Céline Roustan
Bored out of her mind, working at a road-side diner, Annette’s regular shift is suddenly upended when a new customer walks in and takes a seat. Instantly, their connection is palpable. Who is this stranger? Will they exchange more than just a couple of looks? In A90, writer/director Olivia J. Middleton captures the beauty and the intensity of such a powerful moment between two individuals, holding our breath hostage until the last second.
“For me, this story is about the beauty of impermanence”
Middleton confessed that while she had “ideas of character and locale that permeated in (her) mind for a while”, it was actually a double bill of Orlando by Sally Potter and Chungking Express by Wong Kar Wai that ultimately prompted her to write the screenplay of A90. Revealing that her story is “about the beauty of impermanence”, this explains the decision to focus the core of her story on an “ephemeral relationship that connects two lost people”.
Narratively, A90 is very realistic and doesn’t need to resort to contrived or cliché plot twists. Instead it focuses solely on the connection and tension between Annette and Morgan, the stranger who suddenly entered her life. One could find the 17-minute runtime of the film a bit ambitious, with such a “light” premise, but it’s to Middleton’s credit that she crafts a visual language that successfully captivates the audience and immerse us in the atmosphere of that diner. From the set design to the color palette, there is a warmth to the visuals of the film that fosters a comfortable, dimly lit atmosphere that’s perfect for witnessing these two women watch each other and eventually get to know one another. As the diner slowly turns into their own intimate little bubble, it feels as if they are isolated from the rest of the world, even if it’s just for the briefest of moments.
Sinead Macinnes, as Morgan, in A90
A subtle and nuanced short, A90 allows its audience to feel the emotions shared between its central couple through their chemistry and tension, rather than through their dialogue or actions. I have rarely seen a romance develop on screen so efficiently, with so little actually happening. Every single line they exchange is emotionally charged and the way the camera places them in the frame works to enhance the immersive nature of the film. Letting us feel what both are experiencing, engaging us in the moment they are sharing and its inevitable end.
With the film’s success reliant on the magnetic pull between Annette and Morgan, the performances of both Marli Siu (as Annette) and Sinead Macinnes (as Morgan) proved vital. Just like the screenplay intended, both are able to flesh out their characters and how their encounter disrupts their worlds, with almost no dialogue. The way they respond to one another, whether through a glance, a gesture, or even a breath, is what paints the on-screen tension so effectively. Their sizzling chemistry carries the film and makes it impossible to look away. While the film might end on a frustrating note, Siu’s last scene gives it an emotionally compelling sense of closure.
Ahead of its online premiere, A90 made its way around the festival circuit with stops at Aesthetica and Glasgow Shorts. Middleton is currently in the process of completing a new short film titled Morning, while also writing a short romantic thriller called Foul. The filmmaker is also developing a couple of features: Fur Sadie an adaptation of an unfinished manuscript by Scottish author Archie Hind and Painted Dogs, the story of an experimental theater company trying against all odds to reach opening night.