Just shy of seven minutes, CHRICKLE packs a huge amount of information into itself. Waking up in a completely white world our hero, Chrickle, operates in a blank void- the walls are white, the phone is white, the food is white, he is painted white. And he paints his things white as well. His world is bright- but colorless. The phone call from his father who rambled drunkeningly off the hook expresses nothing but familial disappointment for his son’s life choices. All the way Chrickle paints himself white. Until, that is- he sees a light shining through a small way out. Unlike his current world this light is full of colour. As Chrickle’s father drones on and on with what we realize is a final goodbye and disownment, Chrickle finds a way out of tiny white world.
The obvious visual metaphor is striking and simple. The performance of our main character conveys everything needed with his body language. The piece does what every short film should strive to do- convey a feeling in a short, profoundly effective way. CHRICKLE does this. And the feeling at the end of the film is one of freedom- a fresh start awaits our hero outside of the blank walls of montonecy and normalcy. Chrickle is free.
Review by Kierston Drier
Watch the Audience FEEDBACK Video of the Short Film:
|CHRICKLE, 7min., Sweden, LGBT/Experimental
Directed by Christian ArnoldA young man wakes up to a monotonus and isololated life in a colourless prison. Relucantly, he does everything in his power to suit his oppressive father. Until it knocks on the door.
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