Beyond murky social criticism, The Big Thing stands out for its beauty. You just don’t find production values this high in short films. It won more awards than you can shake a stick at, if you happen to have a heavenly stick, but even among award-winners, this is one good-looking film.

The story as old as time itself: Boy meets girl; boy doesn’t lose girl; boy causes the end of the universe. In this case, the boy is an unassuming Antichrist, the girl is a Parisian hooker, and the whole thing is under the control of an angel and the devil. The Archangel Michael (a wanker we are informed) and Lucifer the Angel of Light get together for this unrecorded bit of history in 1889, and share a pint and some good times as they bring about the end of the world as we seem not to have known it. It is not clear if the End of Days is the result of a higher plan or just a bit of ennui, but that’s just details. It seems rather important to Michael and Lucifer, two old friends with a job to do, and they are such affable chaps (wanker not withstanding) that it becomes important to the viewer; well, as important as anything is likely to be in this bubbly picture. Andrew Simms and Robin Wilcock are superb as the supernatural creatures on a mission, both greatly aided by witty and occasionally laugh-out-loud dialog. Running a scant 9 minutes, there’s no filler here.

The Big Thing was meant to be many things, including a calling card for writer/director Carl Laudan, and while it got his name on most everyone’s lips in the indie film world, it may be a few more years before he hits the Hollywood A-list. He appeared as a finalist on the ill-fated, film-making, reality TV show, On The Lot before directing a less allegorical feature. Ah well, it is a start, and The Big Thing requires no follow-up.

Bournemouth Film School graduate Rob Brown’s short takes a slightly different tack to other sex trafficking films you may be familiar with, such as Lukas Moodysson’s Lilya 4-ever. Instead of cataloging the indignities no doubt in store for victims of the forced sex trade, Echoes focuses on Anya, promoted from sex worker to trafficker, and her journey from Lithuania to London with the innocent (and secretly pregnant) Liliana.

Given that a large chunk of Echoes unfolds within the confines of the coach transporting the women across Europe, Brown and cinematographer Justin Brown make effective use of the handheld camera, capturing everyday locations in muted tones which reflect the film’s bleak world. I had initially presumed the decision to go handheld may have been born out of a necessity to steal shots in the London Underground, but as (I later discovered) Echoes was shot on Super 16 it’s more likely that this was solely a stylistic decision—one which completely works for the narrative and atmosphere of the film. The final shot of Anya, now boxed in by her decision to let Liliana go free, with nowhere to go except down the dark corridor that stretches out behind her is particularly foreboding.

Ultimately Echoes is a film about the willingness to sacrifice the future of others to secure your own position, it’s a sacrifice Anya is unable to make despite the hell that awaits her.

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.

Sparks is the comic story of a relatively average family in the midst of an uncomfortable situation.  Daniel and Meredith are kind, devoted parents, slipping into a mundane life. Dana and Joshua are self-absorbed late teens, rampaging into rebellion and fun. Nothing surprising there, except perhaps just how reasonable and calm mom and dad are. The problem, as the parents explain to their children: “Kids, your mother and I want to have sex…with you.”

The jokes sit comfortably in the “I can’t believe they just said that” arena, but as I noticed when I saw Sparks with an audience, they don’t produce stunned silence, but uproarious laughter. Partly that’s because this isn’t a series of gags, but character driven moments. Daniel and Meredith are sweet, intelligent people—a bit geeky—that are impossible not to like. How they deal with their dilemma drives everything. Dana and Joshua on the other hand are stereotypes: objects, because that is what they need to be. After all, it isn’t there inner selves that are eliciting a response.

Sparks is a film that generates lunch time discussions that will go on for days. Feelings do not bow to intentions, careful planning, or rationality. How do you deal with emotions you never saw coming? The theme of Sparks is not the rights or wrongs of incest, but how to keep that spark that makes life worth living. However, most viewers are likely to dwell on its taboo elements, and why not? I can’t recall a film that has suggested a healthier manner of coping with the wild tides of sexual desire.

Don’t watch Sparks alone, even though that’s the norm with videos tossed on YouTube. Five people with their mouths hanging open are so much more fun than one. Gather your friends and family (well, maybe not the family) around your flickering computer screen, and enjoy.

YouTube has Sparks in 2 parts. Watch the first, then find part 2 in the player thumbnail view.

As for James, in what has been a very strong lineup over these 10 days, I do believe this film is my favorite. A heart-rendng gay/lesbian film of the classic “coming out” variety, James is the most emotionally powerful film of this year’s lineup, and through superior writing creates a worthy addition to this over-exposed genre. Focusing on a boy in Northern Ireland isolated by his sexuality, alienated from his family due to his parent’s marital troubles, the title character “James” reaches out in desperation to his teacher for support and guidance.

The director Connor Clements is a first-time writer/director. This film was his graduate project, and I almost feel bad for him because he hits a home-run right out of the chute. In documenting a universal experience among gays and lesbians, he discovers a new angle, crafting a story that is of course personal and local, but also challenges all viewers, not just those who are queer, with questions regarding teachers and students, that resonate in our culture.

As a student-production, there is nothing flashy about its execution. The direction isn’t unique or ostentatious, the filming is competent but not eye grabbing. It should provide heart to inexperienced filmmakers everywhere as an example that it is still true—a good script can lead to acclaim.

What I love, being again someone who likes to think about films, to chew on the topics and questions they present, is the ambiguity that is present in the film. In what is a SPOILER to those who haven’t watched yet, James comes out to his teacher, yet does not get the kind of warm response he desired. He is instead gently rebuffed from leaning upon the older man for support. Interestingly though, his teacher reveals that he was not surprised by James announcement. He also mentions somewhat forlornly about a boy a “few years back” who came out and had great difficulties, when he warns James to continue to keep his sexuality a secret. Is the teacher gay as well? That is the reading I got. And it lends an even greater sadness to the film, as it suggests that the nature of closeting oneself off continues through time. That even though the teacher understands James’ situation, he is psychologically unable to reveal himself in a true friendship. A second possibility is that the instructor feels empathy, but needs to push James away as a matter of perception. That, perhaps especially by being in a Catholic school setting, it would be too easily misunderstood by others for him to be engaging in such a personal relationship with a young student. If that is the case it is tragically ironic, that the the fear of, and potential for an inappropriate relationship, directly drives James into that exact situation.
It is these kind of deep readings which I find rare in the rather literal world of short film, and so i do appreciate it when I find them. With it also being a film that stuck with me for some time after watching it, I find it easy to heartily recommend James.

Score : 9/10

A Sundance 10/10 film: currently offline

Though caught off guard, I was hardly entertained through this early confusion. Still if you make it past the first 4 minutes the film starts to sink its teeth in a little deeper. The teacher is energetic and demonstrative in that way actors always seem to be, but in his efforts to reach and unlock the girl’s acting talent his behavior becomes questionable. Creepiness and uncomfortableness emerge, suggesting some impropriety without necessarily ever going over the edge. By the time the girl cries, my only surprise was that it took so long.

So on the one hand the film makes you as the viewer uncomfortable, so congrats are in order for making an affective film, but watching someone in a position of power act like a jackass is hardly entertainment in my book. It does speak to the influence and control of teachers, especially in a profession like acting where so much of one’s person is put on the line, and maybe if I was an actor and had experience in these types of settings the film would resonate more deeply. But I don’t and it doesn’t.

Ultimately in staging a personal and uncomfortable situation in a group setting, the film is wildly successful in its aims and like most of these Sundance films it is certainly crafted well. I just don’t know if those aims were worthwhile.

A Sundance 10/10 film: now online!

The movie commences with an alarm clock and scream as our hero awakens to discover that inadvertently and inconveniently he is a she. The effect of such a life changing experience is the subject of this hilarious romp through Parisian cafés, nightclubs and pavements. Arthur’s febrile wit encompasses the distracting effect on Geraldine’s relationship with his girlfriend, the impact his red headed good looks and curvy frame has on men whom, in a previous existence, had been work colleagues or soccer opponents. It is also the tale of a man’s reconciliation with the inner woman that lurks within. Well perhaps not.

Geraldine does however come to terms with his real self and capitalize on his fame, as celebrity, champion of women’s rights, politician, red carpet walker. There is even a frantic scene at the end as his ex-girlfriend tears along country roads to get him to the altar on a motor cycle. But does she want to lose him?

Viewing the film again for the review I am struck by the beautiful simplicity of Arthur’s drawing, the strong use of colour and the panoramic vistas of the Parisian landscape seemingly effortlessly rendered by use of Flash and After Effects for compositing. Each frame has the appearance of a well-crafted comic postcard.

There is a real zip to the tale, as for eight minutes or so the ramifications of the bizarre scenario are explored with the satirical touch that works so well because Arthur does understand his world. His later movies, L’eau de Rose and La Revolution des Crabes, are well-regarded in the festival circuit and recommended viewing for fans of animated shorts, particularly the latter which has much to say of revolutionaries and is also very funny. Arthur is also a contributor to the monthly comic magazine Fluide Glacial.

Watch Geraldine online at: ArthurDePins.com | YouTube

The Autobiography of Tom Stern, Chapter Six: The New Science wastes no time easing into the story but instead plunges head first into the world of Him and his likes illustrated with rapid fire stills. If you had more time to decompress on the journey from here to the world of Tom Stern you might feel that there was a danger of the dialogue being too hip, “And then, which is now, I want to leave you,” or the caped fight scene overly quirky, but the thing is, it somehow isn’t which is a mighty hard trick to pull off.

Perhaps it’s the clean unfussed look of The New Science coupled with Sean Foley’s (as Tom Stern) direct to camera delivery that sells this off-kilter world just as convincingly as Hal Hartly having Martin Donovan break into dance mid-scene.

Director Tom Stern was awarded Best of 2007 in Microcinema International’s Independent Exposure touring series for the New Science and has made the jump to features with his indie debut This is a Business. The New Science is but a single chapter from an ongoing autobiography of Tom Stern, according to the man himself. Me only wishes that He would hurry up to make more for We to watch.