Revenge is a desire that penetrates our lives almost every day. Perhaps in the smallest way, we exact revenge on co-workers, family members or relatives, sometimes only in subtle ways such as comebacks or quips. But when revenge comes to a matter of life and death, each individual has their own perception of justification.
If a person was to go by the Mosaic law of the Bible, which was overruled by Jesus’s presence, they would take the route as stated in Exodus 21:24, which is an eye for and eye and a tooth for a tooth. This is the motif of He’s Gone, a vivid perception of a vicar’s redemption with deadly consequences.
Where He’s Gone really excels is the sheer simplicity and, strangely, complexity of its nature. On one hand, you have a simple tale of one man’s justification: it is bold, brash and pulls no punches. It revels in the brutality of justice and does not hold back. On the other hand, you have a complex array of double-entendres: the vicious nature of the priest is contrasted directly with the innocence of a helpless child. And the fact that, if the priest exacts revenge in the form of murder, doesn’t that make him as bad as the person he has killed? These complex questions are left open, producing a tantalising piece that excites as well as provokes thoughts.
He’s Gone is outstanding regarding the roles in which the actors play. Not overbearingly, the priest played by Sidney Kean gives a performance of such raw emotion, it brings He’s Gone into a whole new dimension. This is paired with choppy scene changes and shaky cameras to give a wonderful effect of disorientation.
On the whole, He’s Gone ticks all the boxes; it’s an emotional journey of redemption with devastating consequences. Not for the faint-hearted, this short provides viewers with a wonderful spectrum of painful emotions and a brilliant display of a simple yet complex story.