Filmed in eerie and mystical Super 16 film stock, thriller/drama and even magically tinged indie film Gracie is a notably different type of film, that may lack refinement in its acting and production values, but makes up for it with ample heart and attempts to stand out from the crowd.
A film that spreads a positive message of helping others and finding ones place in this big bad world, Gracie starts with us and its main character Gracie standing on Waterloo bridge in the dead of night, seemingly ready to jump and farewell her topsy turvey life, only to find herself looking after the distressed Ellie, who is on a quest to run away from some nefarious Russian goons.
An unplanned friendship starts to spring to life between these two lost souls, played with intent but not much sharpness by a game Lexi Strauss and Aurelie Amblard, as director Jane Alexandra Foster follows the women across the night as their venture together takes a dangerous turn when the goons chasing Ellie catch up to them.
Saying much more about the plot of Gracie would be a disservice to Foster, who crafts a fairly unique offering here, one that seems to be one type of film, only to become something else entirely when the end section begins to take hold.
Leading up to this point, Gracie's 70 minute run-time is most notable for Foster's intense and intimate filming and the moody score of Tandis Jenhudson, a score that perfectly encapsulates the tales odd tones and hybrid of genres.
Foster's film ends up being a highly valiant attempt at crafting an unpredictable and unique feeling film, one that almost feels from another era entirely thanks to its grainy and atmospheric Super 16mm footage, and while the film would've benefited greatly from a script fine-tuning and more professional acting turns, Gracie's important message and originality wins out.
Final Say -
Gracie is a thriller with a difference and with a focus on the human elements in its story, this memorably shot low-budget effort is worth your time.
3 knife wounds out of 5
A film that spreads a positive message of helping others and finding ones place in this big bad world, Gracie starts with us and its main character Gracie standing on Waterloo bridge in the dead of night, seemingly ready to jump and farewell her topsy turvey life, only to find herself looking after the distressed Ellie, who is on a quest to run away from some nefarious Russian goons.
An unplanned friendship starts to spring to life between these two lost souls, played with intent but not much sharpness by a game Lexi Strauss and Aurelie Amblard, as director Jane Alexandra Foster follows the women across the night as their venture together takes a dangerous turn when the goons chasing Ellie catch up to them.
Saying much more about the plot of Gracie would be a disservice to Foster, who crafts a fairly unique offering here, one that seems to be one type of film, only to become something else entirely when the end section begins to take hold.
Leading up to this point, Gracie's 70 minute run-time is most notable for Foster's intense and intimate filming and the moody score of Tandis Jenhudson, a score that perfectly encapsulates the tales odd tones and hybrid of genres.
Foster's film ends up being a highly valiant attempt at crafting an unpredictable and unique feeling film, one that almost feels from another era entirely thanks to its grainy and atmospheric Super 16mm footage, and while the film would've benefited greatly from a script fine-tuning and more professional acting turns, Gracie's important message and originality wins out.
Final Say -
Gracie is a thriller with a difference and with a focus on the human elements in its story, this memorably shot low-budget effort is worth your time.
3 knife wounds out of 5
