Alpha Male Smith and his Beta, Keith, move to take over a local community. All intellectual pretence and identity politics have been stripped out, women now only get impressed by mating dances and acts of possessive violence, regimented social structures, and family groups, forever subject to hostile takeovers from the next, highly sexed alpha male.
It won't be for everyone, but its oddly complete universe extends to imagining what primate sitcoms and radio might be like, while a rich strain of bathos yields, among other treats, the cinema's most poignant use of battenberg cake.
Oram's first-feature proves consistently intriguing and reliably amusing. The performers are beyond game, with the cream-of-the-British-comedy-crop cast investing proceedings with energy, conviction and variety.
Steve Oram's directorial debut, Aaaaaaaah! (2015), comes on like a collaboration between Dogme '95 and Chris Morris. It's hard to think of another film closely like it in British cinema. It really is that out-there and singular.
Aaaaaaaah! is [Steve Oram's] debut feature film as writer and director, a transgressive situationist comedy which is also one of the great British films of the new millennium. Explaining why is not going to be easy.
A mesmerising parallel world in which all intellectual pretence and identity politics has been stripped out. In this way the movie reflects our ridiculous society back to us, sans the bulls**t.
this primal scream of a movie, equally experimental and outrageous, will leave you open-mouthed and no less speechless than its pithecoid personnel (who also like to watch dumb shit on their screens).
It's of great commendation to Oram that he's created something so unorthodox and avant-garde amidst a cinematic landscape palpably devoid of originality.
