MM Shorts – The Third Life

Released: 22nd September 2024 (Youtube)

Director: George Earwicker

Starring: Rosie Frascona, Jacob Mellers, Alfie Rose

‘Love always needs somewhere to go’. As Alfie Rose’s boundlessly inquisitive son races past a globe-like feature with an arrow piercing through it, in the opening credits of this George Earwicker offering. Whether it’s through contemplative observation of its sweeping landscapes elevated by Lewis Lenk’s score or its both visceral and eloquent outpourings of affection. Short film ‘The Third Life’ aims straight for the heart, succeeding in wounding you with its bracing beauty.

1916 Dorset. The vastness of its picturesque spaces a contradiction in the eyes of its inhabitants. Emotions contorted by a wealth of stifling formalities, mirroring the twisted branches of the woodlands they assemble in. Yet it doesn’t completely inhibit their curiosity. Told initially from the perspective of The Boy (Alfie Rose), he bears witness to a startlingly intimate exchange between his elegant landowner mother (Rosie Frascona) and a strapping tenant farmer (Jacob Mellers), that awakens intense feelings for all involved.

But rather like the gate The Boy walks through that suddenly propels him into this adult world. Do we simply lock those up and remain confined to societal norms? Or let them flow freely like the sea, allowing those waves of emotional clarity to wash over and liberate?

The unflattering bear carpet that dominates a fireplace, reinforcing how rabid such high society can be. A long winding dinner table, exacerbating this sense of inadequacy when adapting to such confines. Through the collective efforts of Frances Robson and Elena Lenk’s impeccable production design, coupled with Earwicker’s tender direction. There is a poetic quality to ‘The Third Life’ in how its protagonists convey how they are left bitterly cold, almost owned by this ‘machine’ they are mere cogs in, stunted by what is imposed upon them.

The alternating of high and low angle, as well as long shots fittingly solidifying how out of reach their aspirations have felt, but also in finding common ground within its clearly evident romance. Gradually drawing you in, warming up the colour palette with candles centre-frame, illuminating Meller and Frascona’s faces as they slowly bare their souls and bodies. Setting the stage for an extended bathing sequence that ignites that inner fire, enabling its graceful performances to burn brightest here. Beautifully dissecting the love they have given and received, whilst recognising the hefty price you can pay in the sheer imbalance of it all.

In transporting us back. ‘The Third Life’ encourages us to strip away possessions and expectation. To willingly bathe in our emotional nakedness, in order for our own modern loves to fully flow. Frascona’s The Lady may suggest this part of the world was made for winter. Yet you’ll be happy you basked in the glow of this gorgeous work.