Written and directed by Sangeet Prabhaker, 'Dinghy' is a drama short that stars Jack Bradley, Laura Bay and Faheem Hussain. The film chronicles the unexpected difficulties that a group of refugees encounter after reaching ashore a European coastline. Faced with unexpected danger, a game of mayhem ensues that ends in disastrous consequences for all.
I never expected a film featuring the European refugee crisis to be full of such monstrosity and gore and one would not put the two entirely different aspects together in any capacity. However, against all odds Dinghy works perfectly as it is; a mishmash of two completely unrelated genres that writer and director Sangeet Prabhaker aces in a glorious way. As the refugees descend on a European shore, one expects the locals to put up some resistance (as xenophobia and racism do indeed find a way to make themselves visible in such situations). However, what follows is completely unexpected. If Sangeet's intention was to horrify and surprise the audience, he succeeded and he did so with flying colours.
Amongst the film's strongest suites are the performances. From the actors portraying the refugees to those who play the natives, each performance is authentic and nuanced. AJ Jones and Laura Bay portray the crazy natives with zany energy whilst Faheem Hussain and Iman Borono authentically bring to light the refugees escaping the war back home. Their meeting is expectedly tense and what follows is a game of life and death that will have no winners.
Equally impressive in Dinghy are the makeup and the special effects. From the practical effects of the demon seemingly aiding and abetting the natives in engaging in an orgy of death and blood to the bloody and brutal violence that follows, the effects are what make the short what it is. Selling the outlandish nature of the story without fail, the effects are not only masterful; they are an important aspect of the story itself. In addition, the narrative pacing and the editing are also top notch and there is not a single dull moment in the entire film.
In addition, it is the work of cinematographer Deane Thrussel that gives the story it's zany energy. Combining fast paced drone shots with facial closeups to replicate the chase of a thrill, Thrussel uses a variety of visual techniques to depict the desperate fight for their lives that the refugees find themselves in. The sound mixing and sound editing also impress and the whole audiovisual aspect of the production succeeds in every way imaginable.
Violent, unexpected and wholly original, Dinghy is a short that will stay with you long after it has ended. Featuring a different take on the refugee crisis that has come to Europe's shores after wars in the Middle East and North Africa, the film will shock you to your core. Featuring a resonant central story, good acting and fantastic special effects, Dinghy is a film that succeeds in more ways than one and is a commendable effort from Sangeet Prabhaker.
I never expected a film featuring the European refugee crisis to be full of such monstrosity and gore and one would not put the two entirely different aspects together in any capacity. However, against all odds Dinghy works perfectly as it is; a mishmash of two completely unrelated genres that writer and director Sangeet Prabhaker aces in a glorious way. As the refugees descend on a European shore, one expects the locals to put up some resistance (as xenophobia and racism do indeed find a way to make themselves visible in such situations). However, what follows is completely unexpected. If Sangeet's intention was to horrify and surprise the audience, he succeeded and he did so with flying colours.
Amongst the film's strongest suites are the performances. From the actors portraying the refugees to those who play the natives, each performance is authentic and nuanced. AJ Jones and Laura Bay portray the crazy natives with zany energy whilst Faheem Hussain and Iman Borono authentically bring to light the refugees escaping the war back home. Their meeting is expectedly tense and what follows is a game of life and death that will have no winners.
Equally impressive in Dinghy are the makeup and the special effects. From the practical effects of the demon seemingly aiding and abetting the natives in engaging in an orgy of death and blood to the bloody and brutal violence that follows, the effects are what make the short what it is. Selling the outlandish nature of the story without fail, the effects are not only masterful; they are an important aspect of the story itself. In addition, the narrative pacing and the editing are also top notch and there is not a single dull moment in the entire film.
In addition, it is the work of cinematographer Deane Thrussel that gives the story it's zany energy. Combining fast paced drone shots with facial closeups to replicate the chase of a thrill, Thrussel uses a variety of visual techniques to depict the desperate fight for their lives that the refugees find themselves in. The sound mixing and sound editing also impress and the whole audiovisual aspect of the production succeeds in every way imaginable.
Violent, unexpected and wholly original, Dinghy is a short that will stay with you long after it has ended. Featuring a different take on the refugee crisis that has come to Europe's shores after wars in the Middle East and North Africa, the film will shock you to your core. Featuring a resonant central story, good acting and fantastic special effects, Dinghy is a film that succeeds in more ways than one and is a commendable effort from Sangeet Prabhaker.
