WATCH THE TRAILER BELOW:
First, the Recap:
Genuine practicality vs. rash impulsiveness. The choices we make every day, most often or at best, won’t necessarily involve any extremes being faced. When we see before us that which we desire to unfold, even if just being in pursuit of it, do we have the true capacity to make the most effective, logical decision when only one option is actually right? Or, do we find that what we selfishly justify blinds us to this reality?
In a post-apocalyptic Pacific Northwest, Leah (Lydia Kelly) is both on the run and now encountering this scenario. Along with friends and couple Ayden (Benjamin Rigby) and Kate (Cecily Elliott), their push to survive while currently attempting to avoid an impending threat to their well-being is overshadowed in Leah’s mind due to her romantic affinity towards Kate. Seemingly innocent but ardently burning within her, Leah tries to guide events in her favor, with possible results that could end up shattering them all.
Next, my Mind:
I constantly state that one of the MANY factors which, honestly, cements for me the ongoing realization that independent cinema represents a still growing and HIGHLY necessary new frontier, is originality from those creating it. The ability to take that which has been done before and turn it into something fresh enough to engage an audience while immersing them in familiar territory but in a different manner is paramount currently. Personally, this critic feels that is what is accomplished with uncomplicated visual finesse, solid execution, and grounded storytelling via the 15-minute short film from writer/director/producer Scott Talbot and producer David Brame plus associate producers Devon Dunlap and Ryan Noufer. Taking the overall approach to an oft-explored genre in a similar way as another recent feature-length film “The Forest (BOS)” (reviewed here), it’s a wholly accessible, relatable, and utterly human tale that warrants attention.
The prototypical post-apocalyptic barren wastelands filled with mutants, monsters, and just plain insanity gets replaced by the vibrantly lush verdancy of the Pacific Northwest where the narrative follows, and primarily focuses on, a woman’s hidden love for one of her compatriots that could either blossom or remain unrequited even as they struggle to survive while maintaining distance from an outward threat brought about by actions taken by one of the trio. Now, one might initially still try to ascertain what sounds THAT riveting about this concept on the surface. But, THAT is precisely where the magic actually begins to purposefully be revealed, as the unfolding circumstances getting depicted really put a wicked twist on what COULD have been mundane, instead building up to a specific, really jarring moment of choice, suddenly eliciting a more thriller-esque atmosphere, and ultimately turning into a morality tale and study in consequences.
Additionally, it encompasses perspectives on our human nature, the lengths we might go to out of perceived “good intentions”, and just how overtly insensitive to others’ well-being we might end up becoming when obsessed with a goal meant only to benefit ourselves. The film’s means to communicate this “no matter the cost” mentalities and shifting from something innocent to something so blatantly unnerving is quite cleverly constructed, never feeling forced, but rather eerily conceivable in spite of the drastic nature of events we witness. This is all conveyed with a well-paced flow to the proceedings, and it certainly makes you assess your own lingering sense of “what would I do…”, and I believe that is another aspect of this film that makes it viable and compelling, because it is SO easy to say “Oh! I would NEVER…” but must at least entertain the POTENTIAL for what we ARE capable of, whether you wish to admit it or not. Not saying we WOULD, but again, COULD.
Hence, the film’s thematic ventures into the pressures to survive, the basic needs we encounter and so much wish to see fulfilled, what lies within us and as mentioned multiple times above, and what we might be willing to move ahead with when opportunity to choose arrives, combined with the dangerous nature of acting ON unmindful inclination when desperate for a directly self-serving outcome while remaining heedless of the ramifications for others we claim to care about (or don’t?) all manifests with excellent impact, leading to the potent finale which definitively showcases what happens when things go the way they do. It’s also an exercise in happiness vs. defiance, yearning vs. fixation, and again the sheer weight of knowing what we want staying elusive. The fact that so much can get presented in just 15 minutes stands alone as the testament of what short film can achieve when in the right hands, as is the undeniable case here in my opinion.
I find myself running out of certain words when having to repeat descriptive elements about acting in films such as this and, mind you, mean this in the BEST sense. To bring characters to life consistently that bear a credible, absorbing, and fitting air of realism is an art form in itself to me, and for this project, it is another facet that is successfully accomplished, first through Kelly as Leah, a woman facing being tough, stubborn, and tender while surrounded by the imminent perils of the post-apocalyptic world she inhabits. Attempting to see a path forward to expand upon and show more directly this attraction to an already-attached Kate, initial circumstances that appear ideal to Leah could end up derailing things more emphatically than any of them could imagine. It’s this emotive tension underscoring events that Kelly magnificently displays through her performance while not OVERacting it, awakening both empathy and disdain for actions Leah is taking.
It all makes a pivotal moment in the narrative that much more searingly stunning, and Kelly embodies the emotional ripple effect and accompanying actuality with controlled energy and authenticity. Elliott paints a portrait of a woman both apprehensive yet hopeful and as carefree as the world they live within allows through her role as Kate. Very much carrying forth a “BFF” vibe with Leah while bearing a total love for her partner Ayden, Kate’s demeanor towards the former remains well-contained within conjecture-based possibilities that COULD exist but most likely won’t come about. Watching how this plays out between the two women also helps create a palpable ambiance of strain given the dichotomy in sentiments explored, and I greatly appreciated how Elliott navigates her character through this subtle then intense ocean of both heartening and heartbreaking instances, understated then impassioned thanks to Elliott’s performance quality.
Rigby has the no-nonsense, authoritative, and fully practical attitude reflecting a man centered on simply wishing to protect those he values within his care via his role as Ayden, Kate’s partner and someone who is not necessarily overjoyed by recent actions Leah took in the name of gaining some needed supplies. Trying to be that voice of reason for the benefit of them all, Ayden’s part to play in events as they transpire may become more perilous than ever should have been. Rigby deftly emotes this mindset of logical calculation in keeping them safe while battling Leah’s more rebellious/reckless manner. The primary supporting turn arrives from Stephen L. Wilson as Jack, the leader of a ragtag group of survivors whose means to gain what they wish is less than amicable or for the betterment of anyone but themselves, especially at the cost of others. Wilson truly creates one of those characters you love to hate in the relatively short time he’s on screen.
Additional appearances are made by Christopher Bresnahan and Daniel Donlon as two of Jack’s cohorts. So, in total, and with an intelligently crafted perspective on its title’s standard meaning, “The One That Got Away” departs from traditional post-apocalyptic tropes and general stylings, opting instead to embrace a deeply cautionary tale overflowing with acute, slowly building fervency in order to form a compelling illustration of commitment and adoration towards another gone selfishly astray.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
