Film Reviews


The sky is darkening on the second day of the Aesthetica Film Festival and York St John University is hosting the penultimate comedy screening of the day.

Director Marie Enthoven’s short film, Taxistop, displays a light-hearted perspective on mundane circumstances. Protagonist, Antoine, is preparing himself to give a conference in Geneva on his four stage key theory on compromising. As his train is delayed by strikes, he has no choice but to carpool. Insert the hippie that is Patsi, her psychedelic van called Flower, and her chicken called Power to the rescue. Along with a young couple and a guy in a black suit and greased-back hair, Antoine is ready to get to his conference on time.


Photo Credit – Marie Enthoven, Taxistop courtesy of Ezekiel and Aesthetica Short Film Festival.

The film pokes fun at impracticalities, trust, and the most important aspect, compromise. Routine aspects of work-life are metamorphosed into amusing matters, and ultimately this film gives a new perspective on such attributes. Compromise is the key, no pun intended, in the film. As a word thrown about in a work environment every day, an actual meaning is given to it towards the resolution of the short.

Colour scheme in Taxistop is very cleverly considered. Warm colours dominant the camera’s shot throughout the duration of the film. The most vibrant injection of colour comes from Catherine Salée’s character, Patsi. Salée’s character is dressed in primary colours and drives a bright orange and blue tie-dye van. Benjamin Ramon’s character, Gatan, contrasts the warm colours of Patsi by dressing all in black. Both Patsi and Gatan occupy the front seat of the van with Antoine at the back. Antoine begins on the right hand side of the screen when he first enters the van and later moves to the left. With Patsi representing the idealist perspective on the right and Gatan representing realism on the left, Antoine shifts between the two of them to symbolise Antoine’s compromising skills.


Taxistop is a fun and laugh-out-loud film. Although not dwelling too much on the subject, Enthoven foregrounds the strains in human relationships which creates a complex piece overall. Enthoven successfully creates a heavily symbolic piece of cinema in twenty-one minutes.