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Week Sixteen Short Film Review

“Why I Drink” from 1331

This short reminded me of Lana Del Rey videos, which I loved. It also vaguely had a feel that it was being played back on an old projector which I loved as well. The piece was quick and spliced together instances from different “interviews” with the cast. At first it begins with this young woman on a bed surrounded by snakes, in this warehouse/garage looking place and I think that it’ll be a retelling of how she got to that point. Cliche, I know, but the look of the film created hope that they’d do it differently. Upon continuation of the short film, it felt more and more like they were hired to produce a commercial for Monster Energy Drink. (If that is the case, I think they did an ok job) If not, then where was the substance? What was I supposed to take away from this? I definitely think  what’s missing is the “so what factor” of it all. 

Overall, I loved how it was shot. Mostly wide shots, which I believed was to emphasize that their environment played a huge role in why the drunk. It also was bright, but I feel as though they put an effect on it to give off a sense of dullness (maybe a commentary on their lives). In all honesty, I’m starting to think this is a sad homage to middle class Caucasian American living. The “non glamorous” side to it all. This is one short film, I really just can’t put my finger on. 

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Week Fifteen Film Review

“GOMD” by J. Cole/ Directed by: Lawrence Lamont

This week, I decided to review rapper J. Cole’s very relevant visual piece for his song GOMD. Set in slavery times, J. Cole and Lamont explore colorism, racism, and division beautifully in a short five minutes. J. Cole plays the role of a “house nigger” (which he would’ve been during that time based on his complexion), who ultimately lucks up when the slave master’s keys are dropped during evening supper. How is this relevant one would ask? It’s simple. Colorism, a system put in place centuries ago, still effects the African American community to this day. This is something Cole himself spoke on that he wanted to emphasis through this short film/music video. For example, it explores the modern day “woke” caucasian when the slave master’s daughter spots Cole picking up the keys and doesn’t say a word or when she finds them taking the guns out of the chest and distracts everyone from finding out. Even further, he spreads the message of unity vs. division, when he brings the guns out to the “field niggers”, emphasizing a “truce” to any dislikes they may have against him and his position (or perceiving of better treatment). They all were still slaves at the end of the day. The underhanded, yet firm statement screams tiredness of oppression (which was clear as day to me, an AA, but harder for others to see, just look at comments via youtube, Twitter, etc). this then led me to ponder is that idea supposed to go over non-AA’s heads or are people really blind to the signs that enough is enough? The ending sequence, as the slave masters (except the daughter, of course) are about to be handed their fate, doubles as another firm statement: are we ready for the revolution? I believe a direct commentary on recent riots, so fourth due to a continuation of blatant disrespect towards minorities of this country. 

Lamont uses many long, tracked, and continuous shots to tell the story. He also barely uses close-ups, which I perceived to equate to the notion of no one person (slave) is special, we’re a unit; we’re all slaves. He also doesn’t use to much color, giving the look of a dreary old film, yet not too old where it’s black and white. Could this equate to slavery, racial acts, sh*t even the desegregation of schools not being that long ago? 

"The video is really more of a commentary on the need for unity and togetherness more so than it is a comment on racism, because [the black community] knows—we all know about oppression. We’re all aware of that," Cole told SaintHeron.com in a Q&A that was published online earlier this week.

"What we’re not aware of is the dysfunction within our own community," he continued. "You know what I mean? The fact that there are levels to us economically and because of the different skin colors within our own race. We’re not aware of that. We’re aware of the other sh-t."

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Week fourteen film review

“Zurich 2.0″ by Dirk Koy

I’m definitely getting into the experimental films now days! This one particularly was not my favorite, but nonetheless interesting due to the fact that it utilized 3D scans as a way to show Zurich’s city. The great thing about this is the seamless compiling between 3D technology and film editing. From watching Behind The Scenes footage of The Great Gatsby (which also utilized 3D) I knew that the process could be harder to grasp. Although the short film was a quick one, it got my gears going about what could be the future for filming and editing. Is this approach something that will take off or be slower to adapt to for filmmakers? As an up and coming director myself, I wouldn’t mind using the technology, but only if it’ll help tease the story out more for viewers (and not just for unneeded, flashy effects). At the end, that’s what really matters: a clear, understandable telling of the story for viewers and if 3D enhances this I’m all for it!

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Week 13 Short Film Review

Kenzo “The Realest Real” Directed by Carrie Brownstein

You know how people joke about being careful what you post (or comment about) online? Well this is that in visual representation. PLUS IT HAD MAHERSHALA ALI acting in it, so I was already all for it! In six minutes and change, this film comically presented the scenario of calling a celebrity “mom” online then dealing with the (annoying and etc) aftermath. Sounds fun at first right? I’d mom like five to six celebrities and dad eight others. But clearly, although a bit extreme, it seems as if the film pays homage to appreciating our real mothers, with an extra inch of “umph” being so close to Mother’s Day!

One thing that really stood out for me was the use of color (outfits on the Followers) that I thoroughly appreciated. Each person representing a mood, feeling, thought, etc. In cinematography class, we’ve been studying great cinematographers and many payed great attention to color, seeing it as that extra something special to create a deeper connection with viewers. So to whomever thought of that for this film, brilliant! It also showed viewers how creepy it would be if your online followers actually followed you in real life (though I did watch this short film with someone who thought the idea of that was awesome). 

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Press Kit Reviews

1. The Gleaners and I

The director’s statement in many ways was an homage to gleaners everywhere. Gleaners, scavengers, salvagers, and everything in between (in the most respectful way). The director made it a point to not emphasize herself as much as the subject, which in the end related back to her completely. Change. Who am I? Who am I in conjunction to society? Who am I to make this documentary? The director then touches on her intentions of why she needed to even make this film (also known as the meaning or what part of you are you adding to it) which is always a lovely touch of realism and bringing what many (and even she hinted on) as abstractness back full circle. Completion. 

2. Three Monkeys

This director’s statement embodied a sense of unity. Referring to “we” a lot as opposed to “I”. Although there can only be one director, many people on crew still influence the outcome in many ways (lighting, sound, etc) they bounce off of each other like energy. However there was also a connection between the director’s youth and the topic; emphasizing the mystery and fascination with the human pysche and the world, as well as her comprehension of the world through this which lead into her as a director. 

“ It is the endeavor to try to understand human nature and ourselves and depict that through these types of deviations.”

3. TEN

This director’s statement was a mix between an understanding of what the film is (and isn’t), while also understanding who the director is (and isn’t). He isn’t boastful of his accomplishment, yet calmly reflective. TEN, in this instance, is more so referred to as a change in the director’s course. An example of how far he has come as a director and how much farther he can go. 

“Sometimes, I tell myself that TEN is a film that I could never make again.You cannot decide to make such a film... “

  “ If anyone were to ask me what I did as a director on this film, I’d say, “Nothing and yet if I didn't exist, this film wouldn't have existed.”

His humbleness is brilliant, although I don’t think it was a mechanism to drive people to read on further, yet a simple retelling of his experience with this project which is not new, but oddly refreshing.

4. The Salt of Life

This director’s statement felt very informal in formal dressing, which I liked. It was a relaxed read. He didn’t try to use the fanciest words, anecdotes that took you all around the Mulberry Bush, or create some hidden deep meaning; he came write out with what he had to say, in a way natural to him: comically. The director spoke of the film, as if in conversation at a coffee shop, referencing it in and out like oh yeah, and this too. He also includes pertinent information about his personal life and writing style, which becomes pertinent to what’s in (or what get’s written out by his co-writers) the film, without the oh yes, let me... blah blah blah fluff that some directors do in their statements. 

5. My Country My Country

This director used plain language in her director’s statement, which when talking about the US government’s occupancy in another country is definitely needed. In three short sentences, she gave the who? what? when? where? why? without overexerting her opinion on that matter. On such a hot button topic, you may lose many viewers if you speak before allowing your work too. 

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Week 12 Short Film Review

Anthophobia by Valentin Petit

This was maybe one of the most experimental films I’ve ever watched. It had a very dark feel, which made me feel super uncomfortable, yet I’m still not sure if that was a good or bad thing.

I kept watching only because it prompted me to feel as if something was going to happen next; something big that would explain what exactly was going on and why, but that was just the cinematographer sucking me in mixing beautiful exterior with the use of flowers (Anthophobia means the dislike or even fear of flowers) to confuse and enchant me.

How can one even review an experimental film? Are there standards/requirements it must achieve? I think not and maybe that’s another reason why I liked it so much. It didn’t need to have it’s t’s crossed and i’s dotted by the end in order to be seen as finished.

Even further, i’m not realizing as I write this review that it actually felt very much like a music video for like Panic! At The Disco or something. Being somebody who wants to become a music video director, I appreciated the erratic being of the piece, with a story line that didn’t fit one agenda, yet created several in which any viewer could decode any way they wanted.

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Week 11 Short Film Review

From 1994 by MindCastle Productions

Such a great, great, great short! Definitely heart wrenching (at least for me) without being a tearjerker!

Dedicated in memory of his mother, this film explores what last words would you want to say to someone of importance to you. How would they receive it? How would you deliver it? What impact would you want it to hold?

Oddly enough, it wasn’t Casey’s last words to his mother, yet his mother’s last words to him. Enclosed in a time capsule, is a letter now older Casey rereads in a routine way.

The mother’s voice takes over and she narrates from the letter, highlighting the visuals that appear on screen. Although so simple of a short, it’s use of close ups (I.e biking when younger, a smile, birthday cake), tone, and mood invites one to ponder on their own relationships. No other dialogue is then needed to portray what the film was going for.

Other than dialogue, sound allows for a further invitation of how they want the viewer to feel. The opening of the time capsule box, hearing the jolt of the key swishing around in the lock. The type writer as the mother taps away diligently, no pauses she knows exactly what she wants to say. The closing of the door as she leaves Casey’s room; softly not to disturb his dreams.

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Week 10 Short Film Review

Dive by Benjamin Villeda

Sound is definitely a huge factor in this short film. It is a driver of action as well as a transitional method connecting one scene to the next. Because there was no dialogue, the heavy emphasis on what we heard and when we heard it birthed the feel of sound being another character (each with its own personality and life need).

The click clacking of shoes on pavement highlighted the “is the grass is greener on the other side” feeling the female main character had. The swiftness of putting on her clothes highlighted her want + need for a break from her premature engagement with her fiancé. The clock ticking brought it all full circle in many aspects.

Wide shots signified the feeling of freedom she felt during her short exploration of self/ what am I really missing… They also provided further information of her life with her fiancé versus the break she felt she needed. (I.e tight wide shot of her + him in bedroom, the feeling of being boxed in; caving vs. the wide shot of the pool scene where it’s nothing but open surroundings; that “ah! Fresh air” feeling)

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Week 9 Short Film Review

The Cub by Riley Stearns

The film was an Official Selection for the 2013 Sundance Film Festival. I needed to know why.

The Cub was a short film about a typical appearing American family that sent their daughter to the woods to be raised by wolves. They wanted her to be tougher, quicker, stronger than her competition. They wanted a beast. Upon her finishing of “growth”, her parents would come back to collect her, “polish her rough edges”, and send her into society ready for war! 

What could possibly go wrong?

Well...everything actually! The parent’s plan backfires when the daughter returns to the woods later that same day having killed her parents and brought their bodies back to the lions as food for the winter.

Such a great surprise I wasn’t expecting.

The use of a monochrome, grey-ish (lifeless) color in the beginning shed unknowing light for what was about to happen next. 

This film unconventionally highlighted the normalization of building your kids up to be these "cut throat, business is business" people while still expecting them to exude their innocence of before. Although it is possible to be both, innocent and a savage, that is not the case for many which can create mental and social issues plaguing humanity .

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Week 8 Short Film Review

Una Hora Por Favora Written & Directed by Jill Soloway

I deeply enjoyed this film! Great cast, great performances! Above all, great story line. It shifted the power dynamics from a man being in control, to a woman, which happened subtly. 

The story of Alyssa was framed around her weekly phone call check-ins with mom/working out. Her traveling up and down the steps symbolizing the notion of keeping it moving, which I caught on to right away, but many would get at the conclusion of the film. The themes explored, which stood out to me: loneliness, acceptance, and entitlement, helped to move the story along without forcing the characters to be something they were not. 

The antagonist, Alyssa’s mother and even herself made these themes clear. Upon picking up Antero from the hardware store to fix her shower head, she already felt this sense of power. Even though she needed him to complete work, she know he needed her even more for money (and/or a meal as well). What a perfect way to be in control! After his work was done, she kept him around, initiating sex and even beginning a small romance with him. It was very clear through slight keys for the viewer (i.e body posture, embracing the culture heavily) that she did not want to be alone. She wanted that someone there to keep her occupied in her bleak life. 

On the other hand, she also wanted to throw it in her mother’s face and prove that all men weren’t jerks, but she did not do this to boast as much as she did it for acceptance. She wanted validation from her mother that she wouldn’t end up alone (probably like her) and she had been taking heed to the “in between the line” gems wrapped up in the “men are jerks” dialogue. Still Alyssa couldn’t be too honest in order to get this approval, so she said that instead Antero was a white man named Andrew, masking his true identity. 

Everything was going well, but as soon as Alyssa spotted a shift, in which she would have to treat Antero equal, she buckled. (I’m not sure if Jill was trying to speak on white women’s fetish with men of other culture or their sense to be entitled to more and be lucky that you are even allowed in their presence, but it came across loud and clear!) 

Alyssa sends Antero packing, back to the hardware store where she found him and returns to her house in the hills overlooking the city. 

Back to loneliness, weekly phone calls with mom, and working out.

Through their conversation, you believe Alyssa has finally grown up and realized her mistakes (even revealing Antero’s true identity), but we are sadly mistaken, when she finds a Hispanic man cutting grass and that twinkle in her eye lets us know she’s on the prowl again!

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Week 7 Short Film Review

Man and Boy by David Leon and Marcus McSweeney

Another week and another film feeling like a trailer, but in this case it was enjoyable. The colors, the sequence of storytelling, delayed information, and camera choices stood out boldly for me.

It resembled, in the beginning, a whodunit race. First of all, the viewer is brought in with this screaming, a bloody nosed teen, and a man’s arm trying to comfort him. 

WHO IS THIS MAN? 

WHAT HAPPENED ON THE WAY TO GET TOMATO SAUCE?

At this point I was intrigued, yet a bit annoyed (as an impatient viewer). 

The film then cuts to begin retelling and we see the teen and a man on the elevator. You assume right then and there that this was the arm from before, ahhh ok, makes sense now, but NOPE! ALL WRONG! You can tell by the man (we’ll call him mystery man) that he is up to something. Not only by his hesitant demeanor to let the teen into his home, but the way the camera follows him cautiously (especially when in his P.O.V) before returning to the reverse shot where his flighty eyes dance on the boy like a 1950s starlet. Already I’m like molester? child abductor? pervert? The assumptions are flying left to right. 

Then when he deletes the photos. It begins to make sense (in a filmmakers perspective). A stable wide shot, showcasing his entire home, while also displaying his body language: shifty (not just because the teen’s dad is now at the door), timid, his eyes externalizing his internal fear to be caught, found out, having to relocate? 

The out of order sequence of events, intertwined with faded in music, the telling of multiple stories in one, and an intense focus on eyes, allotted time for the viewer to achieve those aha! ok moments which were sometimes desperately needed.

I feel ashamed to say that I was happy when the man finally revealed his creepy side. Some parts could’ve been a bit shorter with quick cuts, or montages between the inside of the apartment (mystery man) and the outside (teen, dad, and nosey, now involved neighbor). 

Upon completion, we can infer what mystery man had intentions on doing and why, which led to his suicide. What is left up to each individual viewer is what actually “killed him”?

I would answer that the guilt of temptation did the job. It is clear he tried so hard in the beginning to “be good”, but somethings can’t be shaken (sadly). Sometimes the guilt itself is not that you’d almost harmed someone, but it’s that you let yourself down most of all. Which read all over his face as he stepped upon the balcony and looked out upon the city. 

The beauty in that scene is haunting. A death has happened, but I couldn’t help but to feel that mystery man thought “finally” as he ascended downward. 

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Week 6: Short Film review

“Man” by Myna Joseph

Truly an unusual movie, to say the least. It felt like a teaser for a Lifetime Movie Network film, which I don’t quite know if I’m fond of or tolerant of. 

It’s clearly a story (or apart of the story) that these two have a parent and/or parents that are absent, which can answer why one would seek love (via Internet) and the other would seek love (via that companionship between siblings). What I’m trying to figure out is who’s story is it and why?

The one liner for the film is described as “ Maggie and her sister form an unusual bond during an encounter with a young man.” I think this doesn’t dynamically correlate with the meat of the film unless I completely missed it, which I refuse to believe. 

I can say that I liked the variation of shots in correlation with the telling of the story. MCU/Cu’s to focus on body language and personality, which are needed to understand the latter of the movie, somewhat. 

Now thinking back, maybe this story is truly about validation, yet in the same token I’m not sure it’s acceptance completely wanted. 

Is sex the gap that distances them or bridges them together?

Is the male’s character supposed to act as an object/figure the two are fighting for? Love? Attention? Or is the male a tangible figment to replace the absent father, if the father in fact is even absent?

I’m so lost and confused. I can’t say that I liked this too much. It felt directionless. 

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Week 5 Short Film Review

Happiness by Sophie Barthes 

The title of the short was so simple, but truly embodied the overall mood and meaning of the film. (I also enjoyed how the “i” sits perfectly in the middle of the title, further representing the “self” aspect of the piece). 

I admired the lighting outside. With Barthes’ cinemetographer (I’m assuming) utilizing the natural light to truly illuminate and set the tone. (i.e when the main character is waiting for the train and the sky appears a hazy blue, purple, yellow combination). I’m a sucker for lighting! The lighting outside appeared so beautiful, making me wonder if it was a play on her life being so drab and dull, but her surroundings having this sense of liveliness, completeness, and ultimately happiness. The vice versa is also done when she walks past storefronts peering in to see what they have to offer. 

Here is where it was made clear, if you cannot create your happiness, maybe you can buy it. 

The one shots also made for great furthering of the concept: isolation. The box. The shoes. Her at work. The park. Her cigarettes. All great visuals to reinforce the narration, while also introducing this sort of routine, in which can be a reason why she is so unhappy. 

The box represented happiness on the inside, while the shoes represented happiness on the outside. Both, which unfortunately, didn’t fulfill that longing she desired. 

Above all, I believe Barthes wanted to present a piece, that allowed us to use our senses. What do we hear? See? etc... to answer the question of what happiness can be? Ultimately the answer was one of a question not asked, which was happiness can’t be a race or achieved through validation. 

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Week 4: Short Film Review

Barry Jenkins - My Josephine

Barry Jenkins created something visually pleasing to the eye. A true representation of the piecing together of images and instances. The stylistic choice of an old vintage VHS tape, added to the on-screen tension in the air. 

The story of love, alienation, and solitude was explored beautifully between the two main characters. Jenkins stating that what inspired him was it being shortly after “9/11 when he wrote it, two people sitting at a table, and his housemates obsession with Napoleon,” added to the small details that went into production. 

Th Arabic/English dialogue, the washing of American flags and almost fascination, obsession with it. As if the flag represented all the hopes, dreams, and desires of everyone outside of America. The alienation that you would expect to go hand in hand with solitude, was shown on screen as quiet glances, daily routines (i.e flag washing), but their minds not there; like robots in a factory. Contrary, the love was still present as well. Stolen glances, the ability to not have to speak, the observance of love, non-commercially.

This film, in my opinion, represented many American customs, slyly through an unconventional love story of a couple that washes American flags for free during the night shift. Hope, love, silence, alienation, culture, etc all beautifully wrapped in My Josephine. 

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Week 3 Short Film Review Five Feet and Rising - Peter Sollet

Peter in a vast capacity, captured a glimpse of summer in an urban environment, which I thoroughly enjoyed.

I even appreciated, now a film major and the quality of film being much better, the grittiness of the instances displayed on screen. Definitely appealing as a stylistic choice.

While viewing this short, I felt less as I was doing it to fulfill a requirement and more of just enjoying what was displayed in front of me. Sollet nailed a couple of very important things, not limiting the piece, but instead highlighting the culture.

For one, the dialogue and cast was authentic to age, although depending on preference many would disagree. The language felt so natural, that I believed until actually researching that it was an improved script. Bravo!

Also I enjoyed the spin on the normality of coming of age tales in America. We (American filmmakers) historically focus on the young Caucasian females narrative (I.e 16 candles, etc), but Sollet went completely out of the box: 90s feel, urban, New York, with a Hispanic male as the lead character.

The exploration of a young boy's navigation of his environment and females intertwining with his understanding of self and others was done brilliantly. It captured fear without making it overly emotional. It captured minority/city culture, without making it stereotypical or from an admiring  "lets appropriate thus behavior" or a disapproving cinematic eye.

Lastly, I wondered the little boy in the Jersey's relation to the story until it finally clicked. As he watched Amanda and Victor kiss as he had done earlier with others, on looked a fight, etc.. it reinforces the notion of this is how the cycle grows and continues, whether purposely or not.

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WEEK 2 SHORT FILM REVIEW- MAGGIE from Rodrigo Garcia’s Nine Lives (above is just the trailer) 

Honestly.. Truly..

How can one even begin to express in words, that formulate into a script, the feelings of a mother losing her child? An even more compelling question is how can one even begin to direct someone to display these emotions on camera that feel authentic, respectful, and unrehearsed? 

I can say without a doubt, the story line caught me off guard. While first watching, I believed it was a story of a mother and daughter visiting a family member at the cemetery. Perhaps the dad or an aunt. Upon completion of the film, it became apparently clear that the mother is actually there visiting her daughter.

WOW!

I then thought how could I miss this big plot twist? Not only was I engaged and rightfully distracted by the simplicity, yet heaviness of the conversation between the two, but also so eager to see a young Dakota Fanning perform!

Glenn Close (the mother figure) gave such a great performance. I loved how her display of grief was subtly sprinkled throughout the film, which is very well why it went over my head. For example, she shows her worry and care, when Fanning ask to climb a tree and she at first is apprehensive, yet still complies. Another is exclaiming, I am tired, then laying her head in her daughters lap. I thought at such a young age, maybe she has to step in and console her widowed mother, yet instead her mother just wants to feel connected to her daughter again. She’s really not laying her head among her lap, but on the ground above her daughter’s casket. That’s the closest she’ll be again. PLOT TWIST!

There are many other subtle moments, but I won’t spoil anymore for any readers whose yet to experience it yet. 

Overall, when walking away, I felt inspired. As someone who is on the journey to becoming more comfortable in my directorial skin, I appreciate experiencing different director’s work. From Maggie, Garcia reinforced the notion of not giving the audience everything upfront. A part of connecting is experiencing those aha! moments, which makes one feel as though they’ve cracked the case wide open, for lack of better phrasing. 

Until next time.. 

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WEEK 1 SHORT FILM REVIEW - God of Love

 Is Love Dead? What is love? Who are we to define it? 

God is Love, in class, was defined as the story of someone who goes from selfish to selfless, but can one really be selfish in love? Love can be defined in numerous ways dependent upon various demographics, yet one agreeable entity, which was ironically displayed through the main character Luke was, who are we to control it? (Clever Spoiler Alert: Luke is the controller, The God of Love)

I revered the fact that this short film didn’t play on the cliche Hollywood Romantic Comedy story line of the main character experiencing misfortunes then eventually overcoming them, but yet discovering through trial and error that life is occasionally sadistic and the girl unfortunately wants your best friend NOT you. More appreciated was the journey of arriving at this conclusion. It was a great parallel to what love can be: unfair, underwhelming, overwhelming, and flawed, to say the least; but it also gave that raw, yet guilty feeling most people would comparable to happily moving on, yet still wondering what if (even if over a drink or two). 

In 18 minutes, I was drawn into a small segment of Luke’s life, maybe not the most appealing, but the most relatable. Love will endlessly be a subject that visually pleases me. No matter how many times the story is told the outcome will never be the same. This film didn’t create something entirely new, yet took something old and made it theirs...

and this (in my opinion) is a big factor in their nomination and acceptance of an  Academy Award.