Short, sharp and brutally effective, writer/director Andrew Ionides’ The Quiet Zone is a lesson in taking a simple concept and maxing it out to its full potential.

After all, it riffs on a scenario most of us have probably come across at some point – that faint (and seemingly ridiculous) whiff of unease you feel when you realise you are the only person in a public place late at night.

Ionides elects for the late-night train and a virtually deserted station as the base for his antics, throwing us into the panic of Ella (Jessica Bayly), a businesswoman on her way home from work who finds herself alone in the quiet carriage (hence the short’s title).

Or is she alone – for Ella seems to find herself being watched by a villainous, creepy looking figure, who elects to throw in a haunting whistle for good effect.

Getting off the train and finding herself in a dimly-lit, staffless station with dark corridors and unhelpful ticket barriers for company, the question remains – is she being followed? And if she is, what do they want from her?

Admittedly, there is nothing particularly original about The Quiet Zone, and there are a couple of twists that aren’t actually that surprising.

But the whole package is so well done, from a great performance from Bayly to spot-on direction from Ionides to a memorably-haunting ‘whistle’ motif from the villain that it really doesn’t matter.

Gripping like a vice from the first second to last, you even get some gore thrown in for good measure and the eight minutes or so positively fly by.

The Quiet Zone is a great slice of genre cinema, one which will thrill and chill in equal measure.

Short Film Review: The Quiet Zone
4.0Overall Score
Reader Rating: (0 Votes)

About The Author

Simon Fitzjohn

Simon is a journalism tutor in London, who also just happens to be a movie fanatic, with a craving for the darker side of cinema. He has written two books, one on the horror films of director Bob Clark (2014) and the other on the history of the character Norman Bates (2015). His third book, on the work of British exploitation director Pete Walker, is due in 2017.