COMA

COMA's format provides a perspective that allows the audience to personally connect with the broad cast of characters in a way that may be impossible to achieve with a more traditionally structured film.

The first-person nature of the film, the freedom from extraneous context, and the inherent passivity of the perspective character all prove to be remarkably effective techniques for encouraging viewers to actively listen and engage with the stories of each visiting character.

Visitors laugh and cry as they reminisce; some share their secrets, some look deeply into your eyes and tell you how much you mean to them, while others try to avoid eye contact and think only of themselves. All you can do is watch, try to understand each relationship, and accept the reality of a world that you can no longer play a part in.

Seeing each visitor return in their own time for their own reasons makes for a very well-paced film, giving the more dramatic scenes room to breathe by surrounding them with the mundane, amusing, or downright absurd (watch out for the banana man!).

Though the story is a tragic one, I left feeling a mix of emotions brought about by the various relationships I felt I'd been a part of throughout the film - relief, regret, joy, pity, mild irritation at the banana man... dire circumstances can evoke a wide range of emotions, and COMA uses this to great effect.

If you're fortunate enough to hear any of the story behind this film's production, you'll be even more amazed by the result. The carefully considered editing, thoughtful direction, and deeply emotional performances make COMA a must-see.

Where to start? Ok... Spithead and Coma are easily some of the best films I've seen in quite sometime. Substance over flash, improvisational but you would not pick it as the acting was high calibre. Both films show a thoughtful use of screen time and outdid expectations. Some independent films border into self-indulgent turgid territory but I can say without a a shadow of a doubt... That has not happened here.

Coma is certainly a Black comedy but lacks no laughs. For a film about being asleep I in no shape or form felt tired of the premise and found myself looking for a blooper reel. Y'know just to continue the journey.

Also let's make no mistake that Spithead is just as vital as Coma. Both Features have both humour and depth. Some may say Coma is uncomfortable (weirdly inspired) but after watching both films I can say nothing of the sort. Each film has layers that if viewed carefully show a slow burn reaching a fever pitch of cinema done right. I have no notes...

There is something wonderfully Aki Kaurismäki about COMA. The dark humour, the bleakness and the unashamedly honest portrayal of humanity. For an indie film made in Australia it is a welcome and refreshing change.

So, it may come as no surprise that the director Saara Lamberg is a Finn living in Australia. I think this is what sets this film apart, Saara's lived experience in Australia juxtaposed with her native creative sensibilities.

When I discovered that there was no script and the actors entirely improvised their dialogue, it made perfect sense, and they all shine, thanks mainly to this bold decision by the director. What you end up with is a multilayered film about grief, relationships and love.

COMA is raw, fresh indie cinema that throws out the rule book and it works on every level. It is authentic content with style.

This film is one of the most honest depictions of grief I have ever seen on screen, but with a good measure of dark comedy. That may sound surprising and strange, but it just makes the film feel more real and poignant. Filled with amazing committted performances from lead actors Janet Watson Kruse and Clio Leonard, playing two women whose lives collide together due to a hidden connection. Similar to bottle films like Locke (2013) and Buried (2010) the narrative is slowly revealed through the characters dialogue, leaving the audience to piece together the story for themselves. This creates a unique experience for each audience member as they leave the cinema with their own distinct interpretation of the story.

Coma is a very bold and unique new film. If you've seen any of Saara's other films you know that Saara is no stranger to challenging the norms of film-making and also challenging audiences. It tells the story of someone who is in a coma but can hear the outside world. It was filmed only within a few days, as part of an annual film-making event.

The story centres on a person trapped in a coma, yet fully aware of their surroundings, able to hear and see, but entirely unable to respond. The film places you directly in the, revealing experience as people talk around you. For 90 minutes, you witness the world from this locked-in perspective, as life goes on around the protagonist, often in ways that are absurd, awkward, and strangely moving.

The performances are fully improvised, with no script, just a shared vision brought to life by a cast of actors working collaboratively with Lamberg. What emerges is a raw, darkly comedic, and surprisingly human take on a terrifying concept. The humour is sharp, sometimes outrageous, but grounded in emotional truth. It's a testament to the cast's creativity that such improvised chaos can feel so coherent and affecting.

Coma doesn't follow conventional rules of filmmaking but that's precisely what makes it so engaging. It's immersive, provocative, and funny in all the right places. Saara once again proves that rules are meant to be broken if the story demands it!

This is a film that will challenge your expectations, make you laugh in discomfort, and perhaps leave you thinking long after it ends. I strongly recommend giving Coma a watch! Especially if you're craving something fresh, fearless and genuinely original.