Denied the coveted set menu for dining alone at a famously exclusive restaurant, Frances strikes an unexpected deal with a stranger to access both the menu and a night of peace and solitude.
Set Menu
State
NSW
Genre
Comedy
Duration
12:48
Director Biography.
Lindsay McDonald is an Australian-born filmmaker and actor. A graduate of WAAPA's Performance Making course, the University of Newcastle’s Architecture school, and the Australian Film Television and Radio School (AFTRS) Masters Directing course, he unites his diverse abilities spanning music, acting, writing, and design to breathe life into absurd, dark, and comic screen works. Lindsay's AFTRS graduate short film Set Menu (2024) had its world premiere at SXSW Sydney and continues to screen at multiple festivals around the world. It earned a finalist award for the international 2024 CILCET Prize for best fiction, and had its international premiere at CINEQUEST Film Festival in the US. Lindsay's directorial sensibilities are informed by a practice steeped in play and satirical jest. He also proudly collaborates as a story developer, producer, and assistant director to bring other creatives' projects to life."
Director Statement.
What grabbed my attention during the pitch of this project was the absurdity of one simple rule: you are not permitted to dine alone. This sparked a visceral sense of fear, danger and excitement. A constant irritation (and I hope inspiration) to my parents, growing up I would always question the rules set up around me. A brother of three, I was the sibling that, and I quote, “changed the way we had to parent”. My curiosity in the establishment of convention and structure later birthed a love for the comic and absurd. Our protagonist, Frances, has found herself in a predicament defined by one rule; a minimum of two people are required to order the set menu. As this single rule is affirmed and adhered to, the world grows increasingly curious and off-beat. The convenience of a meet-cute romcom set up is ripped away almost as quickly as it is established. We then move through the space at pace as Frances struggles to acquire the set menu. With the dialogue self-conscious and anachronistic, meals that are obscure and sculptural in presentation, the audience is taken on a wild ride of unknown [pro]portions, steering away from traditional narrative and dipping into the absurd to allow for moments of pure visual pleasure. Bon appétit!











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