A culture of wellness takes a evil shape in “The True Beauty to Trade by Tick Tick”, a local drama that cannot keep its mirage. It was directed by the OHS (Jethica “), and participated in his writing OHS and its four main representatives, which is the super -tone SXSW Discovery SXSW accompanied by strange characters and even strange sound design, and gives the first first half. However, like her sad pioneering character, she was lost in the event of a feeling of millennial, losing herself in a rabbit hole of metaphors.
After IPhone (Zoe Zao) experienced a personal tragedy – the sudden details of it hinted in a phone call, before gradually appearing to the light – leading to the house isolated forests to her old friend Camel (Kali Hernandez), only to discover a pair of sudden guests when she expected time alone. The real estate agent in Camille, Isaac (Jeremy or Harris) and his partner AJ (James Kosati Muir) are considered, for reasons that cannot be explained on iPhone, and staying with Cameel for a long time as well, which leads to a number of good interference and architectural lounges, such as holes on the floor that allows characters in adapters each other.
The optimistic hypotheses of the couple are usually accompanied by the advice of the lifestyle surrounding the food, although the well -seized offers for actors ensure the careful walk between welcome and welcome. There is an excessive thing behind the smiles that crack from time to time-something that Yvonne does not have to empty it and something that does not see Cameel or does not see simply.
While dealing with the timing reminder in Camille and with the fluctuations of AJ and fragile sloming, the Yvonne resort takes an unexpected manner when it is exposed to biting through ticks and begins to try fever and alternately alternately tiredness and hunger. From there, the film takes some of the main fluctuations in the world of the timeline – a strange time separation – in addition to the motives behind the arrival of AJ and Isaac, and Camel’s readiness to host them alongside a friend who clearly needs some time alone.
The images similar to the fictional story that followed this are clear at the same time in its sub-text about the outdated gender traditions and the biological function-with a modern modernization of the familiar about the comfort of strange couples in this dynamic-but in the end of the end. Her fears of the standards of maintaining the surface live, but regardless of the extent to which in pollution of a form, its effect is rarely escalated accordingly. It remains, mostly, note.
However, most of it succeeds in its cartoon design whenever the iPhone is served either with a bowl of gay treatment porridge or delicious cooking treatments, and loud loud chewing and shaded ends in the audio clips (these audio clips are mixed in almost each path, and may be the result and the film). Either Yafon feels disgusting from what is fed or becomes a subject of disgusting the camera while disturbing it, Zhao sells the transition in fun ways.
This visceral weakness, as a result of the iPhone mourning, is the most interesting film, which OHS reveals with a material hand through its strange sense of atmosphere. There is a fun mysterious for “Where” of everything too. Camel’s tone seems to be from New Zealand, and while other characters in North America appear, there is no real news where this suburb is located in the world, as if they were from time and space. However, the total strengths mentioned above is a successful tone, rarely finding itself a translator in the form of a successful temptation, not to mention one supported by influential topics. It is definitely coherent, but in the same way as a coherent academic paper, while it is somewhat dry. When the iPhone begins to hear things, see things and Cameel clashed in the presence of hidden motives, little of this madness comes (narration or aesthetic), which leads to the film plateau, rather than its ability to express its uncertainty.
As it enters the final verb, revealing what is going on (and why) is rarely presented with the weight required to bring it to the house either as a straight drama or social satire. It plays more like an improvisation project that is around the nominal world of “Gharib” without becoming more polished or tending to completely tilt in his anomalies. Parts of its plot floating in the air are often left until their function clicks in place, through interpretation or public symbolism.
Certainly the basic metaphors of the film will be interpreted and understood, but it is unlikely to feel it. Despite all its ongoing concerns, whether through the mysterious closest to its representatives that make its strange lands or through its long shots and sometimes absorbing from the wild (with the permission of the cinematic filming of OHS), “the true beauty of existence by a mark” is ultimately on its profiles. It exchanges its inherent charm in order to cause its strength around the detained bullets and the noble greatness that, and it is paradoxes, to transfer it emotionally.