The Fly (2014)

The Fly, directed by Olly Williams, is a dark humour short film about the journey of a getaway driver and a fly stuck within the car during his wait for his friends to finish robbing a bank whilst simultaneously being caught within his own conflict with the fly. 

The use of cinematography within the film elevates this sense of insanity that the driver is consumed by as his agitation persists throughout the sequences, unable to defeat the fly. The close ups of the fly as well as the shallow focus used in the initial moments establishes this interaction between the characters, almost making it so that the spectator also feels as though they are fixated in the moment, unable to ignore the presence of the fly. This is further emphasised through the use of sound, specifically diegetic which perfectly accompanies this sense of growing tensions, the helicopter sounds, buzzing and car engine all reinforcing the hypervigilance the driver is experiencing in the moment. However, there's also a comedic dimension to their interaction as presented through the mid shot where the diver and fly are in the car which portrays how insignificant a situation they're actually in in comparison to the robbery going on however how trapped they are within it due to the driver's confinement to the car. 

The use of mise-en-scene, especially props and costume, further reiterates the characters position as a getaway driver and acts as a reminder of the reality that in the story the main conflict, one could argue, is actually happening within the bank. Consequently, this use of the mask in an attempt to kill the fly reminds the spectator of the drivers 'gangster’ disposition which is further elevated by his leather costume and the tonality and colder more ‘vintage; colour grading of the film. Once again, there's comedic value found between the driver and fly’s cat and mouse game, as the apprehension and agitation of the character reaches excess levels. The cuts to the bank door where the robbery is going on further heightens the intensity and build up of the scenes as the cuts get closer each time with the sound and screams from the bank appearing louder. 

The use of the rear view mirror as a reflection of the further deteriorating state and vexation of the driver also acts as a tool in which to foreshadow future dynamics between the fly and driver, inferring that the driver will not achieve his intention of killing the fly and will actually be the more damaged party. The intensity of the buzzing and diegetic sound whilst in close up additionally fixates the attention of the spectator on the insanity of the interaction and the relentlessness of the fly. 

After deploying and cutting the airbag, slamming on the horn multiple times, in his final attempt within the car to get rid of the fly, the driver ultimately ends up stabbing himself with the toothpick in his lip, a prop employed since the beginning of the film consequently discreetly having shown its significance. This close up of the driver’s wound consequently almost acts as the climax and ‘boiling point’ of the conflict between the fly and the driver, the last moment of partial sanity before his complete segue into insanity. The silence surrounding the scene other than the buzzing of he fly accompanies this feeling, the gun consequently not only cutting the silence within the sequence however also acting as a cue for madness of the character and the break in terms of mise-en-scene from within the car to the exterior, his insanity spilling onto the streets. 

The natural lighting and more mundane colour grading once again draw the spectators attention towards the fly and man and their game of catch, the camera shots covering all angles consequently presenting the exposure of their conflict and contrasting the distinctive noise of the gun with the silent streets. The sirens of the police cars and helicopters bleeding into the screams of the man almost create a moment of realisation where the the mid shot of him, exasperated, clasping his head on the hood of the car once again presents the reality that everything is because of the agitation and insanity that once small harmless fly caused an apprehensive getaway driver.

This edited, slightly slow motion shot of the bank robbers exiting the bank only to be greeted by the  sounds of the sirens, helicopters, and their driver resting across a shot up car almost acts as a moment of acceptance and reality setting in as the shot essentially displays the consequences and cost of the petty drama between fly and man, how the robbery has gone. After the camera cuts to the nonchalant yet apologetic shrug of the driver, the soundtrack begins and cuts to the title of the film, once again reminding the spectator of who the star of the film truly is, ‘The Fly’.