Starfish

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Aubrey is still reeling from the loss of her best friend, Grace. Having attended an awkward wake, she leaves early and assuages her grief by breaking into her friend’s flat in hopes of filling the hole in her heart, even if only for a while. Rummaging through the apartment and taking care of Grace’s abandoned pets, Aubrey eventually dozes off, but not before playing a mixtape left behind in a tape deck, and being visited by a benevolent vision of her beloved friend. Aubrey wakes to a world almost unrecognizable. Snow covers the ground outside, the streets are littered with wrecked and abandoned cars, fires burn unabated, and the few people left are running for their lives or hiding behind locked doors. With the help of a mysterious voice on a walkie talkie and a series of hidden mixtapes left behind by Grace, Aubrey seeks to unravel the mystery of what’s been unleashed, hoping that the journey will bring her some closure... and maybe save the world along the way. (Fantastic Fest)

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JFL 

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Englisch Starfish is by no means flawless, but with its originality and debutant overflow of ideas, it is a likable work conceived as an audiovisual parallel to the mixtape format. With its roots among the ranks of genre films creating surreal metaphors of the minds of their characters – such as Donnie Darko and Pi – it is, like the aforementioned classics, both deranged and intimate, thanks to which it is emotionally absorbing and fascinating for viewers. ()

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