Can we trust the words of a drug addict? What is fact? And what is 'the truth'? Initially, we see Oliver spending his days and nights getting high in an abandoned concrete structure with other addicts Renn (Emily Tucker) and Charlie (Alex Arnold). Their over-the-top chalky faces make them look like extras from a cheap zombie movie, removing them from a naturalised reality. This paradoxically grants them more humanity than most dramatised depictions of drug addicts, the make-up allowing the warmth of their personalities to shine through. Then, out of nowhere, Oliver has a job interview to attend - though it is sabotaged deliberately in comical fashion, an homage to Trainspotting perhaps? All of a sudden Oliver is back in the interrogation room pouring his heart out in a serious monologue about the tragedy that led to his addiction. A tonal pendulum swing. But because the audience weren't allowed enough time to get lost in the previous scene, instead of a four o'clock to eight o'clock swing, we have a five to seven. The desired contrast is thus not apparent and emotions become muddied and indistinct. From there the film dances between the realms of grief and extra-terrestrials. The narrative throughline is clear, but the audience continually doesn't get to spend long enough in any scene to connect with it, leading to a sense of tonal dissonance.

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The horror genre features stories that aim to elicit fear, suspense, and a sense of dread in its audience. Horror stories often explore themes related to the unknown, the supernatural, and the macabre, and they frequently evoke strong emotional reactions such as anxiety, terror, and unease.

The sci-fi genre, short for science fiction, features imaginative and futuristic concepts that are often rooted in scientific principles, technology, and possibilities. These stories delve into "what if" questions and can serve as a platform to address contemporary social, political, and ethical issues by projecting them onto future or alternate settings.

James Earl Jones and David Prowse in Star Wars: Episode V - The Empire Strikes Back (1980)

The short form refers to creative works characterized by their brevity and concise storytelling. Unlike full-length feature films, short films have a running time of less than 45 minutes, while TV shorts have a running time of less than 22 minutes.

Benedict Cumberbatch in The Wonderful Story of Henry Sugar (2023)

The thriller genre features suspense, tension, and excitement. These stories are known for keeping audiences on the edge of their seats and delivering intense emotional experiences by revolving around high-stakes situations, dangerous conflicts, and the constant anticipation of unexpected events.

A man plagued by his past, and crippling drug addiction, struggles to recall an unbelievable set of events during a police interrogation.

Emily Tucker, Alex Arnold, and Michael Southgate in Apocryphal (2022)

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Matt Ray Brown, Emily Tucker, and Michael Southgate in Apocryphal (2022)

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Kaysha Woollery, Emily Tucker, Alex Arnold, and Michael Southgate in Apocryphal (2022)

Apocryphal

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