Fishbrain (2026)

-Written by Kyle Bain. 

Ori (Chloe Lea) is desperate to escape the monotonous life that she shares with her overbearing grandfather, yet she is not sure she’s strong enough to leave. When a plague attacks the fish in her lonely shoretown, Ori thinks that she’s found a way out. Fishbrain analyzes the consequences of toxic relationships and the lengths we’ll go to in order to get out. 

Dark and harrowing is the entirety of Fishbrain. This is a film that is meant to rattle the human brain and make viewers question the grotesque actions of everyone present in the film. Some of the heinous acts are lesser than the others, but each one of them holds weight, a weight that helps to drive the film forward and promote continued engagement from viewers. That aforementioned darkness, however, is far more than just a tool to ensure the narrative comes to life; the darkness acts as its own character, one that presses each of the other characters, both good and evil, looking to consume them and alter the entirety of the film. Lightness and darkness always play a role in helping to develop a film, but the level at which Fishbrain uses this tool is far more prominent than in most of the other films I’ve seen. 

As if the story wasn’t heavy enough, with only a few minutes remaining in Fishbrain, things shift even further in the direction of insanity, hostility, and death. The physical darkness begins to consume the set even further, and at times, it becomes challenging to fully understand all that transpires before you. Paired with the intentionally crippling darkness are a series of extreme close-ups that, similarly, make it challenging to decipher the entirety of what plays out on screen. This aspect adds to the mystery of Fishbrain, but what it does that’s even more important is take the pressure off crafting a life-sized monster that viewers will see in their entirety. Just a few simple tricks add depth to Fishbrain, but also make the lives of everyone involved significantly easier. 

One of the more interesting components of Fishbrain is the sort of mystery that exists from nearly the start. Fishbrain opens to a screaming Ori, but viewers aren’t privy to what is causing this outburst. As the narrative drives on, viewers are provided minor glimpses into what may have caused Ori’s emotional tirade at the top of the film—though the complete truth is never fully revealed. I feel that it’s a compelling choice to keep viewers in limbo, as they attempt to discern the details of Ori’s past. I’m a fan of an ambiguous ending, one that leaves things open-ended and up for discussion. However, as much as I appreciated this aspect of Fishbrain, I feel that the film’s reticence hinders the film to a degree. I would have liked a bit more clarity here, as it may have helped to wrap the film up more neatly. 

There’s a lot to unpack in this short film, and while there could have been a more effective way to deliver aspects of Fishbrain to viewers, it’s safe to say that Writer-Director Max Vanderspuy ultimately creates something accessible and fun, but incredibly harrowing at the same time. His ability to problem-solve is clear, utilizing a series of techniques that allow the film to extend far beyond its budget. I was on edge from the opening seconds of Fishbrain, and the film never relents. 

Written & Directed by Max Vanderspuy. 

Starring Chloe Lea, John Henshaw, Karen Winchester, & John E. Saxon. 

7.5/10 = WORTH RENTING OR BUYING