An amateur photo-shoot during a sultry afternoon in an AirBnB is the setting for the boundary-pushing relationship captured in Patrick.
The short creates a space for the blooming – and withering – of an uneasy and complex relationship between Florence and Amina. Florence needs some pictures to lure the older Patrick. Amina is taking the photographs.
We stare along with Amina as Florence strips to her underwear, ready for the sexy snaps. Whether Amina volunteered for the gig or was roped in, we’re not quite sure.
In this early exchange Florence, played by Kristy Philipps, is the confident, drink-swilling young light. Yasemin Ozdemir‘s Amina is reserved, apologetic and transfixed as she looks on. Those sands subtly change as Florence, literally, lets down Amina’s hair.
Kirsty provides the character of Florence with the scaffold of sass that props her up in her pursuit of Patrick. But her exposure to the idea of showing more reveals more vulnerability. Meanwhile, Yasemin manages to keep Amina both timid and almost creepily predatory.
All of this is a demonstration of their power dynamic: who has something to offer, who’s looking and how hard, all shade the relationship. And the catalyst is Instagram and social media. But there are bigger watchers than just those on the all-pervasive socials.
Writer-director Louisa Fielden has created intimacy and distance in the short time-span of the story. This crossroads of characters signpost backstories that push the depth of the film past its sub 10-minute run time. And the mental states are echoed in the cinematography (Jake R Smith): reflections and lines bisect interactions.
Patrick, for whom the images are created, is never seen. Instead, he’s an ominous, invisible and removed watching force. It’s the intensity of the relationships that makes Patrick memorable.
Read our interview with Louisa Fielden about Patrick.