Paddy Kondracki

Paddy Kondracki’s work? Oh, it’s a wild little ride through the weird corners of indie film. You see their name pop up, you know you’re in for something a bit off-kilter, maybe a little dark, maybe a little funny in that way where you’re not sure if you should laugh or just stare. Take “Katie’s Post-Apocalyptic Vlog” for example. It’s not your typical end-of-the-world slog—no zombies gnawing on brains, no Mad Max desert shootouts. Instead, you’re stuck in a cramped room with Katie, who’s trying to keep it together with nothing but her phone camera and a handful of terrible snacks. She’s talking to an audience that probably doesn’t exist anymore, but hey, that’s not stopping her. The world outside might be toast, but inside? It’s just Katie, her spiraling thoughts, and a whole lot of awkward honesty. Then there’s “Depression Is Like a French Film.” That one’s got this artsy, moody vibe, you know? It leans into the clichés: black-and-white shots, long silences, people staring out windows while rain drips down. But it’s not just for the sake of it—there’s some real pain underneath, all wrapped up in dry humor and a kind of biting self-awareness. You’ll laugh, but only because you know exactly how it feels. And “Extreme Tabbing?” Man, that’s just pure chaos. Tabs on tabs on tabs, browsers stacking up like some kind of digital Jenga. It’s frantic, messy, and way too relatable for anyone who’s ever tried to get their life together via Google. Kondracki nails that modern anxiety, the feeling of being lost in your own computer, drowning in information overload. Honestly, their films hit that sweet spot between uncomfortable and hilarious, and if you’re into stories about people falling apart in the most relatable ways, this is your jam.