Short Film
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Exclusive: Sam Fleischner and Iva Gocheva’s Porcupine
Straight from BAMcinemaFest where it preceded Krisha last Friday is Sam Fleischner and Iva Gocheva‘s short film, Porcupine. A far cry from the subterranean world of Stand Clear of the Closing Doors, Porcupine features Gocheva as a woman holed up in her sun-drenched Brooklyn apartment, trying and failing to reconnect with her partner through a series of unanswered phone calls. Strung together, her voicemails intimate a relationship — and several household items — lost. Check it out above.
by Sarah Salovaara on Jun 22, 2015 -
Watch: The Life and Death of an iPhone, Shot and Edited on Vimeo’s Cameo App
In honor of Vimeo’s updated Cameo app, filmmaker Paul Trillo created a short film entirely shot and edited on an iPhone, appropriately titled “The Life and Death of an iPhone.” Trillo utilizes the phone’s POV to create the illusion of a constant “feed” between cuts, which he accomplished in camera: Believe it or not the transitions are deceptively simple like a slight of hand. At the end of each take, we just did a quick wipe into black. The key is to do these moves at the same speed each time and make sure you’re cutting on precisely the right frame. I found that […]
by Sarah Salovaara on Jun 19, 2015 -
Five Questions for Love Comes Later Director and La Semaine de la Critique Selectee, Sonejuhi Sinha
To premiere at La Semaine de la Critique is a singular achievement in itself. For one thing, it comes with the boasting rights of having triumphed through a discerning selection process, one that whittles over 1,700 submissions down to a lineup of merely 20 films. For another, as the competition running parallel to the Cannes Film Festival since 1962, La Semaine’s commitment to showcasing and nurturing new global talent through a combination of selectivity and exceptional personal attention has established it as one of the most valued platforms of exposure for budding filmmakers. But for New York-based editor-turned-writer/director Sonejuhi Sinha, […]
by Anisha Jhaveri on May 19, 2015 -
“Olivia Can Fly”: Oscar Sharp on The Kármán Line
A BAFTA nominee, Oscar Sharp’s The Kármán Line tells the unusual tale of Sarah (Olivia Colman), who inexplicably begins to levitate in her living room, showing no signs of slowing down, not even as she breaches the atmosphere above her very roof. A rich tonal brew, the film is also a showcase for some seamless visual effects as Sarah moves through floors and the sky alike. Since The Kármán Line premiered at SXSW, Sharp signed with Tobey Maguire’s Mental Pictures and is in development on a sci-fi feature. You can watch the short, now streaming in The New Yorker‘s Screening Room, above, and hear from […]
by Sarah Salovaara on May 15, 2015 -
Short Film: ornana’s All Your Favorite Shows
ornana’s latest short form outing, All Your Favorite Shows, might just be my favorite yet. Length notwithstanding, it features some of the most exacting and exhilarating editing you’re likely to see anytime in the near future, as it seamlessly shifts from film clips to Danny Madden’s original animation in the blink of an eye. I asked Madden to elaborate on his collaboration with editor Mari Walker in designing the film and stringing together its “found imagery”: The clip selection began at the storyboards. I laid out these high energy action moments that followed as many modern film and television tropes as I could […]
by Sarah Salovaara on May 11, 2015 -
Watch: Reinaldo Marcus Green’s Stop
A selection of this year’s Sundance and Tribeca Film Festivals, Reinaldo Marcus Green’s Stop is now available online, courtesy of Conde Nast’s steaming platform The Scene. As intimated by the title, Green’s short is a very topical examination of stop and frisk policies, told over the course of one evening as a pair of friends are intercepted by the police on their way home, in a display of economical and emotionally weighty filmmaking. Check it out above.
by Sarah Salovaara on Apr 29, 2015 -
Watch: David Lowery’s Pioneer
Technically speaking, not much happens in Pioneer, David Lowery’s 2011 short about a man who tells his son a bedtime story. The action is confined to one room as it cuts between the two actors, but the yarn spun by Will Oldham’s character, and the subtle inflections in the pair’s performance along with a textured sound design, make the film as charged as any meticulously choreographed exchange. Listen closely, and you can even discern some early seeds of Ain’t Them Bodies Saints in the mix.
by Sarah Salovaara on Apr 22, 2015 -
Iain Marcks on Navigating Ambition, Directing Actors and His Short Film, Switched
Imagine you’re neighbors with a film-world colleague. With that unmistakable, breathless post-postproduction glow, he asks you to take a look at his new short film – and while it’s certainly slick, with grist for conversation to spare, there are a few things you can’t help but think could have been done differently. The film is a head-on tackle of an intrinsically repugnant (some would say “problematic”) genre, the rape-revenge picture. It turns tables on audience expectation by pitting a witless pickup artist (Joe Mischo) against a woman he meets at a bar (Kara Elverson) who, duly, kidnaps and ties him […]
by Steve Macfarlane on Apr 4, 2015 -
Watch: Chris Landreth’s Subconscious Password
Conde Nast’s short form original content and acquisitions site, The Scene, has just released the fantastic short Subconscious Password, from Academy Award winning animator Chris Landreth. Landreth stars in the Sundance 2014 premiering film as a man who has trouble recalling an acquaintance’s name at a cocktail party, and retreats into an inner mind game show in an attempt to drum up the correct direct address. Though you can’t quite enjoy the 3-D film as it was meant to be seen online, it’s still a rather inventive head trip.
by Sarah Salovaara on Apr 2, 2015 -
Watch: Whiplash, The Short
Initially unable to raise the $3 million budget for Whiplash, Damien Chazelle made a proof of concept, 18-minute short film that premiered at the 2013 Sundance Film Festival. Now available online, the short looks to be more or less an exact excerpt of the feature script, distilling Fletcher’s emotional manipulation, rage, and abuse into three consecutive scenes. The precise editing, gliding camerawork, and J.K. Simmons’ high octane performance are all on display, though the short — presumably for budgetary reasons — lacks the isolated, brooding mood and dark yellow color pallet of the feature version. Also notable is that Johnny Simmons was […]
by Sarah Salovaara on Mar 2, 2015
