Elevated is what I discovered, and I find it to be a phenomenal short film. A taut horror-thriller, it employs a simple gimmick—the entirety of the film takes place on an elevator. From such a simple premise a remarkable amount of tension and horror is derived, delivered by a surprisingly diverse and dramatic shooting style in addition to excellent performances.  The film begins with a woman and a man sharing an elevator at the end of the day. They are going down when a building security guard joins them. Covered in blood, he commandeers the elevator and sets it to go to the very top of the building. From there a tense psychological battle joins, as the security guard—not the most trustworthy of figures with his manic, panicked behavior, tries to convince the credulous pair that going down is a REALLY BAD IDEA.

In moving on from Elevated, Natali has come to be known as an expert visual craftsman, and this film really shows the roots of that. There is a facility with space necessary to make such a concept work, and the entirety of the elevator car is utilized, from the the high to the low, in ways that are sensible and non-showoffy.

More so though, I really enjoyed the look of the film. Made in 1997, I actually got a strong 80’s vibe from the soft light and desaturated colors. This is probably because it is so rare to see shorts shot on film nowadays, and the ones that are still get digital color-grading. Something about the the blue of the night shots glimpsed outside the elevator though  gave me this overwhelming nostalgia for the Terminator/Die Hard era of action filmmaking. The soft focus and blinding backlights of the finale sequence instilled similar sentiments.

For a director that is most associated with high-concepts, Elevated, and really all of Natali’s  films, showcase fine acting. Truthfully Elevated is an actor’s piece, the artificial confines creating a stage of sorts—though the editing and directorial decisions add infinitely to the presentation. Still it is a work unusually dependent on its acting, and the confined space necessitates many closeups of the actors, who fortunately really let loose and dig into their roles. There is a reticence I would imagine to screaming one’s head off in an elevator with a camera mere inches from you, and if that reticence came through the film would be sunk. However Vicky Papavs, Bruce McFee and Natali fave David Hewlett really shine.

Splice may yet change this, but up till now Natali has been most famous for his debut feature, the excellent cult classic Cube. For those who know the film, the similarities are obvious. It is not made explicit anywhere I can find, but it reasons to think that Elevated was in many ways a proof of concept for that film, which similarly explored tense human relations in a confined space. Unfortunately it doesn’t seem as though Elevated got included on any of the Cube special edition dvd releases. It would have made a nice accompaniment, and thus, this lower quality file from DailyMotion with French-hardsubs is our best option to enjoy this wonderful film.

The two main characters in Pivot are meticulously designed and it’s easy to see that a lot of thought has gone into how to give them an eye-catching, individual look.

The concept for the styling of the main character was inspired by the look of our shadow in the Californian sun.

The long, stretched, oversized limbs of the main character are most effective when he is in full flow, bounding through alleys or bouncing across rooftops, his distinctive orange trousers (inspired by old Russian cosmonaut suits) a liquid blur behind him. In dramatic contrast the ‘villain’ of the piece, is a beast of a figure, his shadow swallowing light as he charges after Pivot’s ‘hero’, his heavy laden feet shattering pavement beneath his trunk-like legs, with every giant step.

In its essence, Pivot is a cat and mouse story—hunter versus prey—but it’s a short made with such panache and such vigour, it must be one of the best of its type. The night-time setting, low-key lighting and shadow play within the film, means we are treated to a mood and atmosphere similar to film noir, whilst at the same time hit with the high tension and frantic pace of a horror movie. To check out how the creators of Pivot created the vibe of the film, be sure to check out their mood boards.

It’s so refreshing to see an animation try something different in terms of style, form and content and I honestly can’t remember the last time an animated piece made me feel this tense and this on-edge. Pivot is a film I’m still not bored of watching, despite being in double figures in terms of viewings and surely that is the sign of a truly great short.

So is the case for lone cop Melvin, caught short in the wrong place at the wrong time in Poet Zero’s short of misunderstanding Cerrado Al Publico. The film is a perfect example of effective striping back to the essentials that so many filmmakers overstep, often to the detriment of the finished product – over stretching both resources and story when less would have certain left an impression of more. Cerrado Al Publico employs a minimum of on screen talent (a single actor, walkie talkie voice and two pairs of feet) until the final reveal and a location that it’s hard to imagine could be any more minimal, yet is perfectly dressed to make the viewer share our protagonist’s disgust - I’m assured that it’s a chocolate syrup and pea soup mixture smeared around the stall.

It was also a relief to see that directors Takashi Doscher and Alex Shofner were able to take Melvin from bumbling, comedic character to tragic ‘if only he hadn’t…’ figure with a twist that didn’t feel like a cheat or easily predicted from the opening credits, but was rather filling in the unexpected blanks for Melvin and the audience alike. As co-directors the pair took a divide and conquer approach to their shared role; Shofner took on set directing with responsibility for all that passed before the lens (actors, props, set, etc.), while Doscher’s cinema director role, tackled behind the camera tasks such as liasing with the crew and ensuring the technical elements stayed sharp.

Perhaps credit should also rest with the process by which the Poet Zero team select their projects; members of the group pitch their ideas, with the group voting on which ones to take forward and then finally roles attributed due to personal interest. Also, it has to be said that the work of David Torcivia (VFX & Grading) and John Merizalde (Editor) go a long way in helping to sell the final moments of this $0 budget, yet effective and entertaining short.

Successfully using a short film as a calling card is definitely a long shot, sadly many talented short filmmakers are still sitting on the sidelines, but every few years a situation presents itself that instills everyone with hope yet again. A few years back it was Sean Ellis making a splash with Cashback, and now Alex Merkin might be on the verge himself of becoming the bastard envied by everyone toiling in the short format.

Across the Hall is the reason for that. This thriller is amazingly Alex Merkin’s virgin effort, though he has been active with videos and other projects. I say amazing because it oozes with the kind of professional slickness which made the announcement that he was going to direct a feature film version easy to swallow. Lining up big talent like Brittany Murphy, the feature version of Across the Hall shot last year and if they can surmount some distribution issues that are appearing to be rather thorny, then you’ll see it in theaters soon.

Extended version aside, it seems like it would be hard to top what we see here in this 16 minute short. The extra time would feel like padding. What is presented here even is actually an edited down version of the 25 minute cut which played SIFF and won Audience Favorite at Palm Springs in 2006. Samsung got involved in the filmmaking process, and wanted the current 16 minute, 2 part version as premium content for their www.anyfilms.net venture. Either they’ve let the domain lapse or they put up a real half ass effort in trying to promote these works, but either way, we luck out with some top-notch short film entertainment. While I for one wish to see the longer version of the short, I can confidently say that the film does not suffer egregiously due to the edits.

In the film Grenier stars as Julian, who attempts to talk his friend Terry out of killing his girlfriend who he suspects is cheating on him. Grenier is knocked on TV for his acting talent, or lack thereof, but in Across the Hall he gives a more than solid performance. A phone conversation to open a film is generally pretty low on the dynamism-meter, but the acting of both male leads through the initial setup keeps you present as the film sinks its teeth in early through its rhythym, writing and strong production values. The film sports name talent and seems to have a decent budget behind it, but impressively Merkin displays an awareness of all the tools in the storytelling kit. The introductory shot of Terry highlights this. The shot opens with a slow, meandering jib that is just enough off of a perfect arc to be unsettling in itself. The moment that the unnatural and garish green light is revealed, a slight hi-pitched frequency enters the sound mix, reinforcing that all is not well. To hammer this point home, Grenier asks a simple question of Terry, “How was your day?”, and while the performance of the dialogue does not reveal a change in demeanor or emotion, it does pause. The pause in itself though is awkward in placement, and heightens the newfound tension until there is release and offcial confirmation moments later in a hi-speed montage of violence. This is mastery of all the elements of film, put together with subtlety in the service of story, and it is validation of Merkin’s talent and promise. Regardless of the success or failure of the Across the Hall feature, Alex Merkin will be somebody to watch in the years ahead.

A finalist for the soon to be announced Audience Award for PBS’s 2nd Annual Independent Lens Online Shorts Festival, Pin Point is devoid of dialogue, instead communicating its message through the body language of its two main characters and the dark, gloomy shading that practically oozes from the screen.

Darkly comical, Pin Point visually tells the story of a newly orphaned girl who, upon arriving at the isolated and creepy orphanage, discovers that the caregiver is attempting to poison the children’s gruel. Taking matters into her own hands, the girl exacts revenge on the increasingly evil caregiver in a most unexpected way.

Kim’s animation has an almost chalk-drawn look to it, and he utilizes earth tones throughout the film to give the scenery an appearance not that far removed from the old “WANTED” posters from the 1800’s. As gloomy as Pin Point is, however, Kim offers light touches of color each time the young girl experiences a moment of love or hope or strength. These splashes of color seem, especially at the film’s end, to symbolize the young girl’s ultimate victory over evil.

Available for viewing on the website for PBS’s Emmy Award-winning series, Independent Lens, Pin Point, the debut film from James Kim, has also been seen at the Santa Clarita Film Festival

Genesis Antipode, produced, written, and directed by American J.R. Robinson in New Zealand, takes the post apocalyptic story to its character-driven basics. There’s a man and a woman, and the rest of the world is dead. Too bad she despises him. Told in two timelines, the human race is no more when the film begins. Jeffrey and Rebecca stay close to each other, outside of the city for fear of what may lie there. They had met before the fall of civilization, on a blind date. He was her intellectual superior, but in every other way, he lagged behind. Rebecca, an attractive, social woman, was repulsed by his inability to grasp even basic cultural norms. However Jeffrey, a dweebish scientist, thought things had gone swimmingly. He learns otherwise, and then everyone else dies.

This is one of the most compelling visions of a destroyed world you’ll find on film. It’s not exciting, but with believable acting and a far too believable situation, it sticks in your brain.

Genesis Antipode is both depressing and relaxing. Is there hope in its suggested future? That’s up to you to decide. It presents two people in the most awkward of situations and lets the audience imagine what they would do in their place.

While at first glance it would seem that A Portrait of Envy is vastly different from Rose’s last film, Archer House, her characters strike a remarkable similarity in the way they are outsiders almost transparently on the edge. Rose has the rare ability to remain still within her characters, and is able to use her entire physical being in both subtle and quite direct ways to communicate nonverbally. Riley Rose, currently working on her BFA at University of Southern California, is a talent to watch for over the next few years.

While A Portrait of Envy is largely centered upon Rose’s character, Kris Kjornes offers a solid supporting performance as Jerry while Jennifer Popagain does nicely in a brief appearance as Jerry’s girlfriend.

Garcia’s script is quite basic, yet is wonderfully enhanced by a complementary production design along with Tahlee Booher’s cinematography and a musical score that companions the film’s disturbing feeling without overpowering or manipulating it.

An illustrator and graphic designer by trade, Garcia is currently in production on his second short film, a horror film, due in Summer 2008. A Portrait of Envy can be viewed online and is available for purchase on DVD by visiting the director’s website.

Inside was made as a show-piece for the skills of the cast and writer Eric Gewirtz and writer/director Trever Sands, and it does an excellent job of it. The script reveals Gewirtz’s quirky humor and dramatic flare. The dialog tells a lot in a few words, which is exactly what it should do. Sands has absolute control of the frame, with lighting that almost tells the story on its own and superb angles time and again. He’s at his best when everyone is talking over each other, yet everything is clear. Sisto shines as well, displaying restrained elegance. I’ve never seen him better. Reedy Gibbs is also impressive as the strong-willed Doctor Jane. She has a motherly feel, which is fitting as Gibbs is Sisto’s mother.

As Sands and Gewirtz point out, Inside is “like a lost episode of The Twilight Zone.” However, many of those have not stood up well to the passage of time, while Inside feels both fresh and familiar. Sure, the twist is predictable, but also satisfying. Inside has an eight minute story to tell and does it in eight minutes – six minutes when viewed online with the credits clipped. That’s a pleasure after watching so many eight minute stories told in ninety.

Black Button is minimalistic in design and execution, but is the kind of tautly paced, well-written film that really shines in the short format. The film centers around a classic hypothetical and moral quandary; lost and confused in a stark white room the main character, Mr. Roberts, is offered ten million dollars by a mysterious older gentleman to push a black button. The catch? If he does, someone, somewhere will die. This premise sets the stage for a provocative conversation between the two as they discuss the implications of such a choice.

There is a lot to like about the film, the visual aesthetic is stylish; stark and ultra-exposed in order to create the depth-less white set. As mentioned, the pacing is excellent, sucking in your attention and never letting it flag and the shot selection wrings the most dynamism possible out of the limited set. The two strongest aspects though are the excellent sound work and superb acting. Fantastically creepy, disorienting sounds emanate during the payoff that heighten the affect nicely, and quite simply Robert Grubb steals the show with his turn as the elderly gentlemen.

As accomplished a film as it is, especially for a $200 first time effort, Black Button likely would have found success on the festival circuit, but instead on YouTube it has become a phenomena, garnering a half a million views and over 6000 comments. It’s hard to imagine garnering as much exposure or feedback from any other means than the online video giant. But also because of the community-nature of the site, the feedback is often a lot more substantial than other sites. Thirteen video responses have been posted already by fans of the film, and questions generated by the short prompted the filmmakers to post two new “making of” segments to YouTube as well, extending the level of interactions possible between independent filmmakers and their audiences. Now if only YouTube can perfect some revenue sharing…

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