pening with artistic, immersive soundlessness, the young, hard-of-hearing Drea (Angel Theory) gets caught up in a large gathering (a wake) of friends and family, all of whom laugh and chat and generate all manner of hubbub. But to the main character, it’s all just muffled noises, with distracting flurries of movement and a strain to lip-read. Some relatives attempt sign language, but most of their intentions are gleaned from the careful studying of faces and mouths – or ignored altogether as trivial details. Although Drea is met with kindness, particularly from her Aunt Carol (Carrie Compere), the bustling collection of people is a bit too much to process – especially when placed alongside the death of her grandmother, a recent tragedy marked by the gift of a turquoise urn. The reunion also brings the arrival of Samuel (Biko Eisen-Martin), a man from Drea’s complicated past.

It’s a surprisingly appropriate, engaging subject for a short film, especially as it delves into the significant feelings of being left out or disregarded, unable to assimilate fully due to a disability; Drea’s isolation is considerable, not just in familial connections, but also in the limited nature of others’ grief in comparison to her own. It also doesn’t help that Drea is judged well beyond just her difficulties with communication and understanding (few of her relatives bother with learning sufficient means of conversing), which are crushing; her life choices are also in question, as she’s opted to go to school for a creative field, which isn’t viewed as potentially lucrative. The character study here is uncommon and nicely orchestrated, making the most of literal quietness to demonstrate Drea’s personal experiences.

“Times are tough.” It’s also somewhat more complex than just a youth struggling with various concepts and degrees of neglect or distance; a rather touching reconciliation and connection is made from an unexpected figure – one that is thoroughly cinematic. It’s quick and sweet, but entirely effective in conveying a breakthrough in discovering support from the unlikeliest of places. Additional complexities exist, but they’re not elucidated upon with enough pointedness to really work their way into the script, such as Drea’s sexuality (and even her last name), or the specifics of Samuel’s ability to participate – perhaps unnecessary notes that are better left open for interpretation, which might bring viewers closer to Drea’s uncertainties, as they’re frequently provided articulations via subtitles that are riddled with question marks. It plays out as if a dramatic mystery, steadily building clues as to how Drea and Samuel are related – and what that relationship may hold in the future – ending with emotion and genuineness.

– Mike Massie