Set Research Film No. 8: The Fly
The Fly; dir. Olly Williams, 2014
The Fly was one of my favourite pieces of the set texts no because it was particularly clever or insightful, but because it was simply, darkly funny. There's something incredibly endearing about a film that knows not to take itself seriously, especially given the constriction in length of a short film format. Here we have a film about a getaway driver who cracks under the pressure of anticipation to explosive and dramatic effect - that's it; anything more 'profound' and it would have been insufferably unaware, incomplete.
Notable here is the fact that as compared to many of the other texts we have set, the performance is both prevalent and very good. Now to be fair, the direction to 'just go mental' is hardly revolutionary, but nonetheless the role of an unhinged, self-destructive psychopath is aptly fulfilled. Some quick, tension-building editing is similarly employed to exaggerated effect, alongside some interesting cinematography as to not let things visually stagnate. Technically, Williams has made something incredibly complete and succinct; where things can be criticised is that it goes no further than that.
'Dark comedy', as I've mentioned before, is one of the genres that inspires me the most. The Fly, as such, suits such ambitions well; the elements of simple but interesting camerawork, as well as a combination of solid performative and editorial comedic timings, should be engaged with here. Alongside a premise that doesn't stretch the strict timings and limitations in resources that I have, This film will certainly be of great use to my development going forward.
The Fly was one of my favourite pieces of the set texts no because it was particularly clever or insightful, but because it was simply, darkly funny. There's something incredibly endearing about a film that knows not to take itself seriously, especially given the constriction in length of a short film format. Here we have a film about a getaway driver who cracks under the pressure of anticipation to explosive and dramatic effect - that's it; anything more 'profound' and it would have been insufferably unaware, incomplete.
Notable here is the fact that as compared to many of the other texts we have set, the performance is both prevalent and very good. Now to be fair, the direction to 'just go mental' is hardly revolutionary, but nonetheless the role of an unhinged, self-destructive psychopath is aptly fulfilled. Some quick, tension-building editing is similarly employed to exaggerated effect, alongside some interesting cinematography as to not let things visually stagnate. Technically, Williams has made something incredibly complete and succinct; where things can be criticised is that it goes no further than that.
'Dark comedy', as I've mentioned before, is one of the genres that inspires me the most. The Fly, as such, suits such ambitions well; the elements of simple but interesting camerawork, as well as a combination of solid performative and editorial comedic timings, should be engaged with here. Alongside a premise that doesn't stretch the strict timings and limitations in resources that I have, This film will certainly be of great use to my development going forward.
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