Short of the Week

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Drama Jamie Heinrich

All Kinds of Time

A young man deals with the psychological impact of the death of his sister.

Play
Drama Jamie Heinrich

All Kinds of Time

A young man deals with the psychological impact of the death of his sister.

All Kinds of Time

Directed By Jamie Heinrich
Made In USA
I’ve been following director Jamie Heinrich’s cinematic career for sometime and it has been a fascinating journey filled with intrigue and allure. With each film his cinematic confidence grows and his narratives become stronger and more rivetingly compelling. His films have a sincere rawness that have always been intriguing, but All Kinds of Time carries an additional element of cinematic sophistication, personality, and a powerful directorial voice. All Kinds of Time is the result of a perfectly put together team where each player has a distinct presence but fit together harmoniously in their combined effort. From the music, the characters, the director, the cinematographer, to the writer, each role has a pronounced identity. It would be easy to say that this relationship between the cast and crew is an obvious and essential part of all filmmaking, but it is truly pronounced in this film. Heinrich and writer Zac Hug are a brilliant team whose artistic tendencies compliment each other very well. The editing in All Kinds of Time is particularly noteworthy. The music has a powerful momentum, slowly manipulating the audience in its minimality. The music (from Girl With the Dragon Tattoo) is reflective of the title, starting off with a simple, playful and mischievous melody, and as the film expands the structural integrity of the melody begins to deteriorate at the same rate we experience the cinematic reveal of the deterioration of the character. And while the music itself carries a constant beat and rhythm, the editing of the film reflects the sensational momentum of the sounds rather than relying on the beat itself. Heinrich distinctively uses several time-based cinematic possibilities to his advantage. He incorporates time-lapse, slow-motion, stop-motion, and jump cuts, and in doing so does a fantastic job of including temporal cinematic devices to enhance the overall theme of the narrative. In all of Heinrich’s work he has a unique ability to compound a dense narrative in a short amount of time. All Kinds of Time is just six minutes and carries the narrative content and progression of a feature film. But oddly enough, nothing he creates ever feels too short or leaving us narratively desiring for more. While the viewer’s narrative desires are wholly satisfied, what we wind up with is a desire to see more of Heinrich’s creations.