How tragic that his unfulfilled life should be cut so callously short leaving this truly wonderful woman bereft and in despair. Ah, she had such a sweet, caring, satisfying relationship with this talented, intelligent, good looking man. She isolates herself from her friends, gets snappy with well meaning relatives, bawls at the first cords of an overheard cello (hubby played one and she accompanied him on the piano), and winds up on a therapist's couch. He sets up "Truly, Madly, Deeply" as a 3 hankie weeper as Juliet Stevenson mourns the death of her young husband, inadvertently asphyxiated by an endo tube after getting "a sore throat".
A film best enjoyed in the moment, a film best enjoyed for its raw, uncompromising approach – however uncomfortable that may be.Reviewed by playwrite2000 10 / 10 Not "Ghost"Īnthony Minghella, the film director, is a sneaky guy. But Egan’s is a short best enjoyed without all this bullshit. Yes we could talk about all the metaphors (or is it allegory?) in the scenario of a bloody woman clinging to the precipice of life. She said the earth opened up beneath her and the rest of her day was simply about holding on by sheer force of tension”.ĭespite knowing this particular influence on Egan’s script, Curve feels like a film better left unscrutinised. “Then grief rushed in, a feeling not unlike vertigo. “Her mind was clear and at peace for a few seconds before she remembered her pain”, he recalls. “She said the earth opened up beneath her and the rest of her day was simply about holding on by sheer force of tension”ĭescribing a conversation he had with a friend struggling with grief, where she explained that “the only good moments of her day being the seconds after she woke up”, Egan obviously had some more symbolic intentions coursing under the surface of his thoughts when writing Curve. Whilst this first experience was an undeniable physical one for the writer/director, the second influencing experience was a much more mental one. “I still remember the feeling of wet tarmac under my fingers” Egan recalls when describing his lucky escape after being knocked into the centre lane of busy traffic, where he gripped the asphalt preparing to be struck by a second car in a matter of seconds. Taking just 8 hours to write, from first concept to shooting script, Curve was inspired by two key moments in the director’s life – the first being hit by a car and the second a conversation with a depressed friend. It’s really hard not to watch Curve without setting your mind racing about what you’d attempt in that situation – however horrifying and hopeless it might be! An uncompromising, physical watch, Egan’s film sends shivers down your spine as you imagine your own fingernails desperately clawing to that unforgiving concrete, in hope of getting any kind of traction. Reminiscent of one of my favourite long-shorts (if an almost 50-minute film can really be classified as a short?), Shinya Tsukamoto Haze, Curve is at its most powerful when putting you inside the headspace of its doomed protagonist. Simple in premise, but immeasurable in impact, prepare yourself for what is set to be one of the most tense and unforgettable shorts you’ll witness in 2017. Winner of ‘Best Short’ awards at both Fantastic Fest and Sitges in 2016, Tim Egan’s 10-min Horror Curve is a dark, minimalist, and truly unsettling film.