R.E.M.ployed is a short film independently produced in 2025. It aims to discuss the struggles teenagers face regarding future job prospects and the pressure placed on them by peers, adults and themselves. The film could be categorised as a dramedy, balancing emotion with absurdist humour, creating a work of postmodern sincerity. Acting as a reflection of the director, the eclecticism of the film engages with the internet generation through intertextual references, portrayal of teenage pressures and the question of finality in the world of work.
Through experimentation in preliminary tasks, I decided I wanted to focus on the intersection between daily routine and the subconscious. Due to a previous interest in dreams, I found that inspiration came simply through coinciding stresses surrounding school. I thought it would be interesting for a character to explore future pathways via their subconscious fears and desires manifested through daydreams. I hoped to portray the binary opposition between reality and escapism, presenting a sort of fogginess and distractibility that I myself have experienced.
R.E.M.ployed aims to externalise teenage fears of growing up and entering the workforce while portraying relatable characters and scenarios. Despite some exaggerated sequences and personality traits, casting is grounded and realistic through the selection of highschoolers (aged 16-17) and real teachers as actors, creating greater authenticity within the film’s environment. R.E.M.ployed represents the pressure to make important decisions at a young age and the uncertainty of identity through depictions of escapism and overbearing authority. In terms of visual composition, the choice to portray adults as disembodied voices with talking heads just out of frame, conveys the disconnect between authority figures and the youth. Additionally, the intentional positioning of teen characters during the opening scene after the montage creates distance between the protagonist and her friends, mirroring feelings of inadequacy. The desire for purpose and belonging is common to both the bildungsroman genre and the experiences of adolescents. R.E.M.ployed functions as an homage to teenage angst and the journey to find oneself in the people around us.
A pattern of postmodern humour and stylistic visuals is evident across A2 preliminary tasks and R.E.M.ployed as a final product. Similarly, the AS short film CROOKS (a film I helped create in 2024) also utilises these concepts through intertextual references and experimental editing. Although the use of exaggerated colour in Goodbye Stranger (A2 preliminary task) is less prominent in R.E.M.ployed, the use of animation to portray a liminal headspace is comparable. By using a form of stylised rotoscoping, the internal conflict of characters’ is externalised via a visual in-between of thoughts and reality. Both short films focus on the inner conflict of the protagonist (i.e. commitment issues, self-certainty). They also feature recurring cast members (Wade Jiang and Tara Sabor). The two films could be interpreted as both existing within the same canon or as isolated narratives.
In terms of designing the film’s postcard, the use of minimalism and the intentional absence of imagery aimed to create a sense of enigma and mystique, while the choice of font was chosen to create cohesion with the short’s title card. On the contrary, R.E.M.ployed’s social media page reveals more of the film’s narrative and is presented more casually to audiences. As the medium of social media is more informal, promotion is more intimate than traditional advertising, especially as an independent production. The target demographic being teenagers and young adults influenced the style of posts and the choice of Instagram. Similar to the film, it utilises a mix of memetic humour and sincerity, balancing absurdity and earnestness. These three creative pieces together convey a sense of organised chaos, reflecting the ambivalence, beauty and turmoil of growing up.
R.E.M.ployed engages with audiences through the use of intertextual references, relatable thematic narrative and the casting of those within the film’s target demographic. For example, the scene featuring a parody of internet personality Mr Beast was popular with test audiences. Peer feedback was useful to inform certain editing decisions. Minor changes like cropping the chin from frame in the opening montage and tweaking the sound levels of dialogue helped to refine the final product. Although, the reactions of test audiences may have been skewed by the recognition of friends and teachers on screen, the decision to use real students and teachers helped create a more authentic portrayal of school. It could be argued the film’s dream sequences may come off as nonsensical to certain audiences, however, the sense of whimsy and absurdity plays to Gen Z meta-ironic humour, while the conventional coming of age narrative arc remains familiar to wider audiences.
Additionally, the use of social media as a promotional tool reflects the changing advertisement landscape and the tendency for young people to consume a greater proportion of media digitally rather than through traditional film and television. Social media allows for better direct engagement, particularly in conjunction with algorithmic virality. The choice of Instagram was largely due to its mainstream appeal to Gen Z consumers over Facebook or X/Twitter. In contrast, R.E.M.ployed’s postcard advertisement is a more traditional format. Although less accessible to wider online audiences, the physicality and tactile nature of a postcard could be considered more impactful. Furthermore, the integration of the film’s social media and website helps create greater convergence between digital and physical media. The postcard also features a tagline, evoking intrigue through the use of imperative, “stay awake for the present”. Likewise, the quote on the back of the postcard connects to audiences with the experiences of a reviewer, both praising the short and alluding to its main subject matter. NZ Herald is quoted as the source due to its reputation as a media outlet, providing greater credibility due to local audience recognition.
My research helped inform my final product by shaping the choices I made. I was more aware of the conventions of a short film and how I should structure the film’s narrative within a shorter timeframe. Researching other media products inspired me to take greater creative risks and create a more experimental work. For example, Everything Everywhere All at Once (2022) was a significant influence of the initial concept of R.E.M.ployed and its visual style due to the film’s exploration of parallel universes and hypothetical futures. Its emotional sincerity was also impactful to the final product. I was also inspired by I’m Not a Robot? (2023), particularly the use of soundtrack and location, emphasising atmospheric tension and narrative themes. Researching media products like Au Revoir Mon Morde (2023), Smiling Friends (2022) and The Wonderful Story of Henry Sugar (2023) also influenced specific creative decisions, like the inclusion of scenes without dialogue, the implementation of mixed media and the use of recurring cast.
Overall, R.E.M.ployed was a challenging and ambitious project. I felt I extended myself in pursuing a goal I thought was intimidating and arduous. Despite certain difficulties, balancing idealism and realism, perfectionism and time constraint, R.E.M.ployed is a compelling bricolage of expression and fervour, engaging audiences with emotional resonance and visual flair.