The afterlife is a trippy, wild adventure in Michael Cooke’s short Up/Down, where your soul’s transfer to Heaven or Hell (or as it’s referred to here, the “other place”) is decided by a corporate process. John Karlston (Michael Cooke) is one such individual sent to the in-between for judgement, and upon entering the office of an enigmatic angel (Hunter Bishop), he is shown a reel of his life’s journey.
Cooke’s latest follows his well-established approach to storytelling, which was evident in Curiosity, a film that shined a light on the Internet’s seedy underbelly. The writer/director and star has an affinity for stories with a provocative edge, where morality is all-encompassing, and Up/Down is no exception.
Led through a maze of endless halls and doorways, John is seated in a lobby, as if he were someone arriving for a job interview. His name is called, and he enters the main office, greeted by a friendly angel (or so he says). Questions upon questions are asked of John, who must answer two key conundrums: Did he have joy in his life? And more importantly, did he bring joy to others?
Karlston is a bit of a blank slate, as there isn’t too much that is revealed about him: a brief image of him lying on concrete is shown before he is whisked away into an ethereal purple room with religious murals. This leaves him in a tough spot as a character, as it’s difficult to compartmentalize him based on first impressions alone, but perhaps that ambiguity is where Cooke wishes to invite his audience to judge for themselves. Still, the implication of potential flaws, evil acts, or even a life well lived isn’t clear enough, leaving poor John as a bit of a passive protagonist. While this vagueness might cause some annoyance, there’s no denying that Cooke has created a short that is, at the very least, conceptually stellar. The symbolism is on point (the gravity pendulum never gets boring when shown on screen), the dialogue is well-written, and the moral questions are plentiful. Bishop’s angel is a breath of fresh air, lightening the mood for what is truly a life-and-death situation.
Presentation-wise, Up/Down is quite the technical triumph. Fiann Macleod’s lighting in particular stands out as being especially riveting, using various setups and color concepts to convey each spiritual plane. This complements the production design, which features bespoke locations that are both ethereal and relatable in today’s terms. All this helps keep the short fresh and captivating, along with a dose of solidly executed VFX work to tie it all together. It’s clear that Cooke is willing to push boundaries, and for a mind-bending film like Up/Down, it’s a welcome dose of ambition.
Visually stunning, Up/Down joins a very small club of supernatural indie dramas that put effort and care into their portrayal of the afterlife.
