The Stylist

'The Stylist (2016)' would later go on to be adapted into a feature film, but it's as complete as you could imagine. The short film focuses on a hairdresser who has a tendency to take a little too much off the top. That's sort of all there is to it in terms of story, but this simplicity is more of an asset than a weakness. It allows the piece to act as a sort of character study, remaining in the perspective of someone who'd traditionally be an antagonist. It has a lot of empathy for its lead, even though her actions are obviously not acceptable, because her horrific deeds are driven solely by isolation and insecurity. Thanks to a solid atmosphere, some convincingly painful gore and a tight pacing, the short remains interesting and engaging throughout. It's an entertaining effort and I hope its long-form counterpart is just as good.

Seductive cinematography. Not the best story.Nice acting and inspired atmosphere. At the first sigh, story of a psychopate hair stylist, working after program hour, using the silence and comfort of the client in dark way. In essence, a film about deep loneliness and need to be accepted, about past and social pressure. So, interesting to beautiful, the only sin remaining the story reduced at sketch level, without real motivations.

Spoiler-free isn't easy considering the type of short it is, but here goes:

Firstly, it's a high-quality short; it reflects real talent. The director, Jill Gevargizian, leads a qualified team that complements, and contributes to, a superb eye when it comes to mise-en-scène, especially composition, which is delivered with discerning movement and framing choices and some captivating depth-of-field effects; the final cut is extremely fluid, possessing a slight colour saturation that gives the film an illusory tone. And the soundtrack, too, which is comprised of original works by Nicholas Elert, set the mood just wonderfully. All of that, sound mixing and the special effects, too: A-1. Ditto for Najarra Townsend's performance as Claire.

Where this short falls short, so to speak, is with the story itself. What's Claire's motivation? No matter the causes reasonably attributed based on what little we're given, the sentiment she manifests at the very end (crying) clashes with those and so the whole thing falls flat, for it's hard to find justification in that hidden disfigurement alone given the little emphasis placed on it in contrast with Claire's other, natural features; adding to that is her demeanor when discussing men with her colleague. Something doesn't quite jive.

Because of that, I do think the statement it attempts to make on the societal standards of beauty pressuring women doesn't come through in any poignant way, the whole message reduced to Mandy's deplorably prosaic: Women must look perfect if they're to challenge that glass ceiling. Anything more profound feels forcibly tacked on rather than sensibly interpreted.

Another low is Jennifer Plas' Mandy's reaction when she wakes up. Initially believable, it loses all authenticity by the third scream and the panic isn't enough to warrant Claire's action (being more clear involves spoilers).

That's where it loses points, writing, but keep in mind that these lows I mention have much to do with "interpretation", not "execution", and, at 15 mins, there's absolutely no reason why you shouldn't judge this horror short for yourself.