This is exactly opposite to what I was instructed in elementary school while painting a sketch. And it looks vibrant.
The writer and director Jordan Blady knows his audience. He is one of them. And the result is a passionate filmmaker walking on a tightrope with confidence and power in his voice. The power is something that we will come back later on. But let’s focus on the rule that I was told to follow along with everyone else. If you are to paint, to colour a figure, sketch or a painting, you are supposedly expected to stay within the boundaries drawn in the frame. You see Blady breaking that boundary repetitively and still manage to grab onto us. How does he do that? By addressing it loudly. You see elements, characteristics floating around these beings in this grim hip-and-happening world that lives and dies for one single day. They are bound to comeback and ripple the so-called stable lifestyle of our protagonist. There is depth and meaning behind those elements. And even those are mentioned loudly. Now this is something that not everyone can get away with. But as mentioned before there is power in his speech and in her (Dasha Nekrasova) poem; those readings are my favourite bits. Power to not light the house but shut it down in fact. There is this one beautiful scene that comes later in the film where you see Dasha shutting down all the lights, blowing off all the candles and collecting all the remains of other’s work. It is a calm, resilient, one-shot scene that captures her true character for me. While the audience might find themselves arguing over the morality clause as the credits start rolling, I find it fascinatingly bold and more importantly a clear voice behind that poem read.