That's Not Us is an intimate portrait of three twenty-something couples as they travel to a beach house to enjoy the last days of summer. But what should be a fun and carefree weekend ... See full summary »
In the latest stunner by the team behind the Academy Award-winning short Curfew, a married couple's bubble of suburban normality is punctured when they find a surprise inside their toddler's teddy bear.
Chris and RJ reunite five years after coming out to their families and their church as gay men, where the factors that led to their separation are revealed as they mourn the death of their mutual friend Rodney.
20-year-old Will is on his stag-do when, handcuffed to a lamppost, he is rescued by Michael. The attraction between the two men is immediate. But back at Michael's apartment, Will is sent into a tailspin of shame and confusion.
A young father, takes a late night journey through the streets of New York City with his daughter to flee the toxic environment she lives in. Afraid to make a meaningful connection, he is ... See full summary »
A simple and effective delivery with a strong message which is not overly pushed
A man perhaps to kill himself in a motel room, but struggles to do it with the racket of loud music coming from the room next door.
There is a very tidy simplicity to this film, but it bundles it up so well that it makes the finale work better than it may have otherwise done. We are very much with Mr. Fennimore, thanks in no small part to him being played by the very familiar Richard Kind (you may not know his name but you'll know his face instantly). By recognizing him as an actor, and by engaging with his very good performance, we are very much with him wherever this goes. This is the point of the film though, is that we cannot see beyond him any more than he can see beyond his own situation. This is partly understandable perhaps given the low, but at the same time the message is clear and it is delivered in a very restrained and effective final shot.
Kind and Rysdahl (also the writer) work well together, although Kind is never not the focal point, it is a two-hander which is more significant as it goes on. It has a nicely patience and dark tone to it throughout, and the dialogue is deliberately restrained and limited to good effect. Seems very compact and contained as a film, but is better for it.
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