A same-sex couple are in bed, their eyes directed at one another. The pair are Gillian (Aoife Commons) and Lana (Cat Coyle). They have decided to confront David (Sean Donegan), the latter’s father, about their relationship. The supposed encounter comes with a twist: Gillian is to meet him alone, pretending to be Lana. In this way, Gillyfish is a work about identity and conflict, set against a queer backdrop.

Without heading into spoilers, it is worth noting that the ending – which may upset viewers in its abruptness – works precisely because the film is as short as it is. Anything grander, and the trick might not have succeeded. Ask any magician: a successful twist lies in economy, not exposition. The longer it takes to reveal what needs to be showcased, and the less likely it will happen.

Shot in Ireland, Sellman captures a bucolic landscape as untameable as the personas on screen. Much of the foley work centres on the sounds which are heard by a river: insects, pauses, grass shakes. The silence cautions the characters to the seriousness of their words; green colours a world where nature and person are one. The director, who incidentally penned the story, conjures a world vividly drenched in texture and timbre; this is an Ireland dripped in beauty, not pathos.

Happily for a queer-oriented project, the optimistic design utilises a number of primary colours. True, there are dark themes in the storyline, but they are balanced by good lighting and intriguing, hopeful camera angles. Much of the LGBT discussion is downbeat, and the creative individuals tend to follow that in their overview of the dismay.

Commons is a strong actress, letting confusion, contrition and ceremony cross her face. She interrupts David’s meal to speak on Lana’s behalf, before the two engage in a dialogue that’s almost as revelatory, albeit as opaque, as the one enjoyed in the opening frames. When Gillian experiences disappointment, it is splattered all over her face; when she senses that the chat will have consequences, it emanates in her eyes skirting forwards and backwards in feverish fashion. Donegan also delivers a very insightful performance as a man lost in his thoughts. When Gillian and David meet, their expressions shift from elation to confusion and back. Whatever the subtext, this is a strong work.

Gillyfish premiered at BFI Flare.