Written and directed by James Livitski, an anxious woman (Danielle Pollari) races across strange, shifting landscapes clutching a tray of lasagna, capturing the humour and stress of trying not to be late for a potluck.
James Livitski opens Lasagna Run with an excellent shot choice, a really strong aesthetic and colouring, a great song choice and very nice title work, all of which are clear indicators of the quality of short film which you’re about to watch. Coming in at four minutes, that first impression is incredibly important and Livitski makes a fantastic one, and things only get better from there.
As Livitski’s directorial debut, this is sincerely impressive. There’s no wrong move with Lasagna Run, every choice adds to the film, and there are so many clever touches. One that stands out early is the very old-school score (from Ethan Myers), it adds such a bouncy, wholesome energy, reminding of the classic chaos of Keaton or Chaplin. The direction then adds a great amount of movement, leaning into its light mayhem in a warm, relatable way. Those choices, along with the editing from Matt Popowich (who also serves as cinematographer), help to really up the pace and give the film a strong momentum, it’s propelling itself forward in a satisfying fashion.
Then as it does moves forward, it gets more creative. The location choices, the layering, the progression, they’re all superb. They all serve a deceptively simple concept, portraying how having anxiety often means jumping through invisible hoops and over countless hurdles, simply to achieve a fairly simple task. It’s a brilliant piece of writing because it so seamlessly represents that struggle, and does it in a fun, entertaining, relatable way. It’s a smart choice to explore a condition that puts a crushing weight upon people, and can be extremely dour and bleak, by going in the completely opposite direction and using light-hearted, endearing humour.
A big part of that is also the performance from Danielle Pollari. It’s effortless to relate to and sympathise with her character. She does really well to add physicality to the role, without making it feel clumsy or overly intentional. Pollari manages to keep a natural air going, she’s leaning into that old-school comedy, without losing a modern edge. It’s something which is paired so well with the sharpness of the cinematography, having that stumbling and rushing contrasted against a clean, composed aesthetic is a satisfying combination.
James Livitski’s directorial debut is filled with style, creativity and confidence. Lasagna Run is funny, clever and brilliantly made. Its timing and progression are perfect, it’s short and sweet, its time is used efficiently and with an infectious energy. The cinematography, editing, score, direction and writing are all firing on all cylinders. It holds a charming personality, one that lovingly pays homage to the wider world of cinema. It’s a smart concept, it’s executed superbly and is filled with talent.
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