Director/writer A.J. Moss presents a purified, distilled moment of conflict in his brutal short film The Last Ashlyn. In a parched, blistering desert, a man (Corbett McAllister) and a woman (Aizhan Lighg) enter a ceremonial circle for a duel to the death. They are dressed in battle garments vaguely reminiscent of feudal Japan, but this is just a nod to that culture. They are in a fantasy world of some description.
“…once he’s killed her, a new family name will be chosen…”
We do not know what led up to this stand-off, but clues emerge. The woman is mute, signing her intent to protect their Ashlyn family name. The man speaks, saying she’s betrayed the Ashlyn name and that once he’s killed her, a new family name will be chosen. As the katana blows begin to rain down, their daughter, Nebi (Sophie Jarque) breaks the circle pleading with them to stop the fight. They show her no mercy, enraged that she’s defiled the ritual. She is pushed away violently, in the very definition of tough love. It becomes clear soon enough that Nebi has been trained to fight in this style and is no mere child to be dismissed.
Moss delivers pulse-pounding swordplay, a driving soundtrack, and dynamic camera work in this beautifully choreographed turning-point moment in the life of this family where pride and honor are valued above emotional attachment. A viewer could enjoy The Last Ashlyn purely for the action or dig deeper and find a metaphor about division where once was love.
"…a purified, distilled moment of conflict..."
