Ask someone to name a famous film quote and you’ll get a thousand different answers. From “Get away from her, you bitch” and “Here’s Johnny” to “You’re gonna need a bigger boat” and “The power of Christ compels you,” certain lines stick in the mind long after the credits roll. But what about facial expressions? That’s a bit trickier. And yet, some performances rely so heavily on subtle visual cues that a single expression can leave a lasting impact - Florence Pugh’s enigmatic smile in Midsommar (2019), Margot Robbie applying makeup in I, Tonya (2017), or Matthew McConaughey breaking down during video playback in Interstellar (2014). Dialogue matters, but as the saying goes: a picture paints a thousand words. In the case of Lukas Hassel’s short film Up Close, a face conveys even more.

 

There’s no need to rehash the usual debate about short films. The truth is, they’re a brilliant format for filmmakers to showcase their skill and experiment with storytelling. Audiences tend to be more forgiving of avant-garde choices in a ten-minute film than in a full-length feature. Just ask anyone who sat through Skinamarink. Shorts can also serve as launchpads for feature-length adaptations - Lights Out (2016), Saw (2004), and Smile (2022) all started this way. While the concept behind Up Close - a film composed entirely of head-and-shoulders shots - might be a tough sell for a feature, it absolutely works as a compelling short. That Hassel not only directs but also stars in this one-man piece is all the more impressive.

 

Hassel, an accomplished Danish actor, has appeared in genre films such as The Black Room (2017) and Slapface (2021), but is perhaps best known to general audiences for his turn as Elias VanDyke in The Blacklist. He has also helmed a couple of shorts too, including Into the Dark (2014) and The Son, the Father (2017) – both of which are solid short films. And Up Close further demonstrates his talent behind the camera as well as in front of it.

 

The film opens with a middle-aged man getting ready to head out with his partner to a dinner party with friends. Now we all know that these things can be a bit of a social anxiety inducing nightmare but Simon looks especially dispirited. We briefly see them in the car and when they arrive, Simon appears to have brightened up. But although he’s all smiles for his friends, we can see that there is something else behind his eyes. His friends and partner seemingly can’t sense it, but we can. So, we sit and wait. Will there be a revelation? Does he know something about one of his co-diners? Is he harbouring a dark secret? Will he snap or sit there hiding behind a mask of polite chit-chat? Well, you’ll find out…

 

The film’s success hinges on its bold structure, but more so on Hassel’s subtle, emotionally rich performance. He cycles through a range of feelings - grief, joy, uncertainty - with restraint and grace. When you’re staring at one man’s face for 12 minutes, it of course helps if that face is as handsome as it is here too.

 

The direction is also worth mentioning. There is only so much you can do when every shot is effectively a static close-up of a face. The camera may not move and we may be restricted in what we can see but the visuals are crisp and unflinching and Hassel frames his own visage with rich colourful backgrounds and a spectrum of lighting from neon, to intimate dinner lighting to deep shadows. There's an intimacy and intensity to this format that makes it a compelling and slightly uncomfortable watch. Up Close is a great example of a filmmaker embracing creative limitations and turning them into strengths.