HE WILL BE GONE | Omeleto
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HE WILL BE GONE | Omeleto
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A sister struggles.
Miranda lives in a desolate, remote rural area, taking care of her distant, odd brother Billy in their isolated home. It is a lonely life, and Miranda struggles, especially as Billy retreats further into his shell.
But as strange occurrences unfold around them, Billy becomes fixated, and his behavior becomes more erratic. Miranda struggles with her need to move forward and her obligations to protect her troubled brother, as certain incidents grow in ominous portent and intensity.
Directed and written by Jesse Samos Leaman and Marc Vecchio, this hypnotic short sci-fi drama is perhaps only sci-fi in the loosest sense, more TWILIGHT ZONE than the shiny, coldly gleaming hyper-tech narratives of the genre nowadays. Rather than the proverbial final frontier, it traffics in the unknowable intricacies of the human mind, as one caring but careworn sister attempts to divine the strange inner workings of her enigmatic, troubled sibling. The narrative plays sleight-of-hand in unraveling the mystery that is Billy, blurring the lines between reality, imagination, fantasy and perhaps some other dimension out there, until we're left questioning what is real and what is not ourselves.
The film generates considerable mystery and atmosphere from the dreamy austerity and suggestive eeriness of its tone and visuals, from the black-and-white cinematography to distant, off-kilter framings to the weighty sound design. The film's sense of place is strangely lonely, and Miranda and Billy float through this milieu, cloistered in their own bubble of quiet, pensive struggle. As Miranda, actor Olivia Fildes plays a caring young woman who nevertheless grows frustrated with this station in life. Her love for her brother is palpable, but as Billy becomes fixated on the quiet yet ominous events unfolding, he grows more distant.
Actor Jeremiah Bovey has no dialogue, but the writing is disinclined to explain why he struggles to communicate, leaving it up to viewers to infer and interpret. But Bovey gives Billy a definite presence and personality, one attuned to the strange sightings happening around him. As these unexplained incidents occur, a new question emerges: are we seeing something objective or are these from Billy's subjective point of view? One of the gifts of HE WILL BE GONE is its ability to transfigure the stuff of ordinary life -- the buzz of a cell phone, the whir of a fan or the sizzle of a lamp -- into something uncanny. But where that uncanniness resides forms one of the mysteries of the narrative, one that tantalizes the imagination and forms a kind of riddle that dances on the border between what's "out there" and what is within ourselves.
HE WILL BE GONE. Courtesy of Jesse Samos Leaman and Marc Vecchio at https://atticfilms.com.au.
Miranda lives in a desolate, remote rural area, taking care of her distant, odd brother Billy in their isolated home. It is a lonely life, and Miranda struggles, especially as Billy retreats further into his shell.
But as strange occurrences unfold around them, Billy becomes fixated, and his behavior becomes more erratic. Miranda struggles with her need to move forward and her obligations to protect her troubled brother, as certain incidents grow in ominous portent and intensity.
Directed and written by Jesse Samos Leaman and Marc Vecchio, this hypnotic short sci-fi drama is perhaps only sci-fi in the loosest sense, more TWILIGHT ZONE than the shiny, coldly gleaming hyper-tech narratives of the genre nowadays. Rather than the proverbial final frontier, it traffics in the unknowable intricacies of the human mind, as one caring but careworn sister attempts to divine the strange inner workings of her enigmatic, troubled sibling. The narrative plays sleight-of-hand in unraveling the mystery that is Billy, blurring the lines between reality, imagination, fantasy and perhaps some other dimension out there, until we're left questioning what is real and what is not ourselves.
The film generates considerable mystery and atmosphere from the dreamy austerity and suggestive eeriness of its tone and visuals, from the black-and-white cinematography to distant, off-kilter framings to the weighty sound design. The film's sense of place is strangely lonely, and Miranda and Billy float through this milieu, cloistered in their own bubble of quiet, pensive struggle. As Miranda, actor Olivia Fildes plays a caring young woman who nevertheless grows frustrated with this station in life. Her love for her brother is palpable, but as Billy becomes fixated on the quiet yet ominous events unfolding, he grows more distant.
Actor Jeremiah Bovey has no dialogue, but the writing is disinclined to explain why he struggles to communicate, leaving it up to viewers to infer and interpret. But Bovey gives Billy a definite presence and personality, one attuned to the strange sightings happening around him. As these unexplained incidents occur, a new question emerges: are we seeing something objective or are these from Billy's subjective point of view? One of the gifts of HE WILL BE GONE is its ability to transfigure the stuff of ordinary life -- the buzz of a cell phone, the whir of a fan or the sizzle of a lamp -- into something uncanny. But where that uncanniness resides forms one of the mysteries of the narrative, one that tantalizes the imagination and forms a kind of riddle that dances on the border between what's "out there" and what is within ourselves.
HE WILL BE GONE. Courtesy of Jesse Samos Leaman and Marc Vecchio at https://atticfilms.com.au.
