Battleground

There is a great deal of potential and invention in Battleground (2023), but unfortunately this absurdist comedy struggles to fully realise its concept - holding it back from being the wholly entertaining romp it should be. Chronicling the bizarre internal adventures of an idiosyncratic man (Marc Pickering) and his treasured action figures, the film foregrounds the character's fears and domestic life through the lens of his own fictionalised world, exploring how the two correlate. Unfortunately, one cannot help feeling as if it lacks focus: an engaging, singular theme or idea for an audience to grasp onto.

The film’s follies, in part, stem from the technical side of things (less significant; still very relevant). Notably the sound is slightly tinny; likely due to the camera’s in-built microphone being used as the primary source of audio (I, myself, have also been guilty of this). It’s the kind of error that every modern filmmaker experiences, but nevertheless is noticeable (mostly since our protagonist is often too quiet) and therefore is detrimental to the piece’s overall quality. When it came to post-production, if the mix were balanced further for the volume to remain at a steady, consistent level, then the nature of the sound would become less of an issue.

It must also be said, however, that there are some skilled pieces of camerawork in Battleground - these individual moments demonstrate a high level of craft and clear understanding of film language. One example comes in the form of a dolly shot that tracks smoothly back and forth along a row of action figures while the main character gives a motivational speech. It’s a funny and effective nod to classic war-movies, affecting both in terms of style and entertainment value.

In addition, the use of focus is another impressive aspect of the movie’s form: it was a clever decision to stick to using wide apertures to create a pleasant, cinematic, shallow depth of field look. This makes the moments in which a wrack-focus is implemented -- a technique often as amusing as it is dynamic -- all the more impactful. Sadly, digital noise is occasionally present in some low-light shots - a problem that can be fixed by adding an artificial film grain, making the grimy effect an element of the aesthetic. Despite this, some interesting and inventive cinematography is present.

Putting all this aside, the main problem with the short comes in its story structure, bizarre implications, and lack of message. For example, there are some uncomfortable and morally confused suggestions presented to the viewer, made more unsettling by their lack of explanation or purpose. Upon getting a glimpse of the protagonist’s desktop (specifically the tabs he has open), we’re supposed to notice the icky, disturbing nature of the man’s online life; one cannot imagine it sitting well with your average audience member – yet perhaps that’s the point.

You get the sense that Battleground is attempting to balance a jokey tone with more objective hints at our character’s unpleasant living conditions (he hasn’t done the washing up, for instance), in the hopes of creating a portrait of a slobby, unsavoury individual. This endeavour to be self-aware and slightly sardonic doesn’t quite shine through, leaving the viewer confused or uncomfortable. There’s still a great deal to admire about the piece: it often showcases true craft and leaves you wanting to experience more work by the creatives behind it.