Negative Space is an Oscar-nominated short film animation that depicts a father-and-son relationship through the art of packing a suitcase. SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/07/16/negative-space/ Negative Space A Film by Tiny Inventions (Ru Kuwahata & Max Porter) http://www.tinyinventions.com "Right at the outset, let me lay my cards on the table—this is a nearly perfect short. I qualify that statement with the “nearly”, only because I do not believe that art is a competition towards a platonic ideal. Though our site has taken on the challenge of serving as an arbitrator in questions of artistic and entertainment value, I still tend towards relativism in these matters. Taste is personal, and besides, perfection is often incompatible with innovation and risk-taking. Some of my favorite short films are decidedly imperfect and all the more enjoyable to me because of it. But back to the point—Negative Space is practically perfect. Like so many shorts I admire, the film incorporates multitudes of seemingly contradictory qualities: at a mere 5 minutes, there is really no wasted space, and yet it is exceedingly spare. Based off a celebrated Ron Koertge poem that clocks in at only 150 words, it allows for moments of subtlety and contemplation that are so necessary in visual storytelling—those perfectly blocked shots, held for an extra moment, that drive home the rich emotional interiority of its characters. It’s simultaneously one of the most humanistic films of recent memory, but it also stars no humans. Its stop-motion animation is expressive, detailed and grounded, and yet it has no compunction about taking off on flights of fancy, segueing via delightful transitions into fantastical asides that play with scale and setting. And, most remarkably, none of these elements are simply stylistic choices, excuses for technical bravado, or kludgy compromises to the process of adaptation. They are all deep reflections of the film’s core themes, representing and enriching them. Adapting work from another medium is rare for shorts, but rarer still, in any medium, is an adaptation that exceeds the original. Negative Space fills in the subtext of Koertge’s poem, but doesn’t bludgeon it, and the insights and personal experiences the film’s creators bring to the source material prove additive rather than incongruent, elevating the work." - S/W Curator, Jason Sondhi CREDITS Director / Writer: Max Porter & Ru Kuwahata Production: Nidia Santiago & Edwina Liard Co-production: Jean-Louis Padis Original poem: Ron Koertge Set Decoration: Ru Kuwahata, Marion Lacourt, Victoria Tanto, Max Porter Puppets: Ru Kuwahata, Satoru Yoshida, Tomas Gebcyznski, Max Porter Animation lead: Sylvain Derosne Additional animation: Eric Montchaud, Ru Kuwahata Cinematography lead: Nadine Buss Additional cinematography: Simon Gesrel, Max Porter Production / Post-production management: Nidia Santiago & Edwina Liard Production Assistants: Philippe Baranzini, Walid Païenda, Fred Borja, Lucile Pellerin, Maxime Lebalanc, Juluien Renrad, Willy Fair Post-Production: Max Porter, Sami Guellai, Pierre Morin, Ru Kuwahata Editing: Max Porter Music & Sound Design:Bram Meindersma **posée et enregistrée avec le soutien de la SACEM en association avec Ciclic Voice:Albert Birney Voice Recording: Keviln Hill, CAS Color Grade:Thibaut Pétillon Sound Mix: Matthieu Langlet —Studio Providers— Voice recording facility: Studio Unknown Decoration: Ciclic Animation Puppets: Moving Puppets Animation: Ikki Inc., Manuel Cam Studio, Tiny Inventions Post production: Ciclic Animation, Ikki Inc. Color correction: Royal Post Sound mix: Eclair Typography: YouWorkForThem Insurance: Gras Savoye Bank: CIC Accountant: Lebrun Audiovisual Distribution: Miyu Distribution Publicist: Fumi Kitahara —Funding— Avec la participation du Centre National du Cinéma et de l’Image Animée – Contribution Financière Avec la participation d’Arte France – Unité de Programmes Cinéma Avec le soutien de la Mairie de Paris en partenariat avec le CNC Avec le soutien du CNC (Nouvelles Technologies en Production) Avec le soutien de la Procirep et de l’Angoa Puffin Foundation Ltd. Marcella Brenner Grants for Faculty Research Development from Maryland Institute College of Art La Maison des scénaristes Negative Space has been supported in production by Ciclic-Région Centre Val de Loire, in association with the CNC. It has benefited of the support for original music creation by the SACEM in association with Ciclic. It has been hosted in Vendôme (France) from June 2nd to September 2nd, 2016, and from December 1st to January 31st, 2017. Ciclic is a public institution for cultural cooperation created by the Centre-Val de Loire Region and the French State. www.ciclic.fr. Year: 2017 Country: FRANCE © Ikki Films / MANUEL CAM Studio / Ikki Inc. This film is reproduced on this channel with the permission of the rights-holders.
Garden Party is an Oscar-nominated short film animation that depicts a dark mystery slowly unraveling via the perspective of exotic frogs having a grand time in an opulent, but empty mansion. The most gorgeously realized independent 3D animation in years, this project from 6 students at France's acclaimed Ecole MoPa revels in the delightful play of the frogs, only to cleverly reveal the subtext of their frolic. A selection of Short of the Week, the web's leading curators of quality short films: SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/10/10/garden-party-2/ GARDEN PARTY A Film by ILLOGIC https://www.bloompictures.tv/ "On paper, the synopsis to Garden Party seems ridiculous, but in reality it’s a stroke of genius as rewarding as the gorgeous animation the film is presented in. Essentially a hilarious romp featuring a group of inquisitive, accident-prone amphibians, this 7-minute short avoids hopping down the path of saccharine sweet anthropomorphism (we see all too much in animation) by blending its delicious dark subplot into proceedings. It’s a move that really lifts this short above and beyond a lot of the other films we see in the genre. Though the clever, unfolding plot was my own personal highlight of Garden Party, it would seem neglectful to gloss over that glorious aesthetic without mentioning it in more detail. From that meticulous opening shot of the frog gliding through the debris-filled pool to that incredibly textured frog rising from the plate of oyster shells, it’s the attention to detail here that truly impresses. It’s not only the frogs that are the carefully considered characters in the design though, the location feels as much of a player in the storyline as any of our long-legged protagonists and if anything it’s the conscientious depictions of the backgrounds that add that extra level to both the aesthetic and that compelling subplot. Screened in the ‘Horror: Thrilling and Chilling’ programme at this year’s Encounters festival (where it was easily the stand-out film of the session), Garden Party has been impressing audiences and juries at festival worldwide throughout 2016 & 2017. Winner of the ‘Best Graduate Short’ at GLAS Animation Festival, ‘Best Student Project’ at Siggraph and a ‘Special Jury Mention’ at Clermont-Ferrand, this is undoubtedly one of the best independent 3D animation’s we’ve encountered in sometime." - S/W Curator Rob Munday CREDITS Directed by: ILLOGIC: Florian Babikian, Vincent Bayoux, Victor Caire, Théophile Dufresne, Gabriel Grapperon, Lucas Navarro Soundtrack: Romain Montiel (Maaav) Reproduced on this channel with permission of the rightsholders
Finn has stains on his body. One day he meets a group of cool kids with different stains on their bodies and understands that these stains aren't just pretty. "The Stained Club" is the multi award-winning graduation animation from students at the renowned French animation school Supinfocom Rubika. Dealing with the effects of abuse both physical and emotional, it is both a stirring tribute to childhood, and a warning to not overlook the inherent vulnerability of kids. French with English and Spanish subtitles available. SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/08/07/the-stained-club/ The Stained Club A Film by: Melanie Lopez, Simon Boucly, Marie Ciesielski, Alice Jaunet, Chan-Stéphie Peang, Beatrice Viguier https://www.thestainedclub-shortfilm.com/ "A bittersweet animation that pairs fabulous design with emotional storytelling, The Stained Club is one of the standout animations of the year. A stirring tribute to the boundless imagination of childhood, this theme is intercut with a clear-eyed warning about the physical and psychological vulnerability of this fragile age. So while the film is immensely joyful in moments, it uses the inherent innocence of kids to camouflage the ugliness that can lurk underneath. The graduation project of six students from the famed French school Supinfocom Rubika, the short 6min film focuses on Finn, a lonely boy who finds camaraderie with a neighborhood gang of "cool kids". Finn's breathless exultation of the unique and awesome qualities of his new friends is infectious, as they play games and cause trouble in the rundown town they inhabit. Finn finds communion with his new friends because they too are "stained"—Finn has an eerie blue, glittery glow that emanates from areas on his skin. He doesn't know why its there, but thinks he recognizes the same in the red and purplish splotches of his friends... A sort of Amblin-esque homage to childhood is all the rage nowadays, from the breakout success of Stranger Things, to the box-office record setting Stephen King adaptation IT, and it is easy to see some of those same qualities in The Stained Club. This lineage recognizes the inherent trauma of childhood, and externalizes it via fantasy/horror. Finn's supernatural glow serves a similar function, but the trauma here is closer to home. Getting the gang together, and the care-free montages of adventurous play are always fun to experience, but the coming-of-age moment for Finn does not come from some monster, but from his close friend—his loss-of-innocence is the result of the dawning realization that "stains" are not pretty, but are instead shameful. It's a simple, but devastating denouement, that is deeply affecting long after the film's close. The origin of the film's premise is deeply tied to that trauma. In communications with the team it was related to us that they had, ...stumbled upon a photography project by Angela Strassheim where she took pictures of seemingly perfect American houses where tragic murders had happened before. She revealed the traces of these murders with a special UV light. That made me link it to emotional and psychological pain: we can't see it, but it's there. I wanted to create a story where the character's pain is visible on his skin. The team's simple hope was to produce a piece that could help audience's take more seriously children's psychological pain, especially the one caused by their very own parents. " - S/W Curator, Jason Sondhi CREDITS Directed by: Melanie Lopez | vimeo.com/meloulpz Simon Boucly | vimeo.com/simonbouclyanimation Marie Ciesielski | vimeo.com/marieciesielski Alice Jaunet | vimeo.com/alicejaunet Chan Stéphie Peang | vimeo.com/cspeang Beatrice Viguier | vimeo.com/baviguier ____________ Music by: Valentin Lafort | valentinlafort.com Reproduced on this channel with the permission of the creators.
A man gets off a boat. He walks into a restaurant and orders albatross soup. He takes one sip... pulls out a gun, and shoots himself to death. So...why did he kill himself? Based off the classic lateral-thinking puzzle, ALBATROSS SOUP is a delightfully fluid animation that lyrically complements a chorus of voices attempting to investigate a puzzling suicide. Can you solve it before the film ends? An official selection of the Sundance Film Festival, Fantastic Fest, & the Saatchi & Saatchi New Creators Showcase. A featured selection of Short of the Week, the web's best curated collection of quality short film. Full Review: https://www.shortoftheweek.com/2019/05/01/albatross-soup/ Submit Your Film: https://www.shortoftheweek.com/submit ALBATROSS SOUP - A Film By Winnie Cheung https://winnith.com/ALBATROSS-SOUP https://albatross-soup.com/ https://www.instagram.com/albatross_soup/ CREDITS Presented by Picture Farm & Cause + Effect Directed by Winnie Cheung Executive Produced by Jason Zemlika & Jamie Hubbard Audio produced by Alexandra Leigh Young Produced by Allie Hess & Leslie Yoon Editing by Tessa Greenberg & Winnie Cheung Assistant Editing by Regina Spurlock & Matt Egan Illustration by Fiona Smyth Art Direction & Animation by Masayoshi Nakamura Additional Animation by Gracie Roth & Amy Xu Color by Corey Ryan Additional Color by Claudia Perez & Christopher Paz Original Score & Sound by Dan Rosato for Gilded Audio Musical Performance by Lester St. Louis Voice Over by Vit Horejs "My favorite film I saw at Sundance 2019. Albatross Soup is a delightfully psychedelic animation, an intriguing murder-mystery, and a genuinely innovative formal approach to non-fiction filmmaking. It’s weird, original, and a whole lot of fun." - S/W Curator, Jason Sondhi Reproduced on this channel with the permission of the creator.
Lost & Found is a stop motion short film that tugs at the heartstrings. A knitted toy dinosaur must completely unravel itself to save the love of its life. SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2018/12/08/lost-found/ "This wedding of raw craft and storytelling is quite mature here. Generously funded by Screen Australia, we’re used to stop-motion being a contained craft, executed with models in small spaces, but this film is on a different scale entirely. The character animation is incorporated into a life-size sushi restaurant set that was built from scratch, and this decision pays off in the impressive camera direction that results—the production is able to go wide and really play with perspective and depth of field in a way that is rare for the form." - Curator Jason Sondhi https://www.lostandfound.film https://www.instagram.com/lostandfoundshort 7mins / Australia / 2018 Behind the scenes: vimeo.com/256204562 DIRECTED BY Andrew Goldsmith & Bradley Slabe PRODUCED BY Lucy J. Hayes WRITTEN BY Bradley Slabe DIRECTOR OF PHOTOGRAPHY & MOTION CONTROL Gerald Thompson ANIMATION Samuel Lewis PRODUCTION DESIGNER Rennie Watson FILM EDITORS Andrew Goldsmith John Gavin VFX CREATIVE DIRECTOR Andrew Goldsmith SUPERVISING SOUND DESIGNER Ryan Granger MUSIC BY Adrian Sergovich with Jonathan Dreyfus SET DRESSERS Sophie Hayward, Laura Curtis PROPS MAKERS Samuel Lewis, Laura Curtis, Donna Yeatman SET BUILDER Sophie Hayward SCENIC ARTISTS Aimee Francis, Xin li ART ASSISTANTS Raphael Fantl, Nicholas Issel, Nathan Reardon, Michael Greaney, Eve Gilbert CULTURAL ADVISOR Kei Shiokawa CHARACTER DESIGNER & SCULPTOR Samuel Lewis CHARACTER ARMATURIST Scott Ebdon CHARACTER CROCHET ARTIST Julie Ramsden VFX ASSOCIATE PRODUCER Haley Polacik VFX SUPERVISOR & PIPELINE DIRECTOR Dave Abbott COMPOSITORS Andrew Goldsmith, Dave Abbott, Brent Cataldo, John Gavin, Andrew Montague, Toby Angwin, Damien Dunne, Scarlette Baccini, Trace VFX ROTOSCOPE ARTIST Douglas E Pope COLOURIST Edel Rafferty POSTER PHOTOGRAPHY Patrick Moran END TITLES DESIGNER Rebecca Moore SOUND MIX Dead On Sound SOUND DESIGNERS Ryan Granger, Adam Hunt ASSISTANT SOUND DESIGNERS Shane Jarvie-Kohn, Talia Raso VOICE OF THE FOX Maria Angelico VOICE OF THE DINOSAUR Marc Gallagher SOUND HELP FROM Joel Taylor and The Black Lodge WOODWINDS Stuart Byrne BRASS City of Prague Philharmonic STRINGS Jonathan Dreyfus HARP Genevieve Lang PIANO Adrian Sergovitch SCORE ENGINEERS Jezz Giddings, Damian Enemark, Jan Holzne SCORE MIXED BY Jonathan Dreyfus SCORE RECORDING HELP FROM Craig Harnath for Hothouse Audio James Fitzpatrick for Tadlow Music Laura Bishop for Jigsaw Music Song Zu LEGAL Shaun Miller SPECIAL THANKS Raphael Fantl, Tom Fantl, Dave Abbott, Haley Polacik, John Gavin, Patrick Moran, Samuel Lewis, Gerald Thompson, Justin Donoghue, Nerida Moore, Louise Gough, Nell Greenwood, John Tummino, Darryl Slabe, Matisse Fantl, Sophie McPike Reproduced on this channel with the permission of the filmmakers.
From seasoned animator Carlos Baena (ILM, Pixar) and a crowd-sourced community of over 100 people, "La Noria" tells the tale of a grieving young boy who one day encounters dark creatures that turn his life upside down. A selection of Short of the Week, the web's leading curators of quality short films. SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/0... Subscribe to S/W on YouTube! Website: http://www.shortoftheweek.com Instagram: https://www.instagram.com/ShortoftheW... Facebook: https://www.facebook.com/shortoftheweek Twitter: https://twitter.com/shortoftheweek LA NORIA Directed by Carlos Baena A NightWheel Pictures Film https://www.lanoriafilm.com/ "The minute you press play and the initial images of La Noria wash over your eyeballs, one’s immediate reaction is a simple “wow”. Maybe you’re more jaded than me, and the sheer insanity of modern CG animation fails to move you, but speaking for myself, despite 10,000 hours of short film watching under my belt, a life-long love of animation, and the existence of recent photo-real short films like Garden Party, the level of design polish in great, commercially-minded 3D animations can still take my breath away. Fortunately La Noria has a couple of minutes of setup in the beginning, because shortly thereafter my breath taken away again for altogether different reasons. The annals of CG horror shorts in this sort of mainstream style is rather limited—"9", by Shane Acker, certainly played in this space, and "Alma" is a creepy holiday classic. Both films are over a decade old though, and neither can really match "La Noria" for sheer terror. From the monster design which feels ripped out of some the most twisted corners of the Resident Evil game franchise, to the tense horror-chase mechanics, this film is, in spite of its seemingly kid-friendly design, truly adrenaline-producing. The story itself is a touch less impressive, but ultimately satisfying. It has elements of heart-string pulling, as it focuses on a ferris wheel-loving child who is torn up over the loss of his father. Gathering photos and other mementos together into a sort of shrine, the child’s heart-ache seems to birth the darkness that soon threatens him. Details from the photos hint at a back-story—the military uniform his father wears for example—and naturally create associations in one’s mind to the work of Guillermo Del Toro and his masterpiece "Pan’s Labyrinth". While this setup is nicely pulled together into a cathartic and feel-good ending, it is mainly table-setting for the action, which is intense, and in comprising the bulk of the 11min runtime, quite long by short animation standards. One can’t question the exquisiteness of this action—a spooky old mansion, replete with string lights and stained glass windows, provides a splendid backdrop for scrambling chases and doors frantically being shut in the face of grasping monsters. More so than even the design quality, it is in these sequences that the experience and skill of director Carlos Baena seems to show. Baena has over 20 years of experience in animation with tenures at Industrial Light & Magic, and Pixar on his resume, with credits that include work on massive franchises such Star Wars, Toy Story, and Jurassic Park. Produced under the banner of his own production company, NightWheel Pictures, Baena took advantage of his status as co-founder of Artella, an animation platform that allows for virtual collaboration, in the creation of the film. Baena used the platform to source a diverse crew of independent artists to work on La Noria, with over 100 contributors ultimately joining the project, hailing from all over the world. The result paid off—not only is "La Noria" a stunning showpiece for Baena and Artella, it has received widespread acclaim, winning dozens of awards, including Best Short at Tokyo’s prestigious Short Shorts Asia. Dropping online this week with an exclusive post on Variety, the celebration from worldwide audiences is sure to spread. As for Baena’s next steps, he is currently set up at Paramount Pictures. Details on his projects there are under wraps for now, but with luck, we’ll be seeing a feature film from Baena on the big screen in the near future." - S/W Curator, Jason Sondhi CREDITS Written & Directed by Carlos Baena Produced by Sasha Korellis & Carlos Baena VFX Supervisor: Yasin Hasanian Music by Johan Söderqvist Sound Design by Oriol Tarragó For more information: lanoriafilm.com/ facebook.com/LaNoriaFilm/ twitter.com/LaNoriaFilm instagram.com/lanoriafilm/ Reproduced on this channel with the permission of the filmmaker
Why is a Metalhead singing Old MacDonald on the side of a rural highway? A surreal scene turns into an engaging mystery in this celebrated single-take short. From celebrated Australian commercial director Tom Noakes, in partnership with Will Goodfellow and Lucy Gaffy of Studio Goono, comes this AACTA-nominated short that challenges audiences initial perceptions and prejudices through a succession of carefully orchestrated twists and reveals. Achieved in a single take (out of 4!) amid challenging conditions, this brief 5min mystery perplexes, then delivers a gut-punch. A selection of Short of the Week, the web's leading curators of quality short films: SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/09/09/nursery-rhymes/ NURSERY RHYMES Studio Goono Presents in association with Scoundrel Films A Film Directed by Tom Noakes http://www.goono.tv/ "The kind of film where you’ll need a minute to recover after the credits roll, Tom Noakes’ Nursery Rhymes disorientates its audience initially via a surreal, contextless opening. Confusion gives way to a slowly unfolding puzzle however, serving up revelations all the way through to its emotional close, when it delivers a gut-punch that I am still feeling today. From the extremely creative screenplay, to the perfect execution and performances, this five minute film creates a dense atmosphere that will leave viewers paralyzed long after its unsettling conclusion. Instantly inspired after encountering Will Goodfellow’s script, and the idea that "courage asks unexpected things from us", Tom Noakes got to work crafting his vision of how to translate the script to the screen as effectively as possible. With extensive commercial experience, Noakes was not afraid of a story that would require a high-concept production and test his limits and those of his crew. Opting to film in a single shot, except for the last cut that wraps the film, Noakes’ direction is quite remarkable, coordinating every element of the filmmaking in perfect harmony to create a short as powerful as it is memorable. Transporting his audience to a nightmarish scene, Nursery Rhymes is shot from a low camera that only begins to turn and reveal the devastation halfway through its brief runtime. The slow coordinated movement of the camera doesn't allow the audience to look away, and proves a perfect pairing for the film's intricate succession of reveals, producing a film that is not only technically proficient, but uses that proficiency to play with audience perceptions and prejudices in a fun way." - S/W Curator, Céline Roustan CREDITS Directed by Tom Noakes Written by Will Goodfellow Produced by Lucy Gaffy & Morgan Benson-Taylor Executive Producers Adrian Shapiro & Tim Bullock Cinematography - Aaron McLisky Production Design - Ruby Mathers METALHEAD BOY - Toby Wallace METALHEAD GIRL - Sara West METALHEAD 1 - Lucie Cleuet METALHEAD 2 - Braithe Selby METALHEAD 3 - Stef Smith METALHEAD 4 – Wade Keighran FARMER – Martin John Barlow FARMHAND – Brock Fitzgerald FARM WOMAN – Margaret Rowe CHILD 1 – Minami Adachi CHILD 2 – Elie Cao CHILD 3- Yena Lee MUM- Tsu Shan Chambers DAD- Shingo Usami CHILD ON BIKE 1 - Danny Whalan CHILD ON BIKE 2 - Taysha Whalan CHILD ON BIKE 3 - Kiah-Rose Whalan CHILD ON BIKE 4 - Chontaih Whalan 1st AD - Kate North Ash Makeup, Hair and sfx - Margaret Aston Wardrobe styling - Brenda Hayward Sound Design - Lachlan Harris & Thom Kellar at Folklore Sound Sound Recordist - Lee Kelly Colourist – Billy Wychgel Casting – Danny Long 2nd AD - Luke James Smith Steadicam Operator - Damien King 1st AC - Ollie Braslin 2nd AC - Rob Farley Camera Attachment- Pat Brain Gaffer - Pete Sutton Grip - Martin Fargher "Fabs" Art Director - Lauren Sillato Standby Props - Ben Walker FX wind machine - Aidan Anderson Make up and Hair Assistant - Victoria Forester Make up and Hair Assistant - Margo Regan Tattoo designs and consultant - William P Brown Foley artist - Andrew Simmons Production assistant - Holly Winter Nurse - Emma Cohen Catering by - Ree Booth Green Room – Cato Logisitics Animal Wrangler - Aaron Booth Runner - Mayuna Kiyama Stills Photographer - Craig Martin Reproduced on this channel with the permission of the filmmakers
Short film: Lost Property Written & Directed by: Åsa Lucander www.lostpropertyfilm.com www.asalucander.com Producer: Tom Mortimer - Executive producer: Dave Anderson Art by: Åsa Lucander - Assistant Artist: Marc Moynihan Animation: Marc Moynihan, Ana García Sebastiá, Anna Fyda, Simon Testro, Michael Towers, Nathan Brenville, Åsa Lucander After Effects: Aman-Shah Andrew Visual Effects: Rushes - Sound: Jungle - Music: One More Music Company
An ingenious boy-meets-girl love story, told entirely through fake advertisements. Featured on Short of the Week: https://www.shortoftheweek.com/2019/04/12/adman/ WRITER/DIRECTOR: Ben Callner PRODUCER: Adam Callner DP: Doug Chamberlain PRODUCTION DESIGNER: Christian Stone EDITORS: Ben Callner, Joe Kell, Alex Pirrone, Ben Suenaga CAST: Ted Cannon, Jocelin Donahue, Judy Kain, Dar Dixon, Jarrod Crawford, Tim Karasawa, Josh Covitt, Erick Chavarria, Bill O’Neill, Sam Carson, Niko Posey, David Aaron, Paul Vinson, Michele Lainevool, Adam Nemet, Harrison Polo REMIX the film via individual spots at the official website! http://www.callner.com/ "It's a rather ingenious approach, and while the hit-rate isn't perfect, creativity abounds—it's astonishing how good some of the spots are, as well as how familiar—its clear how many of the tactics and techniques of the medium Callner has absorbed and re-appropriated. Yet within the jokes there is a tension. Advertising is designed to provoke feelings, and to be relatable to lived experience, but when grafted onto a life's story arc, complete with joy and tragedy, the result is unnerving. How the film experiments with context in the way the scenes are shot and arranged within the story arc, and the juxtapositions therein, is compelling and slightly subversive." S/W Curator, Chelsea Lupkin This film is reproduced on this channel with the permission of its creators.
Fran is thinking about dying, but a man in the office might want to date her. Stefanie Abel Horowitz's "sometimes, i think about dying" is a short film which premiered at Sundance 2019, and won awards at Aspen and Palm Springs. A masterful exercise in tone, and a refreshingly honest examination of depression and social isolation, the short walks a fine line in examining its protagonist's dark malaise, but also weaving in humor, as Fran must decide whether to open herself up to connection. *A selection of Short of the Week* SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/10/23/sometimes-think-dying/ "The film begins with narration by its protagonist Fran: “My world is in a universe, my country is in a world. My state is in a country, my city is in a state…” Fran’s nesting classifications continue to shrink down in scale until she arrives at herself—in a bed, in a room, in a house. Her taxonomical impulse is an attempt to instill order and clarify her place the universe, a place she struggles to understand. Yet the cosmic scale of her ordering reveals her deepest truth about the overall insignificance of that existence. Living is something of a burden to Fran, and she ultimately is ambivalent towards it. sometimes, i think about dying is masterful exercise in tone, and a refreshingly honest examination of depression and social isolation. Horowitz’s film walks a fine line between the punishingly dark malaise of Fran’s condition and relatable humor. Fran is funny after all, with a quick wit, but her social awkwardness and disparaging inner monologue are debilitating. She floats through life by going through the motions, absent friends or hobbies, until a co-worker takes an interest in her. Robert (Jim Sarbh) is gentle and sensitive too on first blush, yet with an assuredness that is captivating to Fran. He strikes up gentle flirtations around the office and trades texts that she agonizes over responding to, until he asks her out on a date. Fran is perplexed—what does he see in her? This is a mystery to the viewer as well, and tension is built throughout the film as we fear the potential affect of a clumsy or ill-intentioned remark or deed by Robert upon Fran’s fragile psyche. Fran is meek, and the film reflects this quality. From the purposeful lack of capitalization of its title that reads like a whisper, to the visual grammar of the cinematography. The shots are languid, full of slow, subtle pushes. Utilizing an ultra-wide aspect, this extra space is often used to isolate Fran, minimizing her presence as she is pushed to the corner of frames. To the immense credit of Horowitz and Wright-Mead, this meekness is fundamental to Fran’s character and to the arc of the film. It is not disguised as a quirk, there is no vivaciousness hinted at under the surface. Robert is not a hero that swoops in to rescue her from “the blues” and there is no triumphant note to the film where Fran “snaps out of it”. The duo appear to intimately understand depression and the way it is commonly misunderstood. It is not often merely a layer on top of a personality, the metaphorical “dark cloud”, but something deeply ingrained. It is not the dampening of mood, but the negation of it, and Fran, more clearly than any depiction I’ve seen in film exemplifies this. The film’s fidelity to depicting depression does not mean the film is without catharsis however, in fact it makes the conclusion of the film that much more powerful. Fran is able to finally articulate her fundamental reservations to Robert—why? Why take an interest in worthless me? With this breakthrough she might also be able to finally share that one true thing about herself that she carries throughout the film." — S/W Curator, Jason Sondhi CREDITS Directed by: Stefanie Abel Horowitz Starring: Katy Wright-Mead, Jim Sarbh Screenplay by: Stefanie Abel Horowitz & Katy Wright-Mead and Kevin Armento Based on the play killers by: Kevin Armento Director of Photography: Matthew Pothier Edited by: Stephanie Kaznocha Producers: Stefanie Abel Horowitz, Katy Wright-Mead Executive Producers: Patrick James Lunch, Ryan Gielen Co-/Line Producer: Jessica Lauren Richmond Music Composed by: Savannah Wheeler Sound Design: Michael Capuano Colorist: Arianna Shining Star Pane Visual Effects: Jane Parisi Visual Effects: Navid Sanati Assistant Director: Craig Newman Gaffer: Adam Belanger Assistant Camera: Ant Wheeler Production Sound: David Beede Grip: Benjamin Moniz Script Supervisor: Emma Yarbrough DIT: Caitlin Reeves Hair & Makeup: Agustina Sosa Production Design: Pete Hansen Wardrobe: Annie Gamber Production Coordinator: Cody Dugan Production Assistant: Jarrod Lynch Anderson Locations Manager: Andrew Simon Intuitive Cook: Isaac Fosl-Van Wyke Made Possible With: Entertainment To Affect Change + Believe Limited + More Media Reproduced on this channel with the permission of the filmmakers
Stop shooting in front of boring white walls! In today's episode, we examine the importance of production design in the creation of your short film. Learn how props, costumes, and locations can really give your movie projects that "filmic" look. Subscribe for more custom short film talk and selections: http://www.youtube.com/subscription_c... Direct links to films: The Saddest Boy in the World http://www.youtube.com/watch?v=KthMcd5jHfM First Mate (vimeo link) https://vimeo.com/36353725 Fran's Daughter https://vimeo.com/67804508 For more great short selections, visit our website: http://www.shortoftheweek.com/ Facebook: https://www.facebook.com/shortoftheweek Twitter: https://twitter.com/shortoftheweek https://twitter.com/IvanKander Music courtesy: Windom Earle http://windomearle.com/
A bird in the wild narrowly escapes capture, but finds itself in a cage anyway. Surrounded by unfamiliar sounds and un-birdlike creatures, its distinctive calls become a tourist attraction—but is there hope it can find its way back home? A fan favorite and award-winner at dozens of the most prestigious animation festivals in the world, "Birdlime" is a kid-friendly stop-motion animation with a message—to portray and foster a more respectful relationship between human and animal. A selection of Short of the Week, the web's leading curators of quality short films. SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/08/13/birdlime/ BIRDLIME A Film by Evan DeRushie http://www.evanderushie.com "Inspired to tackle the topic of exotic pet trade after he witnessed a caged bird in Thailand with a ‘no photo’ sign hung upon its unnatural home, DeRushie, after speaking to the man he thought owned it, was surprised to hear the photos could increase the demand for such animals and soon started to think about the role animation could play in this booming industry. “I was thinking about the way that animals are represented in animation”, DeRushie explains, “and the effects in the real world (like how clown fish populations were decimated directly after Finding Nemo) and I started seeing animation as a powerful and scary tool. Especially since my previous film had a talking bird and fox in it. With this in mind, I tried to portray a respectful relationship between human and animal, and to treat the bird without too much anthropomorphism”. Despite the seemingly heavy topic, DeRushie should be praised for creating a film that carries a strong message, but still remains a hugely entertaining and charming watch. Seasoned with splashes of humour and featuring some stellar production (the character design and practical transitions are particular highlights), it’s not often you get a film that can truly be enjoyed by the whole family, to the same extent us short film geeks dig it." - S/W Curator, Rob Munday CREDITS Made with financial support from: Canada Council for the Arts, and the Ontario Arts Council Puppets: Brenda Baumgarten Art Director: Winston Hacking Composer: Bram Gielen Sound: Marcel Ramagnano Gibberish lead: Helen Donnelly Gibberish performers: Laura Harris, Andrew Gaboury, Phil Koole, Helen Donnelly Armatures: Mike Emiglio, Brenda Baumgarten Costumes: Bonnie Burns Vocals: Robin Dann, Ghislain Aucoin, Bram Gielen Drums: Nico Dann Guitar: Matt Smith Colourist: Zachary Cox Online editor: Andres Landau Development support by The National Film Board of Canada Studio space provided by PixFilm Production support by The Toronto Animated Image Society (tais.ca) Reproduced on this channel with the permission of the filmmaker
An irreverent and comedic alt-history of the Lazy Susan (that spinning thing on the table at Chinese restaurants), and how one lazy lazy woman changed the restaurant industry forever. Susan's family restaurant is in trouble: a competing restaurant, Soup Station, moves in next door and, powered by its ingenious innovation (self-serve soup!) business is slow. How can their traditional Chinese restaurant compete? From this humble beginning, the legend of Susan is born. A selection of Short of the Week, the web's leading curators of quality short films. SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/08/20/lazy-susan/ LAZY SUSAN A Film by Terri Timely http://territimely.com/ "The summer's most exciting cinematic piece of revisionist history has arrived (apologies Once Upon a Time in Hollywood)! Lazy Susan is the origin story we need right now. I don't care to learn that, "actually, The Joker was a bullied young man before turning to supervillainy, so we should have sympathy for him"—NO! Give me a fabulist yarn about the invention of an under-appreciated but ubiquitous dining tool! This tongue-in-cheek intro befits a film that never takes itself too seriously. In a lightning quick 4 and a half minutes, directing duo Terri Timely takes us back to the 90's to contemplate the type of person whom might use "laziness" as a superpower. At its core "Lazy Susan" is a family story about a Chinese American family that runs a large restaurant. Cliché dynamics are presented and turned up to 11, as a sibling rivalry takes center stage. Susan is lazy—like, unnaturally lazy—coming up with any excuse to refrain from movement. Annie, her overachieving sister, is a constantly whirring dervish of activity—you can imagine which daughter her mom prefers. ... You can connect the dots from there, but I don't mind divulging these minor spoilers, as really the film's appeal is not in where it winds up going, but how it does it. Terri Timely really are excellent at several aspects of their craft—the duo, comprising of Ian Kibbey and Corey Creasey, are well-known visualists—their early experiments, "Synesthesia" and "Input/Output", are iconic, with the latter honored as a Vimeo "Best of the Year" pick in 2015. The duo ventured into storytelling with its documentary short "Dollhouse" in 2016, a film we featured fresh off its successful screening at SXSW, and which I still think of as a nearly perfect example of the profile doc format for the way it cleverly incorporates humor via its edit, and they've gotten a ton of reps with their high-budget award-winning commercial work, which includes the celebrated Geico "unskippable" series. "Lazy Susan" as the first narrative piece I've seen from them, and it is a delightful fusion of their trademark traits. Collaborating with Production Designer Ginger Tougas, the film is bright and vibrant, but heavy on earth colors, and vaguely nostalgic in its period design. It is also buoyed by whip-smart action, and humorous visual comedy, edited to its tightest essence. Spinning is a recurring motif throughout the film, from Susan in a chair, to turntables, and, while on the nose, it is a clever bit of foreshadowing and thematic interweaving that I find joyful." - S/W Curator, Jason Sondhi CREDITS A Park Pictures Film CAST SUSAN- Monica Hong ANNIE- Julia Morizawa SUSAN’S MOM- Cathy Chang TED WOOD- Bill Lee Brown SUSAN’S DAD- Roger Lowe SUSAN’S GRANDMA- Karen Yum SUSAN’S COUSIN- Ian Suh CREW Production designer- Ginger Tougas Director of Photography- Donovan Sell VFX- Art Jail Editor- Christjan Jordan Music- Rob Keiswetter Sound Design- Rich Bologna Color- Clinton Homuth Reproduced on this channel with the permission of its creators.
Award-winning 2D animation that gorgeously depicts a love triangle between three celestial bodies: the Sun, the Moon, and the Earth. From Student Academy Award-winner Eusong Lee, this exquisitely animated film revolves around the sad nature of the way the heavenly bodies have to co-exist, as the Earth needs both emotional and practical values from both the Sun and Moon. Executive Produced by Alex Hirsch (Gravity Falls/Disney) SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/11/08/my-moon/ Subscribe to S/W on YouTube! Website: http://www.shortoftheweek.com Instagram: https://www.instagram.com/ShortoftheW... Facebook: https://www.facebook.com/shortoftheweek Twitter: https://twitter.com/shortoftheweek MY MOON Presented by King of Pine in collaboration with Chromosphere A Film by Eusong Lee https://www.eusong.com "Beautiful design and messy emotions make a sumptuous pairing in Eusong Lee's piece of celestial fanfic, My Moon, the latest work from the gifted animator previously featured for his Student Academy Award winner Will. The dark and brooding Moon spends his evenings in rapturous embrace with Earth, only to see her enthusiastically rush to the arms of the awaiting Sun come morning. It's a fraught dynamic that is potentially calamitous for humanity should the delicate balance be disrupted. Lee plays with the raw materials of creation myths, but updates them for our modern technological age of remote communication and social disconnect. A visual treat, the animation itself is the initial draw—Lee's style discovers this pleasing point between abstract minimalism and mograph maximalism, and the result is intoxicating. It's also a perfect pairing thematically for his massive subjects whom he anthropomorphizes, and whose relations he narrativizes. To make his subjects human-like was a late decision in Lee's creative process, initially they possessed their familiar spheres, and so the design must walk the fine line of making them relatable but not too specific in order to maintain their universality. To my mind Lee succeeds wildly, and My Moon should undoubtedly be placed on the shortlist of the year's most beautiful animations. But design aside, Lee's defining skill throughout his young career has been to marry nostalgic melancholy to his pristine art and My Moon delivers on this front as well. Classical myths work by ascribing human qualities to the blankness of the cosmos, and Lee's choice to craft a love triangle out of the heavenly bodies is certainly interesting. In doing so he taps into familiar archetypes—Earth, the fair maiden, is open, genuine, and guileless. Sun is enormous and ebullient. Life-giving, he overwhelms with his warmth. Moon is the main protagonist however, and it is his internal conflict that drives the plot. Draped in his cloak he is a romantic hero of dramatic intensity, but is also the extraneous partner—he is a satellite of Earth, she is his everything, but he cannot fulfill a similar role in her life. Cool, yet wounded, deep, but brusque, he reminded me of famous conceptual characters from fantasy like Dream from Neil Gaiman's Sandman comics, or the character of Winter from Naomi Novik's excellent new novel Spinning Silver. Of course love triangles between opposing personality types have themselves an enormous cultural footprint, from the classics (Wuthering Heights), to the pulp (the beloved shoujo mangas of my youth). Adding to the wistfulness of the film's arrangement is the nature of the character's communications. They do not speak to each other, at least not directly. Instead they snatch dialogue pulled out of radio programs, television shows, and lovers' phone calls in a patchwork arrangement. The conceit is that the celestial bodies are incapable of direct communication but through the chatter we humans constantly put out into space via the airwaves they are able piece together thoughts. It's a fascinating concept, and works thematically with the film—there is something heart-wrenching to the disembodied dialogue, and the multitudinous voices featured, that amplifies this feel of disconnection that both illustrates Moon's despair, but also feeds into a general sense of technological pessimism. Naturally it helps supports Lee's wish to not personify his characters too greatly and maintain some sort of abstract remove, but it also is just fitting—the difficulty to find words for complex emotions that, even with perfect diction, may be too difficult to express." S/W Curator, Jason Sondhi CREDITS Written and Directed By Eusong Lee Producer Sarah Kambara Original Score + Sound Design & Mix by David Kamp Background Design & Color Jasmin Lai, Lauren Zurcher Animation Director Natan Moura Compositing Director Stéphane Coëdel Produced in Association with Chromosphere LA Reproduced on this channel with the permission of the filmmaker
Two characters, cocooned in their love, who go on a heartbreaking journey of self-discovery in this experimental, BAFTA-winning short film, animated via yarn puppets. A selection of Short of the Week, the web's leading curators of quality short films. SUBMIT A FILM: https://www.shortoftheweek.com/submit/ FULL REVIEW: https://www.shortoftheweek.com/2019/12/26/a-love-story/ Subscribe to S/W on YouTube! Website: http://www.shortoftheweek.com Instagram: https://www.instagram.com/ShortoftheW... Facebook: https://www.facebook.com/shortoftheweek Twitter: https://twitter.com/shortoftheweek A LOVE STORY Produced at The National Film and Television School A Film by Anushka Naanayakkara https://www.facebook.com/alovestoryNFTS/ "A BAFTA-winning animation created after director Anushka Naanayakkara set herself the challenge to “tell a personal story through a surreal world”, A Love Story transports you to a strange land of fabric and fluff, as we witness the lives of two entities literally becoming entwined. The tale of a relationship, told through wool, we share the initial warmth of connection as this ethereal pair become joined together, but we’re quickly reminded how messy things can get when something poisonous enters into such a personal bond. Narratively, A Love Story feels like it is somewhat open to interpretation. What is this destructive force that has entered the relationship? An illness? Negative thought? Another person? However you read it, Naanayakkara wasn’t making a film to make you doubt love or to dissuade you to enter relationships, in fact she was just looking to “bring comfort to audiences who have been through a similar experience”. Like many of the films we feature on S/W, when you unravel the story of A Love Story it isn’t tackling new ideas or themes, these are age-old issues explored since the early beginnings of storytelling. The true innovation here lies in bringing this universal yarn to the screen and making it feel fresh. The use of wool feels ideal in illustrating the bonds that connect us through love and by choosing to set this story in this dreamlike world featuring floating beings, we are reminded of the universal nature of this emotion. At around seven minutes in length, A Love Story manages to perfectly portray a relationship in entirety and inspire us with its craft. Proof once again that a short film can achieve all that a feature can, in a fraction of the time. Since finishing A Love Story and winning that BAFTA, Anushka has gone on to create a series of animated promos and is going into production (in 2020) on a music video for composer and pianist Dustin O’Halloran. With the impact and success of this film, let’s hope she returns to the world of shorts sometime soon." S/W Curator, Rob Munday CREDITS Cinematography by Yinka Edward & Alvilde Naterstad Production Design by Solrun Ósk Jonsdottir Edited by Joseph Comar Lead Animators Anushka Naanayakkara & Ivan Sarrión Soria Composed by Victor Hugo Fumagalli Sound by Marcin Szumilas Visual Effects by Teng Ye Ellie Tomlinson Gillian Simpson Colour Grading by Vlad Barin Reproduced on this channel with the permission of the filmmaker.
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