Directed by Oskar Nilsson and written by leading actor Chi Lewis-Parry, Alfred Pipkin (Alan Ford) receives an unexpected visitor (Lewis-Parry) delivering a mysterious parcel. Inviting the stranger into his home, Mr Pipkin is confronted with a haunting truth from his past.
As soon as you jump into (it’s getting late) Mr Pipkin, there’s a fantastic air of suspicion, setting just the right tone for what’s about to unfold. It’s one sign of how Oskar Nilsson makes clever choices to create a short that feels both modern and like a throwback to beloved classic cinema. It plays into that claustrophobic, intimate style that we don’t see as often in today’s cinema but when it’s done well, it has no need for flash, it’s simple and hugely effective. That’s what you get here, Nilsson chose a fantastic location, the cinematography (by Edward Hamilton-Stubber) is clean and sharp, poising these characters for their surprisingly charming game of trust.
The editing work (also by Nilsson) is another key part to creating a strong, tense and curious atmosphere. It creates a classic back and forth, push and pull, building as it progresses. Especially when it’s paired with excellent dialogue from writer, actor Chi Lewis-Parry. As well as another essential element which is often underappreciated, which is the sound work. Allowing Mr Pipkin to revel in this silence, to move the dialogue with precision is a big advantage.
Of course, all of that is boosted by the great performances from Chi Lewis-Parry and Alan Ford. The dynamic which these two build in this very brief, under ten minutes, window is rather impressive. Part of that is because it’s not your typical battle of wills, there’s a certain level of respect and mutual understanding which makes it compelling to watch. Lewis-Parry brings a very particular level of control and calm which is superb, while Ford provides his usual brand of charisma and bravado. They’re two men you don’t want to mess with, but in a much more calculated and precise manner.
(it’s getting late) Mr Pipkin is a satisfying, entertaining and clever chess match between two intriguing characters. The direction and editing from Oskar Nilsson are both excellent and Chi Lewis-Parry’s writing is on the money with some terrific dialogue work. It’s contained yet stylish, there’s a good ominous note and a brilliantly understated score (by Frank Bell). Nilsson and Lewis-Parry create a story that somehow can be both threatening and enlightened at the same time and it’s captivating to watch. On a side note, if you can watch this without wanting to shout, ‘What’s in the box?’ while doing your best Brad Pitt impression, you have impeccable self-control.
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