Under Offer

Under Offer is an all-too-relatable short comedy that dissects the difficulties young people face getting on the property ladder or even finding a roof to put over their heads in a market where development firms have squeezed all but the richest off of the ladder. It’s an imperfect but enjoyable film, with a likeable and impressively developed ensemble cast.

When squatters Dev (Sumah Ebele) and Billy (Archie Fisher) find that their latest residence is being auctioned, they decide to take matters into their own hands. They set out to convince pregnant couple Ali (Akim Bangura) and Ash (Louise O’Dowd), and young professionals Nick (Christopher Williams) and Jess (Georgia Cudby) that the place has a dark past. Estate agent Izzy (Kurtis Thompson) does his best to make a sale in spite of their efforts, but Nick and Jess’ own secret poses more of a threat than anything Dev and Billy can come up with.

The highlight of Under Offer is the intelligent character construction undertaken by writer and director Vincenzo Pellegrino. Viewers get a sense of the lives of each member of the main cast, much beyond their role in the events of the film. It builds authenticity and relatability, and develops each of their motivations, ideals and histories. It makes for an almighty emotional clash over the property at the plot’s heart – where audience sympathies will be split between Dev and Billy, and Ali and Ash – with even some left over for hapless agent Izzy, who we see having a nightmare first day on the job.

The plot itself is a relatively straightforward one that allows the comedy to flourish. The film elicits genuine laughs, as Dev and Billy spice up the already-gross apartment with satanic decorations to really put off the potential buyers (to no avail), and Christopher Williams’ Nick comes up with a dreadful cover story of being Jason Statham’s stunt double to hide his true identity. The film critiques development companies’ habit of circumventing rules to buy up properties in order to shoot up mortgage and rental prices that make owning a home a pipe dream to many young people. Where the squatters may wish to prevent anyone moving in to their specific place, it is these corporations that lock people out of the market entirely, and this theme is well-communicated throughout the story through conversations between all parties.

There are a few misfires – such as the raising of relationship issues between Dev and Billy which ultimately lead to nothing, and lack of chemistry between a few of the cast members which stilts the dialogue at times. There is also not much of a resolution to Izzy’s character, whose circumstances end up lacking much overall relevance despite focus being given to his desperation to make a sale. But these strands and rough edges leave no mark on the film’s charm or comedic value. For a lower-budget short to tell an engaging story with seven well-developed, multi-dimensional characters is more than enough value for money – meaning Under Offer actually offers well above its market value.