With just a handful of mostly stationary wide shots and a mere twelve minutes of actual screentime, writer/director Jörn Threlfall examines a cinematic crime scene with a clinical curiosity and an eerie air of mystery. He introduces no character arcs in his powerful short Over, instead engaging his audience by putting us in the role…
Heartstrings are tugged quite relentlessly in Lee Whittaker’s hyperbolically dark and dingy drama Catching Fireflies, but perhaps to touching effect. Whittaker has some very slick tools in his filmmaking arsenal and so he successfully crams a lot of style and technically ambitious tricks into the compact 19 minute running time, while convincingly depicting the hellishly…
Cheese. Beloved by Wallace and Gromit; source of comedic consternation for George Clooney in “Burn After Reading;” key ingredient for Remy in “Ratatouille.” Hardly the most disturbing food to be portrayed on screen. Nonetheless, writer-director Darren Darnborough succeeds in making his short film about cheese sinister and sexy in equal measure, as well as exquisitely…
Photography, both still and moving, is given a refreshing challenge in Wei Hu’s cleverly original short Butter Lamp, which concerns itself with a professional photographer’s efforts to take pictures of Tibetan nomads against a wide range of evocative backdrops. The entire movie uses the same camera setup with cuts between each group’s photo session. So…
The Girl on the Roof, Skeet Ulrich’s directorial debut, is perhaps better when viewed as such than as a short film overall. Telling the dark story of a young girl, Lila (Naiia Ulrich), who receives only negative attention from bullies at school and hardly any attention from her family at home, which consists of a…
When it comes to the narrative twist, there’s the element of surprise and the element of effectiveness. The best and most memorable twists entwine the two, so we’re both caught off guard and emotionally engaged enough to care. With their short Point Mugu, director Francis Dreis and co-writers Amelia Jackson-Gray and Erin Ross get halfway…
Paul (Yvan Attal) is a portrait of dishevelment in the opening scene of Phillipe André’s interesting short, Delicate Gravity. Sitting in a Vietnamese restaurant, the pages of the book he’s translating splayed across the table, his hair unkempt, Paul tells us a lot before he even says a word. We’re introduced to the guy during…
