One of the great joys (and occasionally disappointments) in reviewing independent films is the number of opportunities that come my way to discover work I would likely never see anywhere else. Due to time demands, the many invitations to “sock it to us” from filmmakers looking for coverage, the reviews frequently appear several months after receipt of the screener/link.
So let’s catch up with a few.
Seth
Zach Lasry
United States, 15 min., 2016
The power of a hug
Director-writer Lasry displays a wonderful sense of both understanding the different amongst us and the all-pervasive approval children crave from their parents. Films that work on so many levels simultaneously are all too rare in today’s world of “anyone can be a filmmaker.”
In the title role, Logan George is nothing short of superb, whether dancing up a storm while cooking the corn buffet, speaking in all manner of ways to his comfort-giving (well, except for the unrepentant Christopher!) stuffed animals or silently communicating with one of two idols in his challenging life: Michael Jordan.
As his long-suffering father, Emmett Smith plays off his ever-surprising son with a fine sense of reserve, which makes his metamorphosis into a loving, accepting dad all the more powerful. Laughs and smiles abound (who knew that a fully hung horse dick could be a familial bonding element?), but the underlying angst and pathos make the time vanish and the heart soar.
Here’s to much more from Lasry and his talented colleagues. JWR
AUFDRUCK/LABEL
Jaschar L Marktanner
Germany, 4 min., 2016
Smokin’ SOBs
Marktanner has taken a largely repulsive habit (in the 21st century) and used it as the cinematic glue for a café scene that is filled to the brim with metaphors. Through the haze of cigarette smoke, two women (Lira Mathis, ready for her film noir call; Mary Krasnoperova’s visage speaks louder than her colourful lines), notions of size, depth and length are variously discussed with a tasty helping of alien dissing for dessert.
A discreet jazz trio reinforces the mood as the two women attribute all things bad with the world (as they see it) to sons of bitches—notably switching their demeanour when one of those presents the bill. Seating another couple after an on-screen tirade—now in colour rather than glorious black and white, somewhat weakens the message instead of driving it home. JWR
Cycle
Alexis Ramirez
United States, 6 min., 2016
Anything to get the part
Ramirez has done a commendable job turning Brennan Scott’s tale of audition angst into a pocket thriller. (Scott also created the eerie score that reinforces the tone of mystery.)
Unfortunately, the actors (Ruth Ipince and Katherine Black) are too loud too often where a far more nuanced delivery of their lines would build empathy, concern and revulsion as required. Less would most certainly be more in this case, even as the premise of a Groundhog Day Strangler most certainly intrigues. JWR