|Title:||Everyone’s Going To Die|
|Runtime:||1 Hour 27 mins|
|Release Date:||Jun 26 2015|
|See If You Like:||Lost In Translation,
The Squid and the Whale,
This Friday saw the release of British Indie flick ‘Everyone’s going to die’, a bizarre and captivating tale of two lost souls finding their feet in the midst of tragedy and hopelessness.
Ray is in town to do a job – and maybe stop in to his brother’s funeral if he has time. Melanie is shuffling through her life; unemployed and stuck in a loveless engagement, she looks for distraction wherever she can find it. So when she bumps into Ray in a coffee shop, the intriguing older man of few words peaks her curiosity. The two form an unusual friendship, and as they see into each other’s lives, they begin to unravel the truth about their own.
For their directorial debut, collaborative group ‘Jones’ bring to the table a film that has no easily definable genre. Like any of its kind, it’s the balance of ingredients that either makes or breaks a first impression film – and fortunately, this one gets it right.
The film has a fairly melancholic tone, but the light humour and bizarre events garner enough smiles to avoid being labelled too heavy or depressing.
At 1hr 27mins, it never drags too much, and spends just the right amount of time developing and earning each of the main characters likeability at the beginning.
Of course, that likeability could not have been achieved without the casts great performances – lead by German starlet Nora Tschirner, and newcomer Rob Knighton, they bring a humble and understated tone to the characters
Nora gives a sense of calm resignation to Melanie, but with enough innocence to keep her from appearing self piteous. Rob plays the stoic mysterious stranger with ease, delivering his comedic lines with such dead pan you can’t help but laugh. Together, the two have an unusual chemistry of familiarity, like old friends comfortable in each other’s company. As the film descends further into its bizarre plot, it’s that connection that holds it together.
The film is beautifully shot, and there is a great attention to detail. Everything from props to lighting feels like it has a purpose and there is a lot for the audience to discover and appreciate.
It’s obviously a labour of love, but it never feels like it’s trying too hard to fit anywhere but in its own skin. Often, a film of this nature can feel a little ‘something and nothing’, but this one manages to succeed at offering a slice of life in a slightly kooky package that will entertain and even uplift.