VIA[DOLO] (2021) A Surreal Short Film by Daniel Keeble

I have seen a lot of feature-length films that are purposefully directionless, which does not always work in their favor. Sometimes, you want to see a film that is open to interpretation, but you don’t feel like slogging through a three-hour, mind-melting experience. This is one of the reasons that I loved Daniel Keeble’s VIA[DOLO] so much (you can watch the film right here). With a runtime of just 6 minutes, this short film packs all of the same absurdity, confusion, and intensity of a Yorgos Lanthimos or David Lynch film into a much smaller, easily-digestible package. 

The film opens with dreary, static images of grey apartment buildings and desolate urban landscapes. Within the first few seconds, I was already reminded of some of my favorite shots from Danny Boyle’s Trainspotting, in which the ugliness of urban life contextualizes the high-octane narrative. We soon encounter Kirstie (Lily Streames), a young British girl with neon blue hair leaving her apartment in the early hours of the morning. She is speaking on the phone about a wild party and sexual encounter the night before. However, the line suddenly disconnects and the conversation ends.

As Kirstie continues walking, she attempts to light a cigarette, but as she does, an invisible force pushes her. She appears confused and frightened but continues walking through the empty city anyway. As she walks, the invisible force persistently pushes her from one direction to another, until she finally collapses near a garbage bin in exhaustion.

Since it is such a short film, I will not give away too much of the plot. However, there are hints that keep the viewer questioning what is actually happening in each and every shot. A group of strange people approach Kirstie and say things that make you think they might know about the force terrorizing her. However, they do not believe that she can be saved. When they try to get close to her, Kirstie raises her hand to stop them, and a black mark forms on her palm.

Is Kirstie being stalked by an unseen monster? Is she cursed? Has she been chosen for some kind of religious or cult sacrifice? Or is all of this part of a bizarre fever dream? If you’re looking for clear answers to any of these questions, writer/director Daniel Keeble is not interested in providing them. Instead, the film is wide open to viewer interpretation. 

Personally, I saw the entire film as a kind of allegory of the human experience. We are born, and, to paraphrase Sartre, thrust into the world, instantly responsible for everything that we do. Yet, we must accept this responsibility in a world that is often ugly, confusing, and at times, absolutely terrifying. The brilliant soundtrack and audio effects work to emphasize the power and physical strength of the invisible force, while at the same time producing a sense of constant and persistent dread. 

Kirstie is just trying to walk forward. When forces outside of her control prove too much for her to handle, she says that she wants to return home, to a place of safety. Throughout the film, we see brief insert shots of what looks like flesh, accompanied by heavy breathing. It conjures up the safety and security of a fetus in the womb. But it is too late for Kirstie. She cannot return to the safety of the womb. She is pushed and beaten down by the world around her, and when she does encounter other people, they offer her no help. Instead, they make her feel even more alienated.

In the film’s final act, Kirstie is drawn toward a large body of water, though it is unclear if she is going there to escape the invisible force or is being drawn there by the force itself. Either way, she reveals that her blue hair is a wig, removes it, and shows her natural femininity. This also seems to be a prevailing theme in the film. Kirstie is not just a person being tossed in every direction, but a woman being pushed down by the world. The last sequence even resembles (to a certain degree) the final chapter of Kate Chopin’s The Awakening. Kirstie is not weak, but the world seems to punish her simply for being a woman. Eventually, she is so physically and mentally traumatized by the experience that she is willing to succumb to death, or whatever fate awaits her.

The film studies a wide range of visual and philosophical themes, from the isolation of urban life to the burdened existence of women (and humans in general). But Daniel Keeble’s VIA[DOLO] does not just succeed because of beautifully crafted shots and interesting themes. Like any great indie film, it accomplishes a lot through creativity and ingenuity, as opposed to a huge budget that affords limitless possibilities. 

Even with just 6-minutes to watch, it is a highly engaging and even heart-pounding experience. VIA[DOLO] is simultaneously absurd and beautiful, difficult and fantastic, confusing and frightening, all while being highly entertaining. In short, the film is a brief, intense, contemplative ride, and if you are a fan of the surrealism and absurdity of filmmakers like David Lynch, Via[DOLO] is a must-see short film. 

VIA[DOLO] (2021) Movie Rating: ★★★★½ out of 5

If you’d like to keep up with Daniel Keeble’s work, you can follow him on Instagram or check out other entries from the Essex Film Collective. VIA[DOLO] was included in the 2022 French Riviera Film Festival as one of only two entries from the U.K., but you can stream the film now via the 127 Films website. For more film reviews like this one, be sure to check out the Philosophy in Film homepage!