HollyShorts Special 1 Still Life Review
“Therapy? She doesn’t believe in talking about her emotions, she prefers to bottle them up. And drink them.” – Jess
I was recently offered an intriguing opportunity that I couldn’t pass up. I was approached to apply for full press accreditation to the prestigious HollyShorts Film Festival held in the TCM Chinese Theater on Hollywood Blvd in Los Angeles between Aug 13 -23. I could either attend in person, or virtually. Sadly, my funds didn’t extend to a trip to Los Angeles this time. (You can find out all about the festival at this link. I’ll wait.)
Since then, I’ve been receiving screener links so I can watch the short films that I need to see and review. You’ll notice that some of the subject matter I’m covering is pretty far away from my usual comfort zone. This is a deliberate effort on my part to stretch a little.
What I’m seeing is pretty awesome. The level of sheer raw talent on display is breathtaking and reassures me that the film industry is in great hands as the next generation takes their places in front of and behind the camera.
Now, these films are being reviewed ahead of their HollyShorts screenings, with the blessing of the P.R. companies involved, so enjoy…
Still Life is described as a darkly comic, deeply personal short film exploring life in the aftermath of stillbirth. The eleven-minute film is based upon the experiences of writer Kate Radcliffe following the loss of her son. The subject matter is personal to me because my wife and I went through a similar trauma many years ago. So, I was curious to see how this would work – or if it COULD even work as “darkly comic.” I didn’t understand.
The film follows Jess (Olivia Lovibond) and Max (Jacob Anderson) a couple who are trying to pick up the pieces after the loss of their baby. They’re trying to navigate their way through the emotional trauma that ensues. And here’s where it gets realistic to the point of being raw. It seems that everything around them is conspiring to remind them, or more specifically Jess, who has been raised by her mother not to discuss her emotions, of what she has lost. From a yoga instructor telling Jess’s class to assume the child position, to birthday cards aimed at mothers in a supermarket and seeing other customers’ children, Olivia Lovibond perfectly portrays the almost physical gut punch each reminder delivers as she simmers towards her emotional limit. As I mentioned, my wife and I have been there, and these scenes hit uncomfortably close to home.
Jess reaches her breaking point when she and Max bump into another couple, Hugo (Alex Baht) and Tessa (Phoebe Pryce) an upmarket couple with their own idea of well-meaning but oblivious helpfulness.
While watching this, I have to admit I didn’t get a sense of any comedic angle, until I realised that it’s all in the constant reminders. Everywhere we go, practically everything is geared toward children, preparing for children, celebrating parenthood, leaving those who’ve suffered an infant loss feeling inadequate, somehow a failure. And it’s so overwhelming, I remember the comical irony of it all that I eventually felt.
Ultimately, Still Life tells a realistically brutal and uncomfortable story from the clinically coldly matter-of-fact health check early in the pregnancy to Jess’s breakdown. This is exactly how it is.
Rob Rating = 8