Still Life

A gloriously sensitive and soothing piece, Still Life follows an elderly man living alone as he learns to find love again in a tale that will move all who watch it. Directed and produced by Olia Yenko, this short film is a stripped back masterclass in visual storytelling.

Emotionally, this vignette may remind viewers of sequences in movies such as the beginning of Up but with a much more optimistic twist. The sweet unfolding tale written by Benedict Flynn is the beating heart of this piece, with all other departments of production rising to meet its tone. Quiet, charming, soft. These are all words that could be used to describe this story, evidence of the thoughtful and understated work put in behind the scenes.

The cinematography, realised gently by Lora Arkhypenko, is much like the film’s title – still, never calling attention to itself in service of the narrative, but providing enough artistic flare to keep the audience visually engaged. One such moment is the purposeful split-screen shot of the two elderly lovers playing checkers over a video call, making it seem as if they are in the same room together. This not only functions narratively to show they are growing closer to each other, but it also displays a sharp creativity on behalf of the filmmakers. This maturity in visual storytelling, mixed with a tranquil score by Alonso Del Carpio, results in the gentle tone that is likely to endear even the most stone-faced viewer.

With only one word amounting to the entire film’s dialogue, this project relies entirely on the skill of the actors to convey the emotional beats and plot developments. The two central performances from Ihor Fendrikov and Angelina Fendrikova achieve this to excellence. Although acting is a subjective art form, there are just some performances that one never fails to believe. There is not a moment throughout the story in which these two strangers turned sweethearts ever break the audience’s suspension of disbelief, delivering delicate and empathetic depictions of each character.

And here comes the section of the film’s downsides – there are none. From beautiful writing to subdued cinematography, a tender score and wonderful performances, Still Life achieves its story with perfect precision and sensitivity from all units of the filmmaking team – resulting in a profound short that I defy any viewer not to shed a happy tear while watching.

Olia Yenko and company are absolutely a creative force worth keeping an eye on, and I keenly anticipate their next work.