Short Film Review: ‘It’ll Be Okay' (2023)
It’ll Be Okay has such a clear central vision, making the short film complete and gratifying. Without diving into spoilers—because that would dampen the experience—the opening frame serves as gentle foreshadowing before unveiling the harrowing plot
★★★½
Drama (25 minutes)
dir. Richard Russell
Starring: Allison Marie Rogers, Doug Esper, and Jacob Rayl
“Dan and Julia deal with the struggle of their only child turning into a monster...”
— Official Synopsis
It’s always exciting when filmmakers are able to twist a certain genre and bend it in another direction; allowing for just enough tension to garner an emotional response without entirely snapping in half. That’s exactly what writer Allison Marie Rogers and director Richard Russell have done with It’ll Be Okay. Somehow, the cast and crew cultivated a heart-wrenching tale of grief born from a disastrous monster situation.
It’ll Be Okay has such a clear central vision, making the short film complete and gratifying. Without diving into spoilers—because that would dampen the experience—the opening frame serves as gentle foreshadowing before unveiling the harrowing plot. Russell’s direction behind the camera is intimately close with the characters in their darkest moments. Mirroring individual shots, the frame solidifies just how close to one another this family is.
The filmmakers find interesting ways to utilize a central location inside of a family home. You really feel for Dan (Doug Esper) and Julia (Allison Marie Rogers). After all, it is through their perspective we learn about the ghastly family secret. Their son, Christian (Jacob Rayl), remains a secondary character but Rayl’s subtle performance allows for some dimension. Christian might, indeed, turn into a monster, but his innocence never fades.
While the performances are believable and grounded, some of the more dialogue-heavy moments can feel theatrical. This is a direct result of the editing technique, which holds the frame static for an uncomfortable amount of time (perhaps to really engross the audience in the emotion). A few seconds of trimming would lead to an overall tighter and more effective picture. Nonetheless, the overall presentation is consistent and evokes an atmosphere of true indie sensibility: a treat that is heavily underrated.
The music from Jesse Merlin Williams adds texture and weight to the drama on screen, especially the choice of song in the opening and ending crawl. Another prime example would be a rather euphoric sequence during a game of catch between the family—not only does the music fit perfectly, the choice of slowing the footage with a home video-esque flare allows for greater affect at the conclusion of the story.
It’ll Be Okay may mask itself as a monster flick, but its identity lies in the story of accepting loss before anything is actually gone. If you’ve ever had a loved one with a chronic illness, this film will be endlessly relatable. With astounding performances, a supernatural backdrop, and a firm sense of filmic cohesion, It’ll Be Okay makes for a must-watch short among an ever-adapting cinematic catalogue.