This particular slice of discomfort pie concerns a severely disturbed young man with a novel approach to body decoration and scant regard for basic medical principles. Suffice to say, tattoos play a major part in a movie titled INK; however, it is best to go into this deranged short as bereft of knowledge as possible and just throw yourself at the mercy of its twisted imagination.
The plot of INK is in fact relatively linear but once again it is the intricacy of its cinematic mechanics that creates the fierce intensity we have come to expect from this talented director. It really is a little Swiss watch of a short. Stewart has retained the services of his gifted crew from previous installments of the trilogy for INK and once again they prove to be consistently professional and frequently inspired. INK is never anything other than technically accomplished and as such soars high above its under $10,000 budget.
David McKeitch's sound design is by turns brilliantly subtle and nauseatingly rambunctious, and Alan McLaughlin's camerawork is precise, lean, and moody - stalking Remo Catani & Chris Goldie's atmosphere drenched sets with economy and purpose. Award-winning effects artist Grant Mason takes us on another excruciating tour of his practical make-up repertoire and strong stuff it is indeed.
The usual wince-inducing set pieces we have grown accustomed to from this body of work are present in sharpened spades. There will be many a tightly gripped chair arm amidst the sharp intakes of breath and diverted eyes once this cringe machine blazes its way around the festival circuit. Also to be commended here is the fine editing from Jim Lang. Taking the "Slow Burn " approach benefits INK tremendously as staring at It's glowing embers is just as engrossing as when it bursts into flames.