In Kimmy Gatewood‘s masterful short film Control, the protagonist’s immaculate attention to detail is a truly admirable strength as well as a sign of her delicate condition. Control indeed, this time that human fixation to get everything just right, even though this particular journey has a definitive closure.
Alison’s intentions are clear from the start, for this is not a film invigorating the audience for a surprise, or indeed keeping secrets. Played impeccably by Alison Becker – who wrote the script – our protagonist is a walking personal organiser. Her procedural actions are framed and edited with the same kind of precision and commitment that Alison demonstrates in her ultimate prep.
The dog (Becker’s own canine Dignan) watching on might be a little heart string puller, accompanying the film’s clandestine gloom with a glimmer of hope. The film never questions an owner’s love for their dog, but calmly increasing her task list on this surreal – yet very real – preparation of aftercare. The sheer amount of coloured sticky notes dotted around the apartment as Alison looks on is just one of the film’s emotive imprints.
Control is not about – nor striving for – the happy ending. Sometimes a routine is just that, and requires the pristine – well – control, to carry through to the desired outcome. In the film’s final gulp we are challenged to question Alison’s error in judgement after all, a mess made she will not be able to clean up. The film won the Silver Sword, Editing and the Special Contribution prize for Dignan at the 3rd Femme Filmmakers Festival. We rarely hail short films as masterpieces, yet Control is the clearest indication that we should.
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