Directed by Natalie Bailey and written by Lou Sanz, self-appointed Mother of the Year, Ronnie has given her daughter Audrey everything, so when Audrey selfishly falls into a coma, Ronnie has no choice but to keep their dreams alive by assuming her identity. Starring: Jackie van Beek, Jeremy Lindsay Taylor, Josephine Blazier, Hannah Diviney, Aaron Fa’aoso, Fraser Anderson and Gael Ballantyne.
There are fairly few times where going into a film knowing less isn’t the better move but with Audrey it might be helpful to have a decent idea of what you’re in for. Often, you’ll find a comedy touting itself to have a dark sense of humour and typically, it’s not that dark but Lou Sanz is here to prove the exception to that rule. So, if you’re not at all prepared, Sanz’s writing will likely pack a gradual but self-assured wallop right to the face with its surprisingly twisted story.
That’s where Audrey will divide audiences because there’s this very strange personality at work, not just with the characters but the film as a whole. It almost gets under your skin with the way that it slowly reveals itself to be macabre and bizarre. It’s not an immediate reaction, it’s one of those moments where you sit there, give it a little time to sink in and think, okay that is messed up. Granted, some of it is just plain black comedy handed straight to you but when you piece it all together it really is a warped tale.
It’s also very funny, not every comedic note may hit as strongly but with Jackie van Beek at its heart, there’s a consistent, enjoyable sense of humour at work. She’s a hugely talented actress and also a curious one for how many different layers she can fit within such a perky, confident package. However, when it comes to the comedy, it’s Hannah Diviney who’s the real standout here. The sarcasm and self-deprecation that she brings to Norah, on top of her fantastic F you attitude, is so much fun.
Putting her alongside van Beek and Jeremy Lindsay Taylor who plays her father, was an excellent piece of casting. Taylor similarly gives a great performance, his Cormack is an unusual man and those eccentricities work perfectly alongside the rest of the family. Whereas Josephine Blazier gives us plenty of sociopathic, selfish and social-climbing vibes.
She does a superb job of making her titular Audrey feel utterly dislikable which is hugely beneficial to Audrey, almost feeling like a character pulled from a Gillian Flynn novel. There’s really a great cast at work but special mention has to go to Aaron Fa’aoso who brings an unexpected sweetness and flirtation which is entertaining to watch.
Interestingly, Natalie Bailey has a mixed success matching the unique personality to Audrey’s story. It leans more towards the comedy for the most part, when it would have been fascinating to see it truly embrace a thriller or enigmatic edge. That balance leaves things a little uncertain, it does connect with the beyond offbeat side to it but it’s not bringing everything together and accenting the darkness. With the exception of its final scenes where it tries too hard and employs a heavy-handed use of effects which undercuts a pivotal moment.
Audrey goes a lot further than you might expect, it really goes all in on the black comedy for something surprisingly dark and twisted. It meshes this optimistic, motivated personality with a chilling determination which is honestly, a unique experience. The cast are excellent, especially Jackie van Beek and Hannah Diviney, who as a relative newcomer, absolutely knocks it out of the park. Not everything works, there’s something not quite gelling about it but it’s funny and highly original.
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