Paul Williams @ Assembly Roxy

Mamiya 7 sees NZ comic Paul Williams take us on a gentle stroll through an Amélie-style escapade. His journey starts in Paris (naturally, although the 'why' isn’t explained) with a gorgeous video loop of the sunny Seine establishing the scene. Progressing into Wes Anderson territory, we follow Williams down a gorgeous Parisian side street and straight into his tale – of a second hand camera, the used film left inside and a once in a lifetime trip to LA.

Williams’ show is hugely aesthetic, from his cream linen suit to the rippling of peach satin on his projection screen. In one of his songs, Williams sings in the dark with only the video backdrop lighting him, a lonely shadow in his own story. Darkness is elsewhere too, in Williams’ bleak asides – 9/11 jokes and a dead dating show – as well as the punchline of his opening number, about it being his year, or else.

The darkness doesn’t always work, however: his song about abortion on a tiny keyboard feels particularly misjudged and leaves the room tense, whilst his pastel backdrop shimmers on. These sharp turns really rip you out of Williams’ central story, halting momentum and distracting you from his slow-burn adventure. 

The reveal of Williams’ mysterious photographer is very well done though, and suits the hour the comic has curated; again, it’s soft but a nice twist. You just wish a few more big reveals or punchlines had edged you towards it. Mamiya 7 is a very pretty show, but doesn’t make a lasting impression. Williams’ quest reels you in, but it’s slow to develop, lingering too long on establishing the scene before the plot kicks in, and leaves you blinking at the surprise flashes of quite sinister stuff.

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Paul Williams: Mamiya 7, Assembly Roxy (Upstairs), until 25 Aug (not 14), 6.45pm, £8-15