DROP Review

This is our Little White Lies review.

Below is the transcript for the review:

This film is ambiguous on a number of levels  The title 'Drop' cleverly refers to the death of a character and the action of spiking a drink. . In addition, this is no ordinary 'who dun it' film because of the unexpected antagonist.

The short film genre is usually characterised by a minority of settings. However Drop manages to overcome this sometimes simplistic limitation and includes a plethora of contrasting locations which adds to the complexity of the story line. One location, the R.A.C Country Club in Epsom, mirrors the motif of the film perfectly: the upper middle class characters display opulence, affluence and wealth which is also denoted in the ‘Downtonesque’ setting. The crime committed in this setting at the country club may surprise audiences as this social class is not usually associated with 'crimes of passion'. On the other hand, more in sync with the short film genre, the cast is limited which allows for the creation of the character’s death in such a short running time. All three characters are executed superbly by Ettie Greenwood, Joe Willmott and James Garbis (up and coming actors that could really make their mark in the film world during the next few years).

The plot revolves around a complicated and secretive 'love-triangle', in which Rachel (Ettie Greenwood), is extremely guilty, doubtful and inevitably miserable leading to the films unexpected finale. This is skilfully handled by director Rosie Lincoln (also director of the inspiring ‘Life as we know’) who places the plot reveal at the end with the clichéd technique - a flashback, which literally 'makes the penny drop'.

Female director, Rosie Lincoln, is known for her feminist views that are especially reflected in her recent film shorts. Once again, Lincoln creates a strong lead female character, Rachel, who appears to dominate in the crucial love triangle. So, what are the feminist credentials: Rachel is a wealthy, powerful young woman. She emits signs of dominance and control, never being submissive to her man. She is far from the typical dependant female character of the past.  

However, there are alternative interpretations of her character which suggest that 'Drop' instead does not communicate the feminist ideology that others suggest: Come the end, Rachel is seen in a very vulnerable light, as she panics over then death she had subconsciously caused. There is a great debate over whether these feminist values are consciously displayed or not, of which readers can discover more on the 'twitter-sphere' where the heated debate continues to rage.

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UPDATE:

After a few improvements on the justification and page numbering here is our final version: