WATCH THE TRAILER HERE
First, the Recap:
The ongoing quest for continuance. It might be considered human nature or simply the fear of the unknown that prompts us to take potentially radical steps to stay alive, desiring to see beyond our years allotted and cheat the inevitable. But, in such a journey, there are always the inherent risks that will beg the question–is it actually worth it? The year is 2289, and all that remains of our beloved Earth is now constantly scorched by sun flares, leaving humanity’s factions either living the life of safety and entitlement in the domed city of Old Centauri or otherwise a part of the nomadic groups struggling to find their way in the hostile outside environment. When an unanticipated emergency strikes a nomad named Kiirke’s (Laetitia Leon) family, it’s up to her and her little brother Jute (Murtaza Ali) to seek the aid they require. But, in doing so, will it end up becoming a harsh lesson in the new world’s unforgiving, manipulative, and exploitive endgame?
Next, my Mind:
Imagine, in grander principal, the worlds created by such Hollywood sci-fi juggernauts as “The Hunger Games”, “The Island”, and “Elysium” but then infuse it with a much more grounded, realistic yet no less impactful approach to what class-based, post-apocalyptic society might be like when those that have misuse and exploit those that don’t for their own supposedly “justifiable” purposes and you are scratching the surface of the foundational thematic intent visualized through this 15-minute short film effort from writer/director/producer/cinematographer/editor Sarah Phillips, producer/actress Laetitia Leon, and co-producers Nicholas Batchelder and Elizabeth Izzo. Presented almost as a proof of concept for what could easily be expanded into a feature-length effort, the film stands out in its more believable sci-fi sensibilities, neatly packaged run-time, impressively shot execution, evocative music score, and cleanly staged, highly effective CGI.
As with so much of indie cinema, the effort does not hinge on overwrought or overt domination of visual effects to maintain the viewer’s interest, but rather relies wonderfully and purposefully on imagery to enhance the greater character-driven narrative that sees the world once more having been devastated by natural disaster and creating, ultimately, two classes of people who choose to live (or desperately attempt to) on the planet while others have since fled long ago to the off-world colony of New Centauri. Yet, it’s made evident that only those who have the true means (aka: the rich, popular, and/or powerful) to exist in safety and luxury do so while the less fortunate are left in the outside husk of Earth’s burnt surface to eke out life and only pray for experiencing the next day in one piece, if at all.
It’s that examination of rich vs. poor, (perceived) weak vs. strong, elite vs. (again, perceived) dregs that makes the story resonate on the all-too-relatable level it does, for even in our literal contemporary world, do we not see this played out in a myriad of ways? Also, the story plays upon the notions of desperation, facing challenges with a stout belief that triumph can be attained, and the willingness to sacrifice for those we love while also catering to the innate fears of failing or being used by those in elevated positions for their own purposes while they traffic in false/veiled hope to attract their given quarry. Additionally, there is beautifully clever utilization of the cornerstone elements we hear about with any kind of medicinal treatment being advertised as “the answer”, the architects having to disclose the potential side-effects involved with the requisite “catches” promises given actually carry, all delivered with that “knowing”, deceptively cheerful smile. And all in the name of that which so many believe we should attain, which becomes the other integral yet underlying concept here, no less freaky in its possibilities here as has been seen in other similar efforts.
Here, it all leads up to a decidedly potent cliff-hanger of a finale that, as hinted above, really does cry out for further exploration, which this critic very much wishes and hopes to see come about down the road should the filmmaker choose to do so. Even with this type of general idea having been covered to quite an extent over the years in filmdom, I still more appreciate the atmosphere of freshness that this project provides, and hence again why seeing it displayed in this manner is pleasing and deserves further treatment. Likewise, as also considered above in brief, the music accompanying the action is tangibly apropos, flowing seamlessly with the smoothly shot visuals that, all together, engender the brisk but fully rendered, self-contained narrative that’s buoyed with the necessary character development to draw us into the barren reality portrayed and leave you wanting more.
Leon provides a wholly plausible, convincing performance in her role as Kiirke, a young woman striving with every fiber of her being to be the mainstay of her nomadic family’s very existence in a now-ruptured actuality where any given moment could be one’s last. Steadfast in her goals to this end, an unanticipated incident causes her to have to make a difficult, dangerous, but essential choice in order to protect a member of her kin. Venturing to Old Centauri to seek the answers, both she and her brother happen upon a last resort opportunity that turns into much more than they wished for, with the outcome of it all yet to be revealed. It’s one of those characters that you cannot help but root for on the level of events being portrayed, the reluctant but resolute “hero” (think Katniss Everdeen or Lincoln Six Echo from the earlier movie examples), and Leon perfectly enacts this with a collected boldness that reverberates with quiet and blatant intensity.
Ali also shines here as Kiirke’s little brother Jute, an equally stout-hearted boy who seems to have a slight habit of not always doing what he’s told, as becomes evident when making a surprising appearance alongside Kiirke on her adventure to Old Centauri. It’s both a comical and touching character to blend into the story, and Ali plays it with all the bravado of youth, but controlled in a mature way that fits the character’s demeanor. Supporting turns arrive from La’Netia D. Taylor, Terrie Dreyfus, Roberta Moses, Maggie May Stabile, Liz Izzo, Terence Pennywell, Brandon Sterrett, Kayla van de Bunt, Nicholas Batchelder, Elliott Baker, Matt Williams, Mike Scarlett, J.V. Bernard, Xina Morrison West, Cameron Campbell, and K. Steele. In total, “Supplements” firmly flexes its science fiction-based muscles while still delivering a smartly conceived, character-centric dramatic effort that speaks so emphatically to us about the dangers of potential futures where the ramifications of decisions in the now could be setting us up for even more haunting choices ahead, where we might actually be asking ourselves–“at what price is “forever”?
As always, this is all for your consideration and comment. Until next time, thank you for reading!
