George Nelson’s ‘Close of Play’ is a taut British thriller that slices into the psyche of trauma. Unfolding over a single day, the short kicks off with a jolt – Kyle Cooper (Corey Wade) is mugged on his way to work, a metaphorical and literal blow that primes us for what’s to come.
Kyle is a respected employee, but today he’s shaken. Tasked with interviewing a job applicant, he’s blindsided when the candidate turns out to be Josh Kelly (John Lee Taggart) – the boy who tormented him at school. What follows is a psychological duel dressed as a job interview.
Nelson’s direction is sharp and deliberate. Jake Yearwood’s cinematography is perfectly composed, lending a cinematic-style polish to every frame. Black and white flashbacks of Kyle’s childhood trauma bleed into the narrative like bruises under the skin – quiet, painful, and unresolved. Corey Wade gives a standout performance, all internalized fury and vulnerability. His portrayal of Kyle is gripping – his psyche fractured, his anxiety ever-present, the years never having dulled the sting of those adolescent wounds.
Taggart plays Josh with a detached ease, oblivious to his past cruelty – until, slowly, recognition dawns. The tension crackles. It’s uncomfortable, almost unbearable, to watch Kyle try to hold himself together as the past rears up in real time.
The film is moving, harrowing, and thought-provoking. It asks big questions: Can we ever really outrun childhood trauma? And how do we reconcile with people who don’t even remember the damage they caused?
Then comes the climax – sudden, shocking, and devastating. You might feel the tension building, but you won’t see that coming. ‘Close of Play’ is a high-end, deeply affecting short film. Immaculately produced, brilliantly acted, and bold in its storytelling. An unforgettable watch.
