Tensions rise when two neighbours argue over who owns a shed in the yard. Here is our review of director, writer and actor David Esposito’s ‘Shed’.
Back in 1994, Clerks, directed by Kevin Smith, was released and went on to become a groundbreaking film in the independent cinema movement. It showcased Smith’s distinctive style through its unique approach to the way movies were made and, along with the slightly earlier Reservoir Dogs, became a cornerstone of ’90s indie filmmaking.
Now, 30 years later comes the four-and-a-half minute short comedy film Shed, the brainchild of director, writer, and star David Esposito. Much like Clerks, Shed has both a generic title and a lo-fi approach to movie-making that becomes part of its charm. Shot entirely in black and white, Shed focuses on two neighbours Arthur (played by Esposito) and Gilbert (Ryan Crepack) who spend the entire four and a half minutes arguing with each other over who owns a shed in the garden. What this throwaway plot does is help push the focus onto the characters and dialogue rather than relying on any sort of visual flourishes. The screen doors at the back of the house and the garden where the entire setting of Shed takes place feel authentic and lived-in, with the grainy black and white imagery emphasizing the mundane environment that Arthur, Gilbert, and the third character involved – Arthur’s long-suffering partner Sarah played by Gina Esposito-Reilly – reside in.
Esposito’s script is full of silly banter, and some philosophical discussions about the rules of ownership, delivered in a rapid-fire style. The dialogue is of course key to the film, with long, uninterrupted back-and-forth passages where Arthur and Gilbert play a game of one-upmanship with each other. It’s a relatable and friendly style that allows the humour to flow; getting laughs from the stupidity and quirks of each character.
A cast of three delivers the script with great timing. Esposito’s Arthur embodies a slacker role with a natural innocence, while Crepack imbues Gilbert with an energetic stupidity that gives us some of the film’s funniest moments. Esposito-Reilly’s perpetually annoyed Sarah also elicits big laughs by simply appearing at the screen doors and looking incredulously at these two idiots. Even with such a short space of time to work in, each actor brings their own different energy to the table, creating an engaging trio.
Despite the film’s no-budget feel, the black-and-white cinematography effectively utilizes light and shadow to create visual interest. There are some nice overhead shots of the buildings and close-ups during dialogue scenes that emphasize the characters’ expressions, while wider shots establish the location and capture the dull and average feel of the garden. The camerawork is generally handheld, but it does allow the dialogue to take centre stage, we also get occasional bursts of movement and dynamism, particularly during the ridiculous but amusing fight scene towards the end.
With the black and white aesthetic adding a timeless quality, the film’s humour derives from slapstick gags and the witty dialogue spoken by relatable characters, Shed is a good example of how creativity and passion can overcome limited resources to make a fun film, and how decent performances can elevate a simple concept into an enjoyable romp. With a sharp script, engaging performances, and effective use of black-and-white cinematography, Shed establishes David Esposito as a fresh voice in the world of comedy and independent filmmaking.
Shed premieres on YouTube in 4 days and you can watch it right HERE.
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