Julius

Julius follows a Union veteran, Jim Brennan (Bryan Mittelstadt), as he desperately searches for a war orphan he has promised to adopt. Set in Georgia in 1865, the piece tells the story of a pivotal moment in American history, marking the transition from the end of the Civil War to the promise of justice and freedom for slaves.

One of the most astounding aspects of the piece is how distinct the presentation feels for the time period of 1865. Firstly, the black and white photography is immaculate; every frame feels like a painting, as if the audience has been transported back to a specific point in time in American history. Sheldon J. Walker, serving as the film's cinematographer, primarily utilises tracking shots when following the protagonist in his search for the titular character, and switches to fixed framing in dialogue-heavy sequences. It's an impactful way to frame the piece, as it feels incredibly lived-in with some impressive production value, despite its budget constraints. The backdrop of ravaged Georgia feels incredibly raw and places the viewer in a visceral fly-on-the-wall experience, which is impressive to witness throughout.

Alienor Duplessis and Wilhelm Kuhn, serving as the film's editors, do a commendable job of maintaining a fluid presentation, keeping the narrative engrossing despite its occasional sluggishness. While the pacing is stagnant throughout as the narrative unfolds at a leisurely pace, it's hard not to be in awe of the technical prowess on display, used to demonstrate the themes and premise of the film. These are mostly apt; however, the narrative never really truly explores the implications of the Civil War beyond its surface level. Perhaps a more prolonged runtime could have delved more into the impacts of the Civil War and the effect it had on the innocent and the vulnerable. Whilst the formal aspects of the piece are jaw-dropping, the screenplay sadly leaves a lot to be desired. The piece is described as a short photoplay, which is appropriate given how each frame feels like turning over the page of an old American history book with its distinct visual flair.

The performances across the board are phenomenal throughout, in particular, Aaron Kingsley Adetola’s portrayal of the titular character. Despite his limited screentime, he conveys so much with his vocal performance and nuance throughout. Another standout in the cast is Bryan Mittelstadt’s portrayal of Jim Brennan. He portrays the character's stubbornness incredibly well as he stops at nothing to find Julius in an attempt to adopt him. Both central performances are compelling and drive the narrative to its conclusion.

Whilst the narrative unfortunately amounts to fairly minor, it's a solid piece of filmmaking with flashes of incredible filmmaking on display, which elevate the barebones material. The conclusion, unfortunately, is abrupt and doesn't feel fully developed, leaving the viewer wanting a more satisfying resolution to the prolonged setup. There are not many compelling thematic elements to chew on, and it's a shame because the formal elements profoundly work.

Julius is a gorgeous-looking short piece, boasting some incredible black and white photography on display. Despite its shortcomings, it's a well-made piece of indie filmmaking with its heart in the right place and a delicacy for the raw material.