A FILM ANALYSIS BY: DROBOIVS25 GROUP 10

Film Analysis: I’m You, Dickhead
Directed by Lucas Testro / Writer: Larry Boxshall

I’m You, Dickhead” is a fast-paced and hilariously twisted Australian short film that blends time travel with self-inflicted chaos. Clocking in at just over 10 minutes, the film manages to pack in sharp humor, clever storytelling, and a subtle critique of narcissism. It is a perfect example of how a short film can leave a strong impression with minimal runtime and maximum wit.

STORY AND THEME

From the very beginning, the film grabs the viewer’s attention. The absurd premise a man who travels back in time to improve his love life by coaching his younger self hooks the audience right away. The film doesn’t spend time on elaborate setup; it dives straight into the action, allowing the comedy to unfold rapidly. As the story progresses, each attempt to improve the protagonist's future leads to greater chaos. This escalating series of events keeps the viewer both engaged and entertained. Despite its humor, the film manages to deliver a central message: the dangers of selfishness and the futility of trying to control everything, especially one's past.

CHARACTERS AND PERFORMANCES

The characters, though broadly sketched due to the short format, are well-defined and entertaining. The protagonist stands out as both relatable and absurd a man so desperate to improve his life that he becomes his own worst enemy. The chemistry between the protagonist and his younger self is particularly engaging, filled with tension, competition, and irony. The actors deliver strong, believable performances that match the film’s tone perfectly. Their timing and delivery amplify the film’s comedic rhythm, especially during scenes where both versions of the same character interact.

CINEMATOGRAPHY

Visually, the film is clean, well-lit, and cleverly shot. The cinematography is particularly effective in scenes where the protagonist faces his past selves, using split-screen and mirrored shots to highlight the absurdity of his situation. Lighting and color choices keep the mood light and playful, supporting the film’s comedic tone. Every shot feels intentional, adding to the compact and polished feel of the production.

SOUND AND MUSIC

The sound and music also enhances the storytelling. The soundtrack subtly underscores key moments without overshadowing the dialogue or action. Sound effects and dialogue are well-balanced, ensuring that every comedic beat lands. While the score may not be emotionally memorable, it perfectly complements the pacing and energy of the film.

 

OVERALL IMPACT

Overall, “I’m You, Dickhead” exceeds expectations for a short comedy film. Its greatest strengths lie in its witty script, clever use of time-travel tropes, and its ability to convey a strong theme through humor. Although character development is limited due to its format, the film doesn’t feel lacking. Instead, it embraces its limitations and uses them to its advantage, focusing on fast storytelling and sharp dialogue. The film evokes strong reactions mainly laughter, surprise, and a bit of reflective discomfort at how easily we can become our own worst enemies.

Setting:

The film unfolds in a modern urban setting, likely Australia, and juxtaposes present-day life with manipulated moments from the past. The core setting is domestic and familiar apartments, streets, and casual interiors which grounds the science-fiction concept of time travel in everyday reality. The use of minimalistic, yet efficient sets helps accentuate the character-driven nature of the story.

Protagonist: The central protagonist is a discontented, average man whose dissatisfaction with his romantic and social life drives the plot. His name is never the focus his role is symbolic: the self-centered modern man obsessed with improvement and validation.

With a Specific Objective or Goal: His explicit goal is to return to the past and train his younger self to be more attractive and confident, particularly with women. The objective is framed around self-improvement, but at its core, it is shallow and egocentric he desires success without the effort or growth normally required.

Antagonist with a Context of Set Principles:

The primary antagonist is, paradoxically, himself. His younger self, once influenced, develops his own agency and begins acting out of alignment with the protagonist’s original intent. This younger version operates with a different moral compass, increasingly diverging from the original's desires. The conflict becomes ideological over control, identity, and agency. This internal antagonism elevates the narrative complexity significantly.

 Willing to Struggle: Indeed, the protagonist is willing to endure the convoluted consequences of time manipulation. He repeatedly travels back to correct his mistakes, despite the risks, complications, and the growing instability of his own identity and timeline. His struggle is both logistical (against temporal paradoxes) and existential (against his diminishing self-worth and relevance).

In a Situation of Win or Lose It All: Eventually, the protagonist realizes that each change he makes backfires. The younger versions become more successful than he is, and he begins to lose not only control but his sense of self. He is trapped in a dilemma: either continue fighting himself and spiral into irrelevance or accept that he cannot perfect the past. The stakes are total annihilation of his identity.

Until Differences in Principle Are Resolved: The resolution arises when the ideological divide becomes insurmountable. The protagonist must confront the reality that the person he tried to create (his younger self) no longer serves his interests and has surpassed him. The conflict between their principles self-centered manipulation versus autonomous self-determination reaches a definitive break.

Turning Point: The turning point occurs when his younger self not only refuses to cooperate but actively undermines the older version. It becomes evident that the protagonist has lost control over the experiment. This marks the collapse of his initial goal and shifts the trajectory of the story.

Climax: The climax is a chaotic convergence of multiple versions of the protagonist, all attempting to assert dominance and correct their pasts. The scene descends into absurdity, emphasizing the dangers of unchecked narcissism and the impossibility of fully controlling one’s fate. The climax is both comedic and tragic each self-trying to erase the others.

Resolution: In the end, the original protagonist is sidelined his actions undone by his own interference. He is metaphorically (and perhaps literally) erased. The resolution underscores the futility of selfish time manipulation and delivers a poignant message: identity, growth, and self-worth cannot be outsourced or artificially constructed. True change demands present-tense effort, not retroactive meddling.

Link to watch the full film: https://youtu.be/iAUjt7KWp9A?si=sdj_LgbjQx5_bF33
 #VisualStorytelling #IVS2025 #UniMACIFT