Dark. Foreboding. Unnerving. The three words that sum up the opening of this film and set the tone for what is to come. The sharp and metallic music adds to the fear inducing atmosphere and tension as disturbing images flash across the screen leaving us wondering what the hell just happened.
Two Faces opens with a dramatic and disconcerting set of images, then moves into a calming ocean view that brings the audience back down off the tension filled cloud it placed them on. We are then shown a world far from the one we are introduced with. A juxtaposition of love, happiness and bright colours. Then we are again flung back into a world of fear, pain and darkness.
What Two Faces manages to do very well is link two very opposing images and atmospheres and provide a linear plot line despite using two different timelines. This is achieved by utilising very different colour palates along with a distinctive sound to go with each separate timeline. The tense and sharp music used within the dark scenes is much different from the calming and melodic music used in the brighter scenes.
This achievement in film making is also more impressive as it has no dialogue. The emotions and fears that the film evokes are done purely with music and the physicality of the characters. It is a testament to the actors and writers that this work so well on screen. The fact that the audience can still invest in characters that have no dialogue or obvious personality shows how well the story is written and how well directed the film is over all.
The film leaves you somewhat devastated yet fulfilled. The outcome is one that not only touches the heart with love, but breaks it with pain. Beautifully constructed and written with pure emotion. No words are needed to display the sheer sentiment within this film. Stunning.
From the first scene the tension of this film is introduced. The fell of the film is set up from the off which immediately draws in the audience. The three main characters are introduced immediately and it is obvious there is a tension within this small family unit. The immediate problem facing them appears to overshadow a world of other problems that this fractured family seem to face. Here, subtext is sued well.
Despite the tensions within the girl’s parents, their love for their daughter is obvious and her fear is what brings them together to make her one last wish come true. It may appear superficial to others, but they know this one task will make her happy in what may be her final hours. Now we feel the fathers pain and tension as he rushes to get back to the hospital in time to see his daughter before her surgery.
There is a lot of pain in this film. A lot of unresolved pain that bubbles under the surface, exploding every so often in frustration and urgency. The father’s performance is charged and as an audience you cannot help but will him on. The character has a naivety that is charming but also a passion and drive that is admirable.
Strong editing makes this a pleasure to watch. The cuts and continuity are spot on without any glaring errors that distract from the film. Minimal use of music helps the audience focus on the speech and performance which works well to help the audience bond with the characters. What also makes this film intriguing is that there is no closure in terms of the outcome of the daughter’s operation. In actual fact, we see this film is not about the daughter’s operation, it is about a father who risks losing everything doing one small task to bring some joy to a daughter that m=he may never see again. As a concept alone it is somewhat beautiful, and this film embraces that beauty and runs with it.
Orange starts with a truly intriguing image which grabs the audience straight away. The intrigue is only enhanced by the sudden switch into a sultry blues song. This juxtaposition is a pretty apt image for this film. The film moves quickly from plot point to plot which keeps the viewer on their toes. Each image is provocative in its own right which results in a film that is exciting and daring.
The film focuses on the turbulent relationship between the two main characters. Both appear unhappy and unfulfilled in their life choices and the relationship is poisonous. The male appears to do his utmost to sabotage the relationship, including rape and obvious masturbation whilst his other half is in the house. Orange deals with very humanistic issues and dares to reveal what happens behind closed doors.
Within the film there are moments that are full of impact and evoke a myriad of emotions. The director appears to have had a strong focus on artistry and the result is that these disturbing and sometimes heart wrenching moments are presented in a fashion that is visually pleasing, evoking an interesting juxtaposition of emotions. The noiresque presentation of Orange aids the stylistic presentation, and helps to provide dramatic imagery.
The performances on the whole are strong and in parts the pure emotion of the performance is admirable. The early scene performance of the blues song is atmospheric and impressive and turns out to be the best part of the film. It is also the most misleading, providing an impression of a film that is far-fetched from the one it is actually providing the opening for. It lulls the audience into a false sense of security which enhances the shock value of the following scenes.
Orange shows skill and potential in terms of visual production there is a strong focus on the stylistic visuals. There is room to improve in terms of plot and character development, yet the film is affecting and daring.
Zombies have been the flavour of the decade and have always held a special place in many film buff’s hearts. They have come in all guises from horror, thriller, drama and comedy down to outright farce. Best Friends offers yet another incarnation of the zombie film, and it actually does display some originality, which is tricky in a genre that is so over-represented. Especially in indie film makers.
If you want to understand the over-all ‘feel’ of Best Friends, think Shaun of the Dead. In fact, this film could easily follow on from where Shaun of the Dead finishes where we see the bond between two male friends transcend zombie transformation. In Best Friends we see two office workers who are also long term best friends as one of them falls ill at work. As it transpires, his illness is in fact a zombie virus. The friend then attempts to protect and help his friend, despite him running rampage around the office.
What Best Friends does very well is provide a believable and tangible friendship between the two lead characters, despite one of them having less than twenty words of dialogue. Despite this the bond between the two is heart-warming and cheering.
The writing within the film is strong. The film builds gradually and the comedic element within the scripting is subtle yet effective. The film utilises both vocal comedy and physical/environmental comedy in order to provide a film that is laugh out loud at points.
Aside from the comedy, the film displays an aptitude for costuming and make up that is admirable. Not only is the zombie make-up impressive but there is also a subtlety to the physical elements that goes a long way. The film doesn’t go over the top in terms of gore and it holds on tight to its comedy roots.
Best Friends is a well-made, well written and well executed film that explores the often underrated bond that links male friends. With excellent performances and impressive production Best Friends is a blood filled delight for audiences that enjoy their zombie’s with a side order of heart.
From the outset this film is bold and bright. From the music to the colourful outfits you cannot help but be drawn to the screen. Drawn to a way of life and a celebration that is so far removed from many of our lives.
This is the strength of this documentary piece. It doesn’t just focus on a geographical location. It focuses on a people. It looks at their history and their historical journey as a population through the eyes and experiences of a variety of people within the community. As the film focuses on the Cimarron celebrations the audience are treated to an insight into the cultures religious and mythological belief systems and the emphasis that is put on legends and myths within a society that has magic within its belief system.
The mixture of various celebrations and different aspects of the celebrations works well to provide different perspectives of the Cimarron and the variety of legends that surround them. This in turn provides a much stronger and more fulfilling narrative to the documentary. The different viewpoints make the documentary much more interesting and intriguing.
The bright colours along with evocative imagery are edited well to provide a visual feast that fits well with the voice over interviews and information that is being provided. Despite the wealth of information that is being provided the film feels streamlined and well organised. At no point does it feel mixed up or unorganised. This is a testament to the hard work of the film makers.
This documentary is a fascinating insight into a culture whose belief system is far removed from Western culture, yet these communities embrace their myths and legends and come together to celebrate them. The film makers have effectively pulled together a wealth of information and formed a documentary that effectively tells the story of a legend and how it is perceived by modern society.
A strong film that is well put together and well researched. Whilst the topic may not be of interest to everyone the film itself provides an entertaining and informative journey into a little known culture.
From the outset Mortem has a strong presence. It shoves its way onto the screen and forces you to pay attention with its striking visual and base filled soundtrack. You can’t ignore it. Mortem focuses on death but looks at it in a unique and individual way. It almost mocks the living, and the living is excited by it. Death evokes an intense response and here we see it manifested and visualised in a way that is beautiful.
Mortem is short at under five minutes long yet it feels much longer. Made up of one scene that focuses on two characters in one location it should drag, especially as there is no dialogue and very little interaction between characters. Yet it is hard to take your eyes of this captivating piece of film.
The make-up is exceptional as is the set design which provide striking and provocative visual imagery. From the glitter used for blood to the black cigarette there is an attention to detail that is exceptional in a film that is so simplistic in terms of narrative.
Despite this simplicity the characters still portray a depth that makes them interesting and well developed. There is no dialogue and yet these characters have a history. They have emotions and motivations that are pushing them forwards.
The lack of dialogue is barely noticeable. The actors do a tremendous job of eliciting excitement, tension and drama without having to speak or even move for the most part. Their individual actions and reactions speak volumes and provide the audience with all they need. There is a tension between the characters that is tangible. There is fear, there is thrill and there is desire all wrapped up in a single glance or an instance of eye contact.
For a film of this length, Mortem is utterly astounding in its delivery.
Named after the Dandy Warhols song, Bohemian Like You is the second romance drama in the selection revolving around an erudite and utterly charming street cleaner (Billie) and a young lady in her bohemian prime. A boy meets girl story that ends right two steps after the meeting itself – following the street cleaner coming out of the shadows, beating the hollow, fake-gentry yuppie as well as his lumpenproletariat colleague – the film in itself is also a tasty social critique of the no-social-mobility mire the United Kingdom has come to epitomise.
Bohemian Like You encompasses classy acting and delightful staging. Side characters, the yuppie who is out to steal French words to perform against his recent pick-up to the coarse street cleaner compete in rudeness, setting the scene for the crowning of the working class intellectual (who happens to be physically as flawless as a male underwear model) by the French-y flower skirt, lipstick and books girl.
Nevertheless, despite the beauty of its message and any possible subtext, the film is one of those shorts that arise like signal flare, giving away the location of a talent but nothing more. It is as though its director had treated the short not as a format in itself but as a playground where he can exercise and advertise. With its story halting exactly at the point it is expected to take a turn, Bohemian Like You definitely disappoints, not despite but abruptly because of its promising, well-developed characters and utterly promising style, leaving the audience looking for more. Time will tell the reaches of his skillset if Michael Salmon, the director, makes up his mind to work on larger canvasses with more intimidating material.
prepared by Mutlu Yetkin.