Janet Fisk has been supporting her husband, Theodore, through his experience of breast cancer - but now that he is in remission, she realizes that their relationship has been empty for some... See full summary »

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Janet
Gresby Nash ...
Theodore
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Janet Fisk has been supporting her husband, Theodore, through his experience of breast cancer - but now that he is in remission, she realizes that their relationship has been empty for some time. Her secret discovery that she is pregnant is the final straw. More trapped than ever, the bathroom becomes her refuge, and her prison. As the pressure mounts, inexplicable things start to happen in the house - all leading back to the bath. Written by Anonymous

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Short | Drama | Horror | Mystery

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27 October 2011 (USA)  »

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A taster of great things to come hopefully.
14 September 2012 | by (United Kingdom) – See all my reviews

A fifteen minute short from UK production company "Brag Productions", this creepy little vignette made on, presumably, almost no budget and perhaps intended as something of a calling card for the talents involved, is nonetheless a highly effective psychological horror with impressively polished production values.

Wisely restricting proceedings to one act and one location, we are introduced to a married couple; the husband apparently recovering from a recent brush with cancer. But between his fragile post-treatment mental state and his wife's seemingly conflicted feelings, things start unravelling fast.

Get Well Soon makes very effective use of its claustrophobic domestic setting, with liberal use of abstract close-up framing and extreme shallow focus, giving a discombobulating sense of events slipping in and out of reality. Moreover it effortlessly conjures a creeping sense of unease with minimal dialogue and a brooding melancholic score. Particularly impressive is the restrained, but genuinely grotesque FX work, which has all the gloopy, sticky physicality of the best pre CGI horror movies, but with none of the fake rubberiness that usually accompanied them.

Straddling a line somewhere between psychological trauma and visceral horror, this is genuinely impressive work that recalls most strongly the look and feel (and preoccupations) of early David Cronenberg. Which is very good, bad company to be in.


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