-Written by Kyle Bain.
2024 HOLLYSHORTS FILM FESTIVAL REVIEW!
When Giles (AJ Vaage) arrives home to his family, they soon find out that he is no longer just one person. He has, through the technology of his high-tech employer, taken on the thoughts and personalities of three other people. WE/US is a unique look at the process of “coming out” and what it means to those that are faced with the unfathomable task.
The brief synopsis that I was provided for this film makes it seem like it’s a far-left, strongly political narrative attempting to destroy the stigma(s) surrounding the LGBTQ+ community. I anticipated, with what little information I was given going in, that WE/US would ultimately rub me the wrong way, and that it would be so heavily political that there would be little else to focus on throughout its runtime. WE/US certainly covers the aforementioned topic in detail, but it definitely didn’t approach it the way that I anticipated.
First and foremost, I think the intention behind WE/US was exactly what I outlined above. I think the point of the film is to be incredibly liberal in its approach–painting Giles’ mother, Bernadette (Bernadette Moran) in a negative light for struggling with her son’s way of life. However, if this was in fact the intention, I’m not so sure that it’s successful in its venture. I ultimately sided with Bernadette in this film, almost from the start–and my opinion of her only grew more favorable as WE/US progressed. I guess this says a lot about me, and do with that information what you will–but it also expresses that this film is relatively ineffective in its storytelling. I don’t like politically aggressive films, but if you’re going to be aggressive, you might as well get your point across. This may be the first time I’ve said this when reviewing a politically-charged film, but WE/US needed to present its points even stronger, more fluently, trampling Bernadette even more from the start.
What works really well for WE/US is the sound editing, as it’s immersive and entertaining from start to finish. The bulk of the narrative isn’t something that necessarily appeals to me, and I’m certainly not the only person that will feel this way. The sound design/editing is what ultimately helps to develop tension throughout the course of WE/US. Strong mechanical noises echo through the film, and there’s an eeriness present in each of the sounds in the film. I honestly believe that if the sound design wasn’t as powerful and present throughout the film as it was that I would have failed to connect with WE/US as a whole.
Do I agree with the message that Writer-Director Oliver Warren and Co-Director Vaage are attempting to express? No. However, if you’re going to attempt to develop a message and present it to your audience, you might as well be powerful in doing so. Don’t half-ass your attempt, and don’t fail to get your point across. I came out of WE/US feeling even stronger in regard to my position on the topic at hand, rather than being converted in the slightest–or even having my eyes opened. The film’s saving grace is the sound, and it works beautifully throughout the film. It continued to appeal to me from start to finish, and it truly is enough to keep the film afloat, even if only just. WE/US is a unique attempt to express the difficulties of “coming out,” but I’m not sure it’s ultimately successful in its venture.
Directed by AJ Vaage & Oliver Warren.
Written by Oliver Warren.
Starring AJ Vaage, Bernadette Moran, Hugo Salter, Ché Walker, Nicola Peluso, etc.
6/10 = WATCH IT FOR FREE
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