The plot is quite absurd yet despite its farfetched nature it manages to sell the story very convincingly. With a hysterical twist that makes you question the main character's sanity after she breaks up, Emily holds strong parallels with the character of Bridget Jones, where both attempt to make sense of life and love. It allows us to empathise with and relate to the stupid and inexplainable ventures we have all participated in when in love.
The script provides endless amusing opportunities for different forms of social embarrassment. Whether Emily is bickering incessantly with Rob, a gold-painted Henry VIII street performer who she first views as a bad omen to running around in a wedding dress she had professionally made when she had not been proposed to or hiding in the altar of the church during the wedding service after coming to her senses.
I enjoyed the use of locations that are local to the Capture Production Studio, such as Waterlow Park in Archway or St Michael's Church in Highgate. They make the story authentic to the audience, who may have been to or can visit these locations and add to the liveliness of the film through the hustling and bustling nature of this residential area of North London in the summer.
In the beginning, the use of saturated and vivid colouring appropriately represents Emily's rose-tinted and distorted perception of her previous relationship. By the end, the colour palette is more diluted to suggest she has finally moved on into the reality as she walks off with Rob. The soundtrack used elevates this message. The film draws to an end with musical lyrics that no longer question 'what she (Emily) will do when she's all alone'. The film promotes a positive outlook on life to demonstrate that silver linings are always around the corner.
Although it is not my favourite of the short films Capture have produced, it greatly deserves merit for its quirky take on a British rom-com and the amiable feeling it leaves behind.
The script provides endless amusing opportunities for different forms of social embarrassment. Whether Emily is bickering incessantly with Rob, a gold-painted Henry VIII street performer who she first views as a bad omen to running around in a wedding dress she had professionally made when she had not been proposed to or hiding in the altar of the church during the wedding service after coming to her senses.
I enjoyed the use of locations that are local to the Capture Production Studio, such as Waterlow Park in Archway or St Michael's Church in Highgate. They make the story authentic to the audience, who may have been to or can visit these locations and add to the liveliness of the film through the hustling and bustling nature of this residential area of North London in the summer.
In the beginning, the use of saturated and vivid colouring appropriately represents Emily's rose-tinted and distorted perception of her previous relationship. By the end, the colour palette is more diluted to suggest she has finally moved on into the reality as she walks off with Rob. The soundtrack used elevates this message. The film draws to an end with musical lyrics that no longer question 'what she (Emily) will do when she's all alone'. The film promotes a positive outlook on life to demonstrate that silver linings are always around the corner.
Although it is not my favourite of the short films Capture have produced, it greatly deserves merit for its quirky take on a British rom-com and the amiable feeling it leaves behind.