Limits

Directed by Iona Judge and written by/ starring Holly Higbee, Limits follows the story of Becca – a young woman figuring out how to traverse her own life while simultaneously managing her brother Rhys’ reemerging addiction, considering if she is able to manage it at all…

A profound and visceral story on paper, one of the major constraining elements of this concept that is otherwise grounded in realism is the inclusion of unnatural dialogue. Throughout the piece characters say exactly how they feel at all times with little room for subtext which, in contrast to people’s behaviour in real life, comes off as artificial. Lines such as “you’re my baby sister” from Rhys to Becca, read more like exposition to the audience rather than something that two close siblings would genuinely say to one another. In this particular case the information being conveyed is something viewers would be able to pick up on through the context already presented, resulting in a screenplay that doesn’t seem to trust its own audience.

While the aforementioned simplistic dialogue leaves the performances with little room for nuance, Holly Higbee’s portrayal of Becca elevates the text significantly. With superb acting choices and a sensitivity that hides behind the character’s facade of having everything together, Higbee grounds the narrative by providing us a character to truly connect and sympathise with.

For such a meditative subject matter, the editing can feel rather jarring at points, cutting between shots too quickly where the scene would benefit from focussing on a particular subject. This leaves the story seeming unsure of what to concentrate on. However the editing does have its moments, such as in Rhys’ freakout scene, cutting between his and Becca’s separate reactions in a really unique and fascinating creative choice. Speaking of which, the cinematography by Sivan Gharib stands out as one of the main strengths of the piece with striking frames, created in moments such as Rhys and Becca’s hallway row and the later bedroom scene, using high contrast and limited lighting to heighten the emotional impact in these instances. There is also a profoundly delicate employment of symbolism throughout the piece in which Rhys gifts Becca sunflowers that slowly wilt as their relationship deteriorates, only to be eventually replaced with flowers of her own choosing.

While it is hard to pinpoint the exact artistic intention of Limits, and the themes/ characters seem distracted, there are real saving graces within the strong central performance, powerful symbolism and brilliant uses of visual storytelling – the latter of which this short would have benefited from a stronger focus on. Ultimately this story carries heavy themes with sincerity and will provide a thought-provoking viewing experience to anyone watching.