Souls Divided

Souls Divided is a handsomely put-together romantic short film from writer-director Ginevra Gentili. It tells a Before Sunrise-esque tale of two people who meet one night and spend the dwindling hours talking about life and striking up a connection. The main thematic crux being that one character is hopeful - believing in the grand scheme of the universe - while the other refuses to indulge in what could be labelled as spiritual. We follow these two individuals on a bus ride and eventually to a beach where dawn breaks.

Before we get into infinite praise of formal technique, we must address that which lacks polish: it could be argued that the screenplay slightly struggles to find its footing. The main reason for this is conflicting characterisation as the man in the story seems to occupy an odd space between being not likeable enough while not explicitly dislikable. Personally, these days, it's my wont to admire a film for including conventionally unlikeable protagonists and not feeling the urge to explain or be didactic. However, you could misinterpret the tone of this piece to suggest that we're meant to find any and all antics charming, and that's part of the issue. You could accuse the story of being slightly clichéd (what isn't), but the fact is that this film either needs to go full-on David Thewlis in Naked - completely unpleasant but fascinating - or put that character on equal footing with the other lead in terms of likability. It's a very tough line to walk, both for a screenwriter and an actor, and so we should admire the attempt on both counts.

Onto the formal: the cinematography, composition and colour of this film are a genuine achievement and truly elevate the piece to another professional level. First and foremost, our eyes are immediately drawn to the richness of the colour. There's a perfect vibrance to it - a tint and finish which very much adheres to a studio-level aesthetic - and yet it never feels as if the colourist is overdoing it, never a garish saturation. And then the cinematography is pretty damn flawless for a short film of this nature and genre. They completely nail the look. It's simultaneously soft and grounded - shimmering with the bloom of the romance genre, combined with a more dramatic handheld construction.

And yet it's not just the cinematography - referring specifically to the practical lighting and lenswork - which makes this a beautiful looking movie; there are other, less technical, but just as exacting, methods that come into play as well. For instance, from a production standpoint, a massively important part of the movie's visual success must come in timing and scheduling. This story required the exact right weather conditions, and the exact right moment in the day - the stunningly captured dusk and dawn - to allow the image to be as gorgeous as it is. This should be a great source of pride in terms of planning.

Additionally, this is a superbly directed picture, defined by simple yet effective shot setups that feel appropriately intimate. The audience will be able to sense a cinematic confidence; a clarity of purpose and an inherent understanding of good storytelling. This is the sign of a great director. Whether or not one is completely taken by the narrative, there is no denying the strong craft at play. What this also means is that there is a base level of skill and ability which ensures that the viewer is not left checking their watch or wondering what the point should be. They're more inclined to forgive any of the weaker aspects because this is a well-made movie, almost inarguably.