Shellfish

Assuming the role of director, writer, and actor, Hunter Hopewell’s supremely quirky and sweet comedy/drama, Shellfish, is a work of sheer passion and creativity.

“People don’t know artists; they know their art.” This quote resonates deeply with Keller Reid (Hunter Hopewell), a young adult who, awestruck after watching an interview with filmmaker Alexander Ronolio (Brody Dolyniuk), garners inspiration to become a filmmaker. He longs to tell the stories he wants to tell, regardless of who watches. That is the mindset one must have as a filmmaker.

Keller clearly got the message as he began creating his own farcical videos with his brothers, Bailey (Mackenzie Amar) and Kane (Michael Yosef). Dressing up in wigs and costumes while guided by tremendously absurd concepts, the brothers have a blast shooting short films together. However, a tragic accident traumatizes Keller. Years after the incident, he still lives at home, unemployed, making stop-motion videos.

Played by an irresistibly animated Hopewell, Keller is resolute in pursuing stop-motion filmmaking. College-bound Bailey, who hasn’t spoken much since the incident, edits Keller’s films, while good friend Harper (Savanah Joeckel) stars alongside Keller. Possessing a huge heart and a wacky sense of humor, Shellfish reflects on the virtues and difficulties of filmmaking and the bonds between brothers and friends.

“…guided by tremendously absurd concepts, the brothers have a blast shooting short films together.”

With its swift pacing, frantic energy, and unpolished visuals, Shellfish is impossible to resist, especially considering its pure, honest intentions. The opening sequence is joyous and risible in its portrayal of low-budget filmmaking, poking fun at the claims often made on set when a workable mistake arises (“We’ll fix it in post.”) while showing the unbreakable bond between brothers.

Then, woefully, tragedy strikes, and the tonal shift is intentionally abrupt. Keller attempts to repress the past with stop-motion filmmaking. But his desire to film inanimate objects by himself is combatted by a new film contest that requires him to work with a cast and crew. This predicament causes him to work with eccentric characters who are supposed to be funny. Instead, they are simply exhausting and unneeded, taking up time that could have been put aside for Keller and Bailey, whose sibling relationship is a highlight. Expressing his frustration and nonplussed nature with very few words, Mackenzie Amar brings an unshowy magnetism to the role, interacting agreeably with Hopewell’s showier charm and unbridled exuberance.

With a script that understands the intricacy of balancing relationships and passions, Hopewell has firm control over the characters and the decisions they make. While it may seem selfish of Keller to put passion ahead of family and friends, he is written to be this sympathetic character emotionally overwhelmed by the past. So he subsequently seeks fulfillment from an art form that continually pushes his limits as a creator and human being. Through a woeful gaze, Keller’s assertive veneer gradually unfurls to expose a deep-seated sadness. That said, there are condensed plot progressions that neglect substantial exploration, such as a heated confrontation between brothers and a last-minute confession. Nonetheless, the actors are more than capable of conveying verbal and physical quips with the utmost efficiency, being momentarily speechless and endearingly maladroit in awkwardly comedic scenes.

Shellfish is a completely diverting indie comedy/drama with wonderful performances from its young ensemble. Maintaining a consistent vision with the fusion of hand-drawn and stop-motion animation, this is an absolute delight for anyone who adores filmmaking and the love that often goes into it. Filmmaking is a collaborative art form, and it is always an accomplishment when a group of people gets together to create something that is undeniably theirs.