quieter, more introspective take on the genre, and that’s both its strength and its downfall. Critics like Nick Schager of the Village Voice found it slow, but I’d argue that’s the point. This isn’t a film that’s meant to thrill—it’s meant to reflect.
Jacob Lofland’s Subdued Brilliance
Jacob Lofland’s performance as Josh is the heart of the film. If you take a step back and think about it, Lofland has always been an actor who thrives in understated roles. From his debut in Mud to his recent turn as Cooper Norris in Landman, he’s never been one to chew the scenery. In Go North, he brings that same quiet intensity to Josh, a character who’s both vulnerable and resilient. What this really suggests is that Lofland has a knack for finding the humanity in flawed, ordinary characters.
What’s particularly fascinating is how Lofland’s career trajectory mirrors Josh’s journey in the film. Both are navigating uncertain worlds, trying to find their place. Lofland has been working steadily since 2012, but Go North feels like a missed opportunity for him to break through. It’s a shame, because his performance here is one of his best. Personally, I think he’s an actor who deserves more recognition, and Go North is a testament to his talent.
Patrick Schwarzenegger’s Pre-White Lotus Villainy
Then there’s Patrick Schwarzenegger, who plays Caleb, the film’s antagonist. What makes this particularly fascinating is that Go North came years before his breakout role as Saxon Ratliff in The White Lotus. Here, he’s not the suave, entitled businessman—he’s a bully, plain and simple. But there’s a nuance to his performance that hints at the complexity he’d later bring to The White Lotus.
In my opinion, Caleb is a more interesting villain because he’s not purely evil. He’s a product of his environment, a kid who’s been forced into a role he doesn’t fully understand. This raises a deeper question: Are villains born, or are they made? Go North doesn’t provide easy answers, and that’s part of its appeal.
The Film’s Legacy (or Lack Thereof)
Go North flew under the radar when it was released, and that’s a shame. It’s not a perfect film—its pacing can be sluggish, and its ending feels a bit abrupt. But it’s a thoughtful, character-driven take on a genre that often prioritizes spectacle over substance. A detail that I find especially interesting is how the film draws inspiration from Lord of the Flies, yet manages to feel entirely its own.
If you’re a fan of Lofland or Schwarzenegger, or if you’re tired of the same old YA dystopia, Go North is worth your time. It’s a reminder that not every post-apocalyptic story needs to be epic. Sometimes, the most compelling stories are the ones that focus on the small, human moments in a broken world.
Final Thoughts
As I reflect on Go North, I’m struck by how much it has to say about resilience, community, and the fragility of civilization. It’s a film that doesn’t demand your attention, but rewards it if you give it. In a world where blockbuster dystopias dominate the conversation, Go North is a quiet rebel—a film that dares to be different. And in that difference, it finds its power.
