INDIE SHORT FILM REVIEW: BILL

 
BILL 

Review by Joe Compton

There are many things you can point to that make what was accomplished here with Bill amazing and star-turning for everyone involved, both in front of and behind the camera but the main thing for this viewer was that this film clearly knew what it wanted to be, what went up on screen for 9 minutes, and showed you. Its fearlessness to do that, and the risks it took, led it to one of the most enriching and impressive short films I have ever seen. It is easily the best thing I have seen in 2024 on a screen. This film is nearly flawless from the acting, the directing, the editing, the score, the design, the tone, the jokes, and the horror. I will get into all of those here in a moment. 

What Bill transcends is nothing. This is a simple story, told simplistically, and yet it could not have hit harder the message it was sending and could not have entertained any better. There is something magical about keeping it simple, and yes, because of budget and time that might have been a necessity for all involved, it works to the nth degree where so many might not have. It also screams (pun intended) with this incredible uniqueness that pays homage to many stylistic filmmakers, a forgotten era, and a genre so badly in need of fresh voices.

So let's start there with the voice you never hear, other than in a scream or whimper, that was written that way by the actor playing the part, Deana Taheri. Her grace, charm, and just utter temperance turned into rage are so on point here. Its a tour de force in acting restraint and film acting prowess that doesn't even scratch the surface of how she physically embodied a Peter Sellers-type performance with a part bumbling and part innovation and brilliance that keeps you riveted to the screen. She commands the screen and does so with a leading actor bravado that you are left in ahh of and one in which sells the end so beautifully.

 Then we turn to her puppet, err husband, played immaculately by Yianni Sines. I can't even begin to tell you how masterful I found this performance in which basically for 90% of it he is a dead wet fish.  That feat in itself, wherein we get dared by Director Emily Dhue to watch his neck and eyes and he is not budging or fidgeting a centimeter, is beyond astounding. However what makes Yianni so amazing in this film is the other 10%, being only 1 of 2, and really the only one who shares full frontal screen time with Deana, and how through that he creates a true, authentic antagonist. You never feel sorry for what Lilith puts Bill through. In fact, if I am being forthcoming about it, I found myself cheering and snickering a little. His acting ability to make me loathe him was perfect. 

 All of this and none of it would be possible without the guided hand of director Emily Dhue. The tough choices, the set-ups, and the execution of what was clearly an aimful tone all are done with the type of precision that, you see it before you see it, you feel it long after it ends, and it is the kind of daring punk rock-esque, comforting weirdness, and bold happenstance that design directing voices. In the short time Emily has been doing this and going back through her catalog, so far, you see it building but with Bill it even goes above that reproach because Bill needed ambition, drive, and yet a little whimsy, with a dash of a feminine touch that I think in lesser hands would have either been overpowering or just misguided. Emily had the perfect equation and formula for success thanks to a great script by Deana, a great look by DP Samuel Perry Falvey, an incredible accompanying score from Benjamin Squires, and the rich editing from Yianni but she knew the right salt and pepper to season this recipe with to not just make it a better movie but the movie that it is. 

Bill is rich in tone, and depth, and its precision is so perfect that it makes it the best short film I have seen in 2024 and instantly drops it into my Top 10 of all time short films. 

My favorite shot (again pun intended) is when Lilith takes a shot and that fluid edit and the choice to go close up on the shot glass; a chef's kiss for me. There is another shot too that I loved that involved the angle to be perpendicular to the floor and we watch the couple saunter by, very cool. I won't say more than that. 

When this film gets to be part of the award season circuit, if you get the chance to see the nominated films in a theater, of which I sure hope Bill is one, then go just to see how good Bill is. 

You can follow the film here