WATCH THE TRAILER HERE
First, the Recap:
The evidence of aging. As we grasp onto this mortal coil day by day, one thing we so often wrestle with is that each moment that passes contributes to a body and mind being slowly but assuredly weaned away by the ravages of our most elusive yet powerful foe–time. The effects of this ongoing “attack” can manifest, be revealed, in such seemingly endless manner, potentially changing the very facets of how we perceive our impermanence–and reality. There’s a quiet, yet purposeful serenity experienced in the kitchen of an old house by Agnes (JoAnn Nordstrom), an elderly but happy woman, as she puts the final touches on a small but tasty sweet treat, topped with a single candle.
Serving it to her beloved husband of so many decades, Wilfred (Peter Higginson), it sets off a series of rather unsettled musings by him, for he is more than preoccupied with a serious dilemma which has taken over daily life for the two–an unseen presence in their home, targeting Agnes. Wilfred makes every attempt to research and provide proof that this unseen entity has made efforts to infiltrate the couple’s long-standing relationship, something of course he has zero tolerance for and the same intense desire to see come to an end. But, the more he struggles to see his theory substantiated, Agnes only grows more distant and increasingly, though mildly, agitated, still appreciative of the concern. Circumstances being what they are, the outcome of it all could be just as eerie as the specter Wilfred pursues.
Next, my Mind:
A highly unique, excellently executed, deeply affecting look into the effects of aging, the ghosts we battle within ourselves, the depth of human connection, and the present actuality of loss and its influence on our outlook on life in its wake, this 12-minute indie short film effort from writer/director/producer/editor Kalainithan Kalaichelvan holds in it all the elements that make the ongoing notion of how much can be said in such an abbreviated timeframe that much more potent and truthful. The narrative carries itself with enough engaging material to keep you focused as a viewer on every single moment that is unfolding before your eyes, making every level of assessment and determination to find out exactly what is transpiring as the smartly written dialogue and beautifully presented visual presence of the film mold its tale with precise intent and calculated reverberations of actions shown.
This all culminates into one definitively impactful finale that will just leave you in shock and awe, given the events that have come before it and the understandings you’ve been striving to achieve about one elderly couple’s journey in love, life, and growing old together. It’s touching yet heart-rending, stirring yet unyielding, twisting our own perceptions of what reality is and allowing the ending to wash over and through us with emotional, compelling weight. The additional strengths of the film’s overall layout is its simplicity in settings, the smoothness of how the camera embraces the characters while making specific moments of importance to the story stand out with effective ease, and a perfectly emotive orchestral music score that completely befits said characters and their environment. This critic has always been fascinated with how deftly a fully immersive character-centric drama can be wrapped up in such short order, but Kalaichelvan does it with purposeful aplomb.
Outside of a film’s production qualities, of course, the magic of a well-crafted narrative is sometimes only as strong as the actors bringing the elements together in a cohesive and attention-getting manner, and I felt this was most certainly the case here, beginning with Higginson as Wilfred, an elderly man who still appears to have it together, even if being slightly cantankerous, at least to a certain extent. The celebration of another birthday or anniversary, perhaps too much a reminder of time past or just how much of it has come and gone, his sole attention is maintained upon watching his wife be swept away by an unseen force he’s determined to expose. Doggedly accepting the fact that he and he alone shall always be Agnes’ one true, forever love, and not wanting to share that from the start much less now, Wilfred makes it clear to her and himself that he won’t stop until all is right. Yet, in adapting this attitude and forceful demeanor, the obsessiveness of the endeavor could actually prove to be too much for his visibly addled mind to accept or handle, and how rigorously he chases his ghost may or may not prove to be futile–or worse–should he not stop.
Higginson’s performance as Wilfred provides points of endearing tenderness, understated intensity, and a quietly building ominousness that so deftly comes to a head during the film’s final act, brilliantly played by veteran actor. Not at all to be missed herself here, Nordstrom delivers a totally different yet no less poignant performance in her role as Agnes, the absolute love of Wilfred’s heart and very being for what we gather has been a majority of their lives. The dutiful manner in which she fixes his small sweet treat at the film’s start showcases a marvelously quaint joy she sustains that soon belies what her concerned husband fusses about as events move forward in thinking her behavior isn’t actually directed at him at all, but towards the hidden, ghostly presence that seems to make her even more calm and happy. While acknowledging the escalating uneasiness and worriment Wilfred exudes, Agnes insists all is well and soon shows signs of weariness at his pestering, though never outwardly pushes him away. What is truly going through her mind and being carried out in her associated conduct is deliberately vague yet cleverly evident, leaving the viewer guessing at what is or is about to be divulged, and Nordstrom brings all of this to life with deftly portrayed grace and believability.
In total, “Petit Four” is a first-class short film drama that redefines how you might ponder the entire concept of what it is to age alongside the one that you love with such overtly meaningful commitment that then unexpectedly turns strangely distant and, in this case, uncanny in nature. As the story is indeed fiction, we can find some comfort in the fact the events didn’t actually happen. But, then again, when living this often enigmatic, unpredictable existence–perhaps they have?
As always, this is all for your consideration and comment. Until next time, thank you for reading!
