Directed by Katie McNeice and written by Barry Smyth, in a futuristic Irish motel where people go to end their lives, a receptionist finds herself falling for a guest. Starring: Juliette Crosbie, Jennifer Zamparelli and Geraldine McAlinden.
Undoubtedly, the first thing you’re going to notice about The Quiet Ocean is the cinematography from Carol Tormey, it holds this enticing, warm grain, while using a burgundy heavy palette which enhances that even more. It evokes a blend of romance, fantasy and dystopia which is perfectly matched to Katie McNeice’s direction and tone. Along with the great location choices, it taps into that classic element of sci-fi and fantasy which mixes traditionally styled or rundown hotels with futuristic timelines, and that contrast forever works well, this film serves as another great example of that.
There’s also always something so inexplicably satisfying about a film that starts with that quintessential, announcer style narration. It’s a style of voice over work that’s so lovingly familiar and really helps to set up the tone of The Quiet Ocean. It was a great move by Katie McNeice because the short has a fairly unique tone, so boosting the comedy right off the bat helps the audience to then take its darkness and casual quips about suicide in the way that they’re intended. As of course it’s a sensitive subject and having that considerate hand at the wheel keeps things moving smoothly.
Another element of that is the atmosphere which McNeice builds, it has this unexpectedly cheeky edge which complements the penchant for sarcasm in Barry Smyth’s script nicely. Unquestionably a big part of the success of Smyth’s writing is balance. Being able to have that strong vein of comedy, paired with romance, while exploring themes of mental health, disillusionment and the world being a wasteland requires the right amount of emotion and sympathy, which is achieved here.
Especially when it’s paired with such a subtle score and the excellent editing work from Oonagh Quinn which has a lovely eye for detail, and in turn pairs well with the intimacy of The Quiet Ocean. Another part of creating that engaging and entertaining balance is the performances. Juliette Crosbie and Jennifer Zamparelli create a convincing, charming connection. They have a quietly intense chemistry, one that compellingly comes from a place of vulnerability, loneliness and fear.
Zamparelli’s Maria has this intriguingly spiky edge, it’s quick witted but also feels like it comes from a place of self-protection and brokenness. While Crosbie’s Kansas is almost the entire opposite, she’s warm and friendly, and has this generous, open persona. That disparity between the personalities of their characters makes them work so well together, to see them spark something in one another. Geraldine McAlinden also provides a brief but appreciated comedic touch.
The Quiet Ocean is an original, unusual and creative short. Juliette Crosbie and Jennifer Zamparelli both give excellent, moving, vulnerable performances and build a compelling chemistry. Katie McNeice’s directorial style has patience and a nicely soft touch, while Barry Smyth’s writing is unexpected and holds a great blend of tones. There’s a lovely, very subtle score, terrific cinematography from Carol Tormey, strong editing from Oonagh Quinn and it cleverly doesn’t feel the need to try and establish the outside world, letting the audience use their imagination to fill in the gaps. All of which makes for intriguing and unique viewing.
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