About
A SURREALIST MICRO SHORT FILM TRILOGY ABOUT TWO BEST FRIENDS WHO NAVIGATE THE ABSURDITY OF GIRLHOOD THROUGH GAMES.
BLURRING THE LINES BETWEEN IMAGINATION AND REALITY, EACH FILM PEELS BACK THE LAYERS OF GROWING UP — REVEALING DEEPER TRUTHS HIDING BENEATH THE SURFACE.
Pineapples:
Maisie buys a scratch card and pulls Isla into a game of What if: what if they won? Their fantasies spiral — a yacht, a castle, time itself — growing more unhinged with each turn. But the dream collapses into something absurdly mundane, and achingly real. A tender, surreal meditation on capitalism, childhood fantasy, and the cost of growing up.
Juices:
During a game of Alphabet juices — apple, beetroot, caper — two best friends drift between silliness and something stranger. As they creep toward Z, Maisie begins to prod Isla’s discomfort over her dad’s upcoming marriage to a much younger woman. The game slowly unravels, revealing Isla’s buried feelings in one final, gory twist. A surreal reflection on family, youth, and the grotesque toll of emotional repression.
Apples:
Maisie and Isla play a twisted round of Guess Who?, but the tiles are filled with men from first dates. Each flip of a tile reveals sameness, detachment, and the tired rituals of modern romance. What begins as a game slowly echoes something deeper — a surreal fatigue they can’t quite name. A darkly comic portrait of love, disillusionment, and repetition.
Though each film stands alone, together they form a poetic triptych, connected by tone, characters, and a ticking undercurrent of time, decay, and absurdity.
Fruitlets is influenced by filmmakers like Věra Chytilová and Ester Krumbachová, and embraces the anarchic, playful spirit of experimental cinema.
That influence runs throughout the trilogy — from the score, inspired by Eastern European gothic fairy tales, to the costumes made from traditional domestic fabrics like net curtains and cottons, to the world, which is pastel, uncanny, and dreamlike — deliberately bizarre.