Freelance

The idea behind this movie was a good one and the performances are pretty good considering what they were given to work with, which wasn't much. This just didn't deliver at all. It's not scary , creepy, suspenseful or anything else. Some things happen and are never explained. The logic behind some of the lead actress's decisions in the film are absurd. There are scenes that add nothing to the film and some of these go on way too long. It also was a gigantic failure when it came to these supposedly disgusting snuff films she was editing as they weren't disgusting or believable. If she's supposed to be so repulsed by what she is editing, some money should have spent on actually making them look real and repulsive. I really wanted to like this because the idea that someone would take on a job that would end up haunting them was a good one, but this film doesn't succeed at all in portraying that.

Freelance is an indie gem waiting to be unearthed, with a standout lead performance and a confident director at the helm.

It's a dark, suspenseful thriller, with moments of genuine unease and alarm, as a video editor goes down a grim path when she accepts a mysterious new job opportunity - cutting snuff films.

The corruption of the protagonist, Katie, has echoes of Toby Jones' Gilderoy in the Peter Strickland's excellent film Berberian Sound Studio, in which a foley artist gets hired to create a soundscape for a Giallo film.

Mike Gerbino's tense script is masterfully transplanted to Melbourne by director John Belazs, who's love of the material is evident in his assured, sharp direction.

Katie was a compelling lead, and Nicole Pastor's performance was the film's standout rough around the edges, and authentic, and again - just a terrific anchor performance that gave the other actors, as well as the cinematography and direction, a solid foundation. She was relatable, even if her choices became more and more disquieting as she was sucked into the rabbit hole of snuff films. Pastor's performance richly portrays the slow, crushing degradation the events of the film has on Katie, as layer upon layer of her character's soul is peeled away and her desperation becomes all the more vivid.

Here, a small cast was an advantage, adding the growing claustrophobia of Katie's world. The times she does venture out beyond her close circle there's not much help to be found. Supporting actor Jordan Fraser-Trumble had a key role, and gave a stellar performance, ensuring one of the film's most important moments has the weight it deserves.

The plot was always engaging as it delved into a dark subject matter. There were twists and reveals, and a great scene towards the finale reminiscent of the basement scene in Fincher's The Girl with the Dragon Tattoo.

The film has a gritty, grounded quality that was grungy and potent, with costumes, sets and locations that felt genuinely lived-in. Melbourne itself became a character, the four walls of Katie's apartment felt constricting as the film went on.

David Chan's cinematography was tight and engaging, handling moments of stark silhouettes to scenes where colours popped with consummate ease. Many horror/thriller films can lean too much into a dark, desaturated look, it was refreshing for a psychological thriller to embrace colour at the right moments. The use of focus shifting too was particularly effective.

Freelance takes its audience on an unsettling journey, thanks to razor-sharp direction and a hauntingly raw performance by Nicole Pastor, it's a slow-burn thriller that transforms its low-budget constraints into an asset, creating a claustrophobic world that feels all too real. A must-watch for indie lovers or those looking for psychological horror with a dash of spice.

Freelance is a well-made film with a clever concept (though not entirely original), but its execution falls short.

There seems to be a mindset in Australia that storytelling doesn't require much thought or revision, as if most films go into production after only a few drafts. Freelance is a prime example of an underdeveloped script.

Visually, the film is well-shot, and the acting is passable. It held my attention, so it deserves credit for that. However, there isn't much to truly enjoy about this film. The lead actor's performance is average-not bad, but not memorable or special either. It often feels phoned in. There's a particular moment in the film where any real person would be hysterical, yet she barely reacts to a horrific situation. It's one of those frustrating moments where the audience finds themselves yelling at the screen: Why aren't you reacting?!

Supporting actor Jordan-Fraser Trumble once again delivers a below-average performance. Some moments border on bad acting and a lack of believability. Just as in The Cost, I didn't find the performance convincing.

The protagonist herself is confusingly written. She has a shaved haircut, calls everyone dude, yet is depicted as heterosexual. This isn't a comment on sexuality, but rather on the inconsistency of the character's personality-it feels like the film is pulling in two different directions.

The dialogue is simple but effective, and the story attempts to be clever with its twists and turns. However, some of these twists are predictable, while others feel underdeveloped or poorly executed. The first half of the film struggles with its identity-is it about an editor ashamed of her past work? Is she haunted by the project she's currently editing? Why does she remain so two-dimensional? The film also throws in random nude scenes that seem to serve no narrative purpose (perhaps more for the director's personal reasons). The character's choices lack strength and conviction.

Adding to the film's lack of credibility, the police characters behave in ways that feel completely unrealistic, as does the landlord. Neither portrayal feels remotely plausible.

There are also multiple plot holes. For instance, the main character is shown to be struggling for money, unable to pay rent, yet when her mother calls, she suddenly has money to send her instantly-only to be struggling again soon after and even considering doing porn. The inconsistency makes the story feel disjointed and confusing.

The film also suffers from weak sound design. Stronger sound effects could have heightened the tension in key moments. Additionally, the film lacks an impactful score-music could have significantly improved the atmosphere.

Ultimately, Freelance doesn't work as an acting showcase, nor does it deliver the scares or edge-of-your-seat moments expected in a psychological thriller or horror film. The protagonist is difficult to connect with, making illogical decisions like a child. The story is weak, failing to evoke any emotion, humor, terror, or suspense-elements that are crucial to this genre.

John Balazs' Freelance is a remarkable achievement in independent filmmaking-a bold, stylish, and deeply atmospheric psychological thriller. As someone who understands the challenges of indie productions, it's inspiring to see a film so meticulously crafted, with no evidence of the usual budget-driven compromises in production or performance. Instead, Freelance feels highly polished, confidently standing among psychological thrillers while carving out its own unique identity.

At the centre of this film is Nicole Pastor's unforgettable performance as Katie, a video editor whose descent into obsession and paranoia is as mesmerising as it is chilling. Nicole brings incredible nuance to the role, layering her performance with subtle touches that mirror Katie's unraveling state of mind. Even small details-like Katie's haircut, symbolising her fractured psyche-feel deliberate and poignant. What impressed me most was Nicole's ability to navigate Katie's slow descent, sprinkling in moments of vulnerability and obsession before plunging the audience into the chaos of her madness.

The film is also a testament to the creative vision of John Balazs. The cinematography, lighting, and sound design create a palpable tension throughout, pulling the audience deeper into Katie's fractured world. Influences like David Fincher's precision and the vivid stylisation of The Neon Demon can be felt, yet Freelance maintains its own voice, refusing to feel derivative.

Independent filmmaking is often a delicate balancing act, with limited resources making it difficult to achieve the full scope of a director's vision. But with Freelance, John Balazs and his team have crafted a film that feels rich, cohesive, and uncompromising in its ambition. Huge congratulations to Nicole, John, and the entire cast and crew for creating something truly special. It's a reminder of what's possible when passion and talent converge-and I, for one, can't wait to see what comes next from this team.

Went in expecting to take a familiar stroll into the murder-for-viewing-pleasure world of snuff films, led by a couple incompetent filmmakers, with the inevitable line, "Snuff films? Come on man, those aren't real haha" (contrary to the endless amount of videos floating around the dark corners of the internet featuring people murdering each other). But Freelance was one of the very rare, pleasant surprises.

Checks all the technical boxes, competently shot, solid performance by the lead, pretty tight script, and some genuinely creepy sequences and effective scares

Unfortunately, if you think about the plot for more than 60 seconds, not much of what's happening actually makes sense

We have a group entrepreneurial murderers running some sort of on-demand, homicidal Hulu. These enterprising young men are capable of literally getting away with murder and distributing the content, yet they outsource video editing... to a total stranger?

Besides the fact this creates an unnecessary mountain of digital evidence, I'm prett confident I could post an on Craigslist and have an actual serial killer edit a video for me within the hour.

Also, the plot device that removes law enforcement from the equation is so low effort, it's practically is a parody of itself

All that being said, there's lot to appreciate here. If youre looking for something genuinely creepy, a little more on the twisted side (and able the look past the nonsensical business model of our ambitious young psychopaths), this should be at the front of the line.