Underpass

Underpass follows a couple, Leo (Simeon Weedall) and Julianne (Alice Sykes), who meet at underpasses to dance as part of an affair and realise it has to stop. Underpass is a short, dialogue-free film that relies entirely on visual storytelling through physicality and body language within the two central performances.

The film was shot entirely in London in underpasses and cuts between a neon-drenched environment and a bare-bones setting to convey the characters' realities converging. While some viewers may find the complete lack of dialogue discouraging, the film's unique visual style and performances drive the narrative’s themes and tone forward. Although the film sometimes feels overly reliant on style over substance, its striking visuals do much of the heavy lifting, providing enough thematic depth to keep the experience from feeling excessively stylised.

While the film adopts an incredibly brisk runtime, it's suitably paced without feeling rushed or overstaying its welcome. That said, the lack of characterisation and context surrounding the two central characters, Leo and Julianne, detracts from the experience, making it difficult to connect with the narrative on an emotionally resonant level. The filmmakers clearly intended the experience to be singular in both style and aesthetic; however, its reliance on elaborate dance choreography and neon-drenched lighting can ultimately make the narrative structure feel disjointed. Despite these issues, Ella Rose Howlett’s editing is remarkably effective, with rhythmic transitions between scenes that make the experience flow seamlessly.

One of the film's greatest aspects is its camerawork. Jem Karto serves as the film's cinematographer and does a mesmerising job of framing each dance sequence and intimate scene between Leo and Julianne. It's a wonderfully blocked and staged film that relies heavily on wide framing and close-ups to emphasise the intimacy that grows between the two central characters in the underpasses. The film also possesses some incredible dance choreography that keeps the narrative engaging. These sequences are assisted by Harry Brokensha’s musical score. The score is incredibly understated during the more intimate moments, with profoundly moving motifs that complement the tone and chemistry between the two leads. Harry Brokensha's score becomes more operatic during the dance sequences and as the characters move around the environments in a surreal fashion.

Perhaps most impressive in Underpass are the two central performances by Simeon Weedall and Alice Sykes, who portray Leo and Julianne, respectively. Their performances are incredibly magnetic, driven by their impressive chemistry and physicality in their dance choreography and body language. Despite the dialogue-free nature, they both convey a profound sense of empathy and kinetic energy through dance and love for one another.

While the film takes a drastic tonal shift in its final moments and concludes on a somewhat sombre note, the technical elements are profoundly uplifting and may leave viewers wanting more after the credits roll.

Underpass is a kinetic and moving portrayal of two individuals coming together through dance and desire. While it may suffer from a disjointed narrative structure and lack of characterisation, it's a worthwhile sensory experience that boasts two wonderful central performances and excellent dance choreography.