Philip Brocklehurst presents “Release,” a psychedelic micro short that delves into the theme of mortality through an intricate play of light and colour.
Despite its brevity, clocking in at under two minutes, Brocklehurst’s latest film captivates with its distinctive approach to filmmaking, showcasing his commitment to crafting compelling narratives even within the constraints of a limited budget—an aspect of his work that merits commendation.
In this micro short, Brocklehurst takes on the role of the lone character, a man featured in two seamlessly intercut scenes. The first scene unfolds with the protagonist in a bath, gently rocking back and forth, while the second depicts him succumbing to suicide by consuming an overdose of pills, his gaze fixed upon a light fixture embedded in the ceiling. The juxtaposition of vibrant colors against the somber subject matter might prove disconcerting for some viewers, yet it undeniably serves as a catalyst for contemplation, prompting a reflective engagement with the film’s thematic depth.
The auditory backdrop, crafted by Vladislav Nogin, complements the visual elements, evoking a haunting ambiance reminiscent of the eerie musical compositions in films such as “Sinister,” starring Ethan Hawke. The synergy of quick cuts, visceral scenes depicting self-inflicted demise, a kaleidoscope of colors, and the evocative musical score collectively produces an unsettling experience—one that, while discomforting, manages to intrigue and provoke introspection.
Drawing a cinematic parallel to the works of German filmmaker Jörg Buttgereit, renowned for his provocative films like “Schramm,” “Nekromantik,” and “Der Todesking,” “Release” emerges as perhaps Brocklehurst’s most avant-garde and boundary-pushing creation to date. Its unapologetic departure from the conventional, coupled with its disquieting thematic exploration, positions the film as a standout in Brocklehurst’s portfolio, marking a distinctive shift that promises to set him apart within the realm of filmmaking.
Navigating realms akin to the cinematic provocations of Buttgereit, “Release” propels Brocklehurst into uncharted territories, establishing itself as a work that not only sparks intrigue but also contributes to the filmmaker’s individuality. The discomfort it induces is intentional, forcing viewers to confront the profound musings on mortality that Brocklehurst endeavors to convey. Undoubtedly, “Release” stands as a testament to Brocklehurst’s willingness to push creative boundaries, solidifying his position as a filmmaker who ventures into the unconventional, inviting audiences to contemplate the complexities of existence through a vivid, albeit discomforting, lens.
