Saint Agnes | Sweet and Short

Here at OBSCURAE, we champion short storytelling as the hunting ground for your next favourite filmmaker – and encourage you not to skip the shorts program! Welcome back to our Short Film Review Series, Sweet and Short.

TW: Themes of Sexual Assault

In my time reviewing film, and especially Short Film, I have had to watch my fair share of narratives about Women's trauma. It's the easiest domain for many filmmakers to exploit – and it often prioritises the visualisation of trauma into the cinematic language, as opposed to the real, human effect of it. I have found this kind of filmmaking beyond fatiguing – a woman physically in distress is a quick shorthand to connection with an audience. Ordinarily, a film seeking to explore these themes, I'd meet with intense scepticism.

Saint Agnes is a breath of fresh air – a film deeply concerned with how our humanity, or essence, can be warped by trauma. A simple touch, or word, or sound, can be turned into a weapon or a wayback machine. However, we don't stay tied there; more than anything, this is an exploration of pragmatism and resilience. I first heard about the film when it was shortlisted for the Slick Fund, and have been awaiting its release ever since.

With unselfconscious performances from Aisha Jalloh and Eleanor Beck, intelligent framing that only the most careful approach can achieve, and some seriously lush cinematography – Driver's debut short hardly reads as a debut at all. What starts as almost a psychological thriller quickly morphs into a character study – two women, contrasted as they metabolise their experiences of violation and try to reinstate control of their lives and perceptions. I don't doubt it will have a decorated run at the festivals this year, and highly enourage you to catch it if you see it on the programme.

The film will have its premiere at Sunderland Shorts Film Festival in May.