The film’s story offers an interesting premise, showing us the sense of destiny that comes with having an infamous parent. Maersk’s Andi is quietly driven, as if being pulled along by the forces that would soon consume her, even in the film’s early audition sequences. It’s a technically ambitious film, with director Christopher Greenslate experimenting with colours and framing formats depending on where Andi is at the current time. It makes for a pleasingly disorientating experience that, combined with well-timed jump scares, give you a sense of the lead’s descent.

The narrative doesn’t always gel with the many subtexts at work, as the message about all-consuming expectation can take precedence over plot. It’s not a major issue, but one can’t help but think what a longer running time might have done for the film, giving the story a slower build and Maersk’s many roles to take further shape. As it is, the lead is compelling in a film that gives her a lot to do, jumping between very different characters in a way that feels authentic.

Bananahead feels like the beginnings of an intriguing feature, speaking to toxic elements of the human psyche that all of us will have encountered, either in ourselves or others. As it is, the 24-minute thriller is an impressive tale that speaks to a lot more than silver screen stardom.

Bananahead premiered at the HollyShorts Film Festival, which takes place every August in Hollywood.