When Power Dynamics Become Comedy

Read Time:5 Minute, 49 Second

MOVIE REVIEW
French Lessons
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Genre: Comedy, Satire, Short
Year Released: 2025
Runtime: 8m
Director(s): Kyle Garrett Greenberg, Anna Maguire
Writer(s): Kyle Garrett Greenberg, Anna Maguire
Cast: Kyle Garrett Greenberg, Arran Shearing
Where to Watch: Following premieres earlier this year with Americana, Miami, Chattanooga, Lighthouse, and more, FRENCH LESSONS will make its French language premiere next in Canada at FCVQ in Quebec City this September, followed by SXSW Sydney in October, with additional Fall/Winter festivals to be announced soon. While waiting to see French Lessons, anyone who might want to learn more about the film and/or speak French like a French person can reach out to STUPID CO by calling +1-833-LRN-FRNC or emailing iamreadytolearnfrench@gmail.com

RAVING REVIEW: The premise of FRENCH LESSONS sounds deceptively simple: two men meet in Los Angeles for a conversation before leaving for Cannes. Yet in its eight-minute runtime, the short becomes an exploration of the endless tug-of-war between commerce and creativity. Directors Kyle Garrett Greenberg and Anna Maguire position the film at the intersection of satire and genuineness, offering a brisk but layered reflection on how ego, ambition, and industry can make even a simple meeting feel like a battle of wills.

Greenberg, who also co-wrote the short, plays the shrewd film executive — polished, controlled, and deliberately mysterious. Opposite him is Arran Shearing as the eager filmmaker, whose desperation for recognition bubbles beneath his exterior. Their face-to-face is part comedy of manners and part interrogation, with every word carrying a hint of self-preservation. The tension is not violent or overtly dramatic but subtle, conveyed through glances, pauses, and conversational barbs that speak volumes about the insecurities of both characters. It’s the kind of interaction everyone will recognize: a dance where one person holds power, and the other hopes to borrow it.

At its core, FRENCH LESSONS lampoons the performative aspects of industry culture. The decision to market the film as the “crème de la crème of Cinéma Vérité” is tongue-in-cheek, immediately signaling that Greenberg and Maguire are having fun with the deception of authenticity. The Los Angeles setting is a symbolic space where ambition thrives and masks are worn. That the characters are about to jet off to Cannes only underscores the absurdity: every conversation, even in a coffee shop, can feel like a negotiation tied to the glamour of international festivals.

The satirical edge is sharpened by how the short play with bilingual identity. While mostly in English, it sprinkles in French phrases not only for humor but also as commentary on the industry’s obsession with prestige. Speaking French here is less about communication and more about performance — a way to elevate oneself through style rather than substance. The film winks at the audience, reminding us how quickly language, culture, and branding get co-opted into the pursuit of credibility.

Greenberg and Shearing deliver performances that walk the tightrope between caricature and believability. Greenberg leans into the executive’s detached demeanor, embodying a man who has mastered the art of saying very little while maintaining complete control of the conversation. Shearing brings vulnerability and awkwardness to the filmmaker, showing how creative hunger can blur into self-doubt. Their chemistry works because it doesn’t feel staged; it’s as if the audience stumbled into an actual meeting. This naturalistic tone strengthens the film’s satire, keeping it grounded even as it pokes fun at the pretensions of the business.

The film is understated but effective. By stripping the setting to a minimal space and relying on tight framing, the directors focus attention on body language and dialogue, allowing them to convey their message. This simplicity underscores the point: power in the film industry isn’t about grand gestures but about subtle manipulations.

One of the strengths of FRENCH LESSONS is its brevity. At only eight minutes, it wastes no time on exposition. Every line is purposeful, and the short ends before it risks overstaying its welcome. This mirrors the reality of short films themselves, where creators must capture attention in a crowded room. Yet, paradoxically, the film prompts viewers to consider the echoes of that conversation — the unspoken dynamics, the silent judgments, and the universal question of whether art can thrive in an environment defined by money and status.

Placed within the context of Greenberg’s earlier project HI! YOU ARE CURRENTLY BEING RECORDED, the short takes on even more significance. That film’s experimental distribution — looping VHS and an interactive website — demonstrated a willingness to push against conventional models. FRENCH LESSONS continues the spirit of innovation by holding a mirror to the industry itself. It’s less about disrupting format and more about dissecting content, questioning whether authenticity can survive in a culture where every interaction becomes transactional.

The short speaks most directly to those familiar with the inner workings of film festivals, executives, and the struggles of independent filmmaking. For general audiences, some of the satire may feel too inside. Yet, the dynamic between Greenberg and Shearing still works as a simple study of power imbalance, ensuring that the film’s appeal isn’t entirely locked behind industry knowledge.

Ultimately, FRENCH LESSONS is less about learning French and more about learning how people communicate when the stakes are high. It’s about posture, tone, and silence as much as dialogue. In just eight minutes, Greenberg and Maguire capture the awkward beauty of an industry where everyone wants something, but no one admits it. For viewers, it offers both laughter and a knowing nod: yes, the business of cinema is absurd, and maybe that absurdity is exactly what keeps it alive.

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[photo courtesy of STUPID CO]

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