Film Review

You can click to enlarge, but if you still cannot read it this is the script

















Another exquisite release in Emily Clark’s short film collection.
The cleverly named “PIG” leaves the audience guessing from beginning
to end. Sadam Yousef and Oliver Buckner give the performances of
their careers to date in their passionate, heartfelt acting styles.
A remarkable story of love, betrayal and corruption.

The opening scene sets the tone of a crime drama well
in the way we know Detective Logan (Yousef) is not supposed to be
involved in the case. We truely believe his love, anguish and grieving
for his late wife in the way he interrogates Scott Turner (Buckner).
Moments later we are transported back in time to the scenes of the
murder in sudden flash back form. Isabella Logan’s (Egan), dramatic
attempt at escape can seem a little false and forced at times, but
takes nothing away from the tone of the piece. “I want to play a game”
says Logan, a classic postmodern twist from an already classic film
saga “Saw”. The two films combined would make that of a masterpiece,
something to be considered perhaps. The two locations are perfectly
selected, that of a desolate waste land, where no one could possibly
be found, flourished in colour with high key lighting, exposing every
action of the desperate victim, to a claustrophobic interrogation
room, lacking in colour, personality and life.

Logan’s cornering of Turner is admirably clever scripting, leaving Turner
with no answers as it would seem that his fate has already been
sealed. Everything about this film, from the composition to the use of
props has been perfectly thought out and strung together with transitions
that would make any film maker proud. A particular triumph has got
to be the transitions made into photographic evidence style shots,
with the magazine cut out words. It includes every aspect of a police
experience, it even makes the audience feel guilty to an extent.

Lighting plays a key role in this piece, every shot of Logan has incorporated
Rembrandt style side lighting, which makes us feel his emotion, his
dark side that wishes to ensue punishment on the one responsible for
the death of his wife. The subtle sense of guilt both characters exhume
helps to confuse the audience in a way that keeps them on their
toes throughout and subconsciously makes us suspect everyone
playing a role in this case.

The story leaves its audience gripped from beginning to end. We
want to believe that our suspect Scott Turner is guilty in the way
the past and present is brought together to make it seem as though
he is imagining it. Only at the grizzly end do we learn the full power
of the truth. It will leave anyone in wonderment yet suspicion
of what those who are meant to protect us are truly capable of, and
can they really get away with it?

VERDICT
An inspiring piece that invites others to use similar techniques. Congratulations are in
order, and, of course, we must never forget appearances can be deceptive.