Tag Archives: Relationships

Emotional, Heartfelt ‘Alison’ Looks At Rough Side Of Relationships

At some point when a couple has been dating for a certain amount of time, both partners must decide whether or not to take things to the next level and enter into a committed relationship. Taking that next step gives both partners a sense of excitement and happiness, as they look forward to their life journey together. As the relationship continues, however, life is not always fun and games as each partner eventually reveals the not-so-good side of his or her personality. As a result, bad habits that were once accepted in the beginning become annoying and difficult behaviours that were at first shrugged-off become a worry. After building a life together, is it worth ending a long-term relationship when bad behaviours get to the point of serious intolerability?

The 13-minute dramatic short film Alison (2016) sets out to answer that question as it looks at one couple’s troubling and emotional evening. Written and produced by Jessica Rose and directed by David Lester, Alison stars Jessica Rose as Alison and Kristopher Turner (Saving Hope, This Life) as Jay. Alison and Jay are heading home from an evening out. With Alison under the influence, Jay does his utmost best to get her inside the house and put her to bed. Things don’t go so smoothly for Jay, as Alison’s behaviour becomes hard to manage. Through it all, Jay keeps his cool until he reaches a breaking point. For more on Alison and Jay’s eventful night together, watch the film below:

 Warning: mature content – viewer discretion is advised.

 

Short Film Fan recently got in touch with Jessica to learn more about Alison, including the difficulties faced by the crew in filming the street scene and whether or not the short was a commentary about addiction and mental health issues faced by couples in long-term relationships.

Short Film Fan: Who or what influenced you to make Alison?

Jessica Rose: David Lester (the director) and I have been together for eleven years, so long term relationships are something I think we understand very well. The film shows a kind of intimacy specific to long term relationships that we hadn’t seen portrayed on screen before in a way that felt authentic to us. When you live with someone you get to see all sides of them that the general public isn’t privy to: all the wonderful cute lovely things you fell in love with and, inevitably, all the baggage that reveals itself when you really trust each other or start to test each other. Sometimes it’s working at it and getting through the hard stuff that makes your love even deeper, but it can be hard to see that when you’re in the thick of it. Also, speaking to the character of Alison specifically, I was going through a challenging time personally and I was probably channeling some of those feelings when creating her.

SFF: What challenges did you face when it was time to film the tinkle scene in the street?

JR: Time! We shot the whole film in one day, and the pee scene was the last thing on the schedule. It was nearly 2 a.m. and getting very cold, all of us had worked hard all day and were exhausted, and we needed to wrap.  We used a “pee rig”, so there were definitely some technical adjustments we had to make to figure it out. David operated the rig, which was big syringe attached to a tube sewn into the pants, and on the first take he put too much pressure into the pump and it came out like a waterfall.  It took some practice to get it to look natural. Luckily it was the middle of the night so there weren’t too many people walking by ready to call the cops.

SFF: Was it a mental health or addiction issue that was behind Alison’s dysfunctional behaviour?

JR: We actually don’t want to say too much about what we intended because it’s been fascinating to learn how people interpret it and project their own relationship experiences onto the film. That being said, I didn’t intend it to be an addiction issue when I initially wrote it. I actually think Alison is a pretty normal girl, and that the situation reflected in the film is more common between young couples than people tend to admit. Relationships have the potential to be very beautiful things, but they do challenge us and teach us a great deal about ourselves. The process can be deeply rewarding, but it’s not necessarily smooth sailing.

SFF: Some people would say that what we witnessed in Jay was relationship co-dependency. Is the film an attempt to bring the issue of codependency out into the open for public discussion?

JR: I wouldn’t say it was a deliberate attempt because I didn’t have that kind of agenda when writing it, but it’s absolutely a conversation in the film and something I think about in my own life. Having been in a relationship for eleven years, David and I really grew up together in our twenties, and when you’re with someone for an extended period of time, unconsciously your needs start to bleed together and you end up making compromises or demands on each other that you don’t even realize you’re making. Developing true independence and self-sufficiency within the relationship was something we had to work extremely hard on. That being said, I wrote the ending the way it is because I really want to make the audience question whether Alison behaves this way all the time or if this is a more isolated event. In healthy relationships, even if both people work hard to be emotionally responsible for themselves, inevitably there are times where you take turns caring for one another. I like that Alison shows up for Jay the next day, and we finally get to see this other side to her that he really loves.

SFF: Alison was named a Vimeo Staff Pick awhile back. What was it like for you and your team when you got the news?

JR: So exciting! Putting it online was a lot of hard work, but seeing it take off and find an audience was the most gratifying, rewarding thing. I was really happy about the traction it was getting online even before we had the Vimeo news — we were amazed at how many people started to share it over social media. It’s vulnerable to put such a personal story on the Internet and it’s really difficult to give a film life online. We had no idea what the response would be, so ultimately the whole experience ended up being so moving to us. I was home alone in my pajamas when I got the Staff Pick e-mail and kind of just burst into tears (in a good way). David was working, so I called him with the news and we both kind of freaked out.

SFF: What lesson or lessons would you like the audience to take away from Alison?

JR: Honestly, I hope that if there are any lessons to be taken from the film that they are very unique to the person watching it. Our favourite thing about film is how it gets people talking, so what we love most is when people start to have dialogue about it after and reflect on what they’ve seen and how it connects to their own life. We’ve had people write to us and share the different ways they relate to the film or how it’s changed their perspective on their past or current relationships, and that part is really the most gratifying.

 

Short Film Fan Review:

Alison was an emotional and heartfelt story about staying dedicated to your mate. While it is easy to run from a relationship at the first sign of trouble, Alison shows us that true love for a partner includes accepting the bad with the good.  The quick scene change from “oh yeah, peanut butter” to vomiting was funny, but you still feel for Alison’s suffering; especially when she broke down in tears in the tub. Jay’s calmness when confronting and coping with Alison’s behaviour showed an amazing strength of character, while his break down reminds us all that a person’s strength can only last for so long. If the film went on for a few minutes longer, perhaps Jay could have revealed his true thoughts, feelings and concerns about Alison and how it was affecting his place in the relationship.

Overall, Alison is an extremely well-written and well-acted serious film that would resonate with couples young or old; married or still in the dating phase. Singles could also benefit from watching Alison, as it would be a great teaching tool on how to manage the relationship stresses and challenges. As Jessica mentioned, Alison has the ability to get people thinking and talking about their own relationship experiences. After watching the film above, how did it affect the way you see relationships past and present? Have you been in a similar situation like Jay was? Have you walked in Alison’s shoes at one point? Let Jessica know how Alison moved you. You can send her a comment at the bottom of the film’s website at https://www.alisonshortfilm.com/ or you can Tweet her at @thejessrose

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Trusted Values Connect, Contrast, Confront & Clash In ‘Static’ (2016)

Holding on or letting go. It can be a challenging decision that is usually influenced by the values we hold.  For example, if a device that you have cherished for years no longer worked properly, do you keep it and get it repaired or do you throw it away and get a new one? What about when a loved one dies? Do you live in the past or are you able to move on with your life? The decision to act one way or the other is sometimes not so easy to make, though. Memories, experiences and even our mental health can factor in heavily when making that next step.

The 2016 short film Static is a dramatic and intense look at this common life struggle, as it takes you into the eye of a family drama hurricane between an older man and his son as they clash over the fate of a broken TV set. Produced and written by Tanya Lemke and based on the short story of the same name by Robert Shearman, Static stars Eric Peterson as Ernest and Yannick Bisson as his son, Billy. Ernest is a widower living alone with an old TV set. It drips blood (in his mind) and wants it repaired. Billy, on the other hand, has different designs. He wants to replace his dad’s old TV set with a new one. With angry opposition, and with memories of his deceased wife, Ernest makes an attempt to save the one thing left in his life from its demise.

Click on CBC’s Canadian Reflections link below to watch the whole short:

http://watch.cbc.ca/canadian-reflections/season-2016/static/38e815a-00c1237ab0f

Short Film Fan spoke with Tanya to learn more about Static, including the many ways you could interpret Ernest’s behavior and mindset throughout the film:

Short Film Fan:  Why did you decide to write and produce Static?

Tanya Lemke: My first short film Happy Pills was about to be released. I was high on that experience and my newfound love of directing, and I wanted to get going on another film as soon as possible. I also make my living in production which cuts into a lot of development time. So, aside from my own writing I was looking around for something to adapt. I had the chance to meet my now good friend Robert Shearman around that time and read a bunch of his stuff, which I loved! His story ‘Static’ jumped out at me because it illustrated so clearly a theme that I’m still fascinated with: the things we don’t say and don’t say and don’t say, until the façade inevitably cracks and the corrosive truth starts to leak out. That’s powerful stuff. Fortunately Rob liked my work too, and when I asked him if I could adapt ‘Static’ I was thrilled when he said yes. The script I wrote from that story then won the Screenplay Giveaway from the last-ever CFC Worldwide Short Film Festival, and we were a go.

SFF: What was it like working with Eric Peterson and Yannick Bisson, two powerhouse Canadian actors?

Yannick Bisson as ‘Billy’

TL: I’d been lucky enough to work with Yannick on Murdoch Mysteries for a while so I already knew him when I approached him with this script. But, I was still absolutely floored when he agreed to join in, especially considering his exhausting schedule on Murdoch. He’s an absolute megawatt star in every way and I’ll be forever grateful for his support. The search for our Ernest was tougher; I had never met Eric Peterson before and I admit I was a bit intimidated to send him the material. He’s a legend! But he loved the script and was so gracious and generous with his time and energy. He came to our set utterly prepared with reams of his own notes on his character and backstory despite also being in the middle of shooting a major Canadian production (Best Laid Plans for CBC). Really, working with both of these guys was the best experience I could hope for.

SFF:  We can see that Ernest strongly believes in the value of fixing and keeping things rather than throwing them out quickly. But, are we witnessing a much stronger feeling of survivor guilt or an inability to let go?

Eric Peterson as ‘Ernest’

TL:  Absolutely. All of those things and more – how they contrast and how they connect. One of the reasons I was so drawn to the story of Static’ was its layers upon layers of meaning under an almost placid façade. Ernest is old-fashioned. He subscribes to the idea that “they just don’t make things the way they used to”: electronics, wives…  There is love and grief and terrible guilt, but also denial. There’s resentment for being left behind, and resentment towards the ones who are left. There is the idea that by constantly replacing flawed things with new; we sanitize them, avoiding the messiness of death and decay. It speaks to our more and more obvious inability to deal.  Then there’s the external vs. the internal world; what’s real and what isn’t – is it grief, is it dementia, is it madness? I love the story’s contrasts; it’s a bit funny, painfully poignant and also horrifying in a way. It’s also hopeful despite being super dark. Even the title has multiple meanings:  “static” speaks to Ernest’s frozen emotional state and inability to move forward, as well as the static on the TV’s screen, which again indicates that nothing is black and white but many tones of grey (and red).

SFF:  What has the audience reaction been like to the film?

TLStatic has been so well received at all the festivals it’s played at so far, as well as its Canadian broadcast on CBC, and I can’t wait to bring it to more audiences worldwide. I was actually a bit surprised by how warmly the horror/genre community in particular embraced it. I guess it was because of all the blood (but what mainstream love story wouldn’t benefit from a little blood spurt, I ask you?). It’s wonderful to hear all of the feedback and support from fellow filmmakers as well as fans. I particularly love to hear from these hardcore horror fans: things like “moving”, “tear-jerking”, “heart-wrenching”. There’s a bit of a cool contrast going on there too and it’s awesome.

SFF: What message would you like the audience to take away from Static?

TL: Making Static ended up being cathartic for me on a whole bunch of levels. I think one of its messages is that everything and everyone is complex and that’s as it should be. It doesn’t have to be pretty. Accept everything, even (especially) the darkness. Feel what you need to feel.

 

Short Film Fan Review:

Static was a moving tale of generational divides and value clashes. Ernest’s remark of “Stop tossing things out when they get broken and try to fix them for a change.” sounded like a stinging warning against and rebuke of the throw-away society that we currently live in. For fans of Canadian television programs, casting Eric Peterson and Yannick Bisson was a treat. They played their characters quite well and looked like a real-life father and son duo. You could even hear a bit of Oscar from the hit TV show’s Corner Gas coming from Eric in some of the scenes, especially during the answering machine argument. The dripping blood gave Static that horror short film feel and it added to the film’s tense drama. It was hard to watch Ernest go through the pain of reliving his dog’s and wife’s death. But, of course, it was important to include those scenes as it gave important context to his obsession to “stop tossing things out”. In the last scene, it would have been a fitting twist to see the image of his wife’s face in the TV set as Ernest was driving madly away in the car, rather than the trees. Finally, Static was well-acted, well-written and reminds us that it can be hard to let go as well as to hold on; sometimes the situation we are in does not make the decision-making process any easier.

Give Static a follow on Twitter @StaticTheMovie to see if it is playing at a film festival near you. All the best to Tanya in her future short film endeavors!

 

Guest Post: Seek Out Healthy Human Connections With ‘The Girl Next Door’ (2015)

It is always a pleasure to receive guest articles from Short Film Fan readers. This week’s article was submitted by Wayne Rowley from Winnipeg, MB. Wayne is an avid musician and a devoted dad who loves short films. Wayne’s article is a review of a short film that examines the importance of making healthy human connections.

 

The Desire For Connectivity

This world we live in is moving at such a fast pace that it is getting more challenging every day to keep up. We are so inundated with smartphones, internet, news, social media, apps, and gadgets.  Yet with all this “connectivity”, there are an alarming number of people who are feeling more separated and alone than ever before.  We are staring into the eyes of our iPhone.  We are spending a quiet night/weekend/series with Netflix and Facebook.

The Girl Next Door is an eerie and dark examination of one woman’s desire for connection while living under a cloud of separation and isolation. Starring Lara Jean Chorostecki and produced by Lauren MacKinlay, Peter Mabrucco and Farah Merani, the film begins when Evette (Chorostecki) finds herself alone in an apartment after being released from some from type of hospital (possibly due to an addiction, mental illness or some other issue). Her only contact is from Joy (a therapist or probation officer) via her phone. She has no other human contact and is in virtual isolation until she hears a couple next door. Through the walls she becomes obsessed with their lives due to her need for contact and sheer loneliness. Watch the film below:

Short Film Fan recently reached out to Lauren and Peter to learn more about why they produced The Girl Next Door, including what lessons could be learned from the film.

 

Short Film Fan: What motivated or influenced you to produce The Girl Next Door?

Lauren MacKinlay:  Peter and I had just finished an awesome working experience together on Vincenzo Natali’s short film for “The ABCs of Death 2” and knew we wanted to do another project together soon. Peter showed me this script that Greg Carere had so beautifully crafted and there were several elements that attracted me immediately: the “one woman show” nature of the piece (I’m a huge advocate for female-driven stories), the themes of isolation and connectivity, and the striking visuals that the content laid out.  We instantly knew this was the script to do and the only person we could see playing Evette was Lara Jean Chorostecki, and with the addition of my longtime producing partner, Farah Merani, our little team was born.

SFF: What particular challenge or challenges did you face when making this short?

Peter Mabrucco :  The biggest challenge in directing this piece was figuring how to make shooting in one room not be stale – which isn’t as scary when you have an actor like Lara Jean who has such an incredible presence. While we specifically set out to shoot a script that was contained in one location for budgetary reasons, we also knew it was going to be a challenge when we started this project – which added to the excitement! We figured if you’re not challenging yourself and aren’t in some way scared of what you’re shooting, you’re not doing it right.

SFF: Why was it significant for Evette to cut pictures out from magazines and tape them on her wall?

LM & PM: For Evette, social interaction is a challenge. As Evette listens in on the lives of Beth and James, cutting up and placing pictures on the wall is a way to help her visualize the life they lead. As she fills in the calendar of their lives on the wall, she may place images representing the various aspects: a map showing locations of where they go, images of buildings they frequent, or activities they enjoy, as a way to fill in the gaps.  It’s a way for her to connect with them, to create a relationship, all the while staying safely within the confines of her home; a visual manifestation of her simultaneous longing for and fear of connection.

SFF: What has the audience reception towards the film been like since its release?

LM & PM: We have had incredible reception for the film and have been fortunate to be selected for several great film festivals. We even took home the Prodigy Auteur Prize from the Amsterdam Festival, which was a big day for Team GND! The best take-away is that everyone gets something different from it. Some people think Beth and James are real people and truly her neighbours, others think it’s all in Evette’s head. To hear the debate between the two thoughts is amazing to see/hear.

SFF: What message or messages did you want to get across to the audience with The Girl Next Door?

LM & PM: With technology in today’s world, accessibility and connection are supposed to be improved – yet the opposite seems to have happened. While it was supposed to make connection with others easier – which it has on a macro, global scale – on the micro side, the intimate connections between people have been lost in the foray. We live in a world of projected lives through the filters of social media. All Evette wants is a human connection, and she’s unsure of how to get it. The Girl Next Door can be seen as a cautionary tale of what a life will look like without being able to connect to others.

 

Short Film Fan Review

Lara Jean does a magnificent job of becoming her character and you really feel her loneliness and desire for contact. When things change and the woman next-door tells her partner that she’s moving to Paris, it is devastating for Evette. She then becomes extremely desperate and agitated when she no longer hears the couple through the walls. This eventually leads her to leave the apartment (in spite of feeling terrified) in a last-ditch effort for contact.

It is very easy to lose yourself in the film as it is very well acted, directed and edited. The subtle music and sound effects (voices in her head that gradually get louder) are very effective in adding to the emotional tension that is building in the mind of Evette.

The highlight of the film occurs when Evette is listening through headphones during a romantic dinner the couple is having and is transported into their apartment via her imagination and has a seat at their table. It was a real creative touch that allows us to peak into the window of her mind.

One interesting observation is the shirt that Evette is wearing has a picture of a motorcycle on it. This is can be seen as juxtaposition to the freedom that she doesn’t have.

As an afterthought, perhaps Evette could have looked increasingly more disheveled throughout the film in order to mirror the inner turmoil that she is experiencing.

Overall, The Girl Next Door is a very well-done film and is worth seeing several times. Congratulations to all that were involved in making this film!

 

Closing Thoughts

If you’re a keen TV viewer, you probably recognized Lara Jean from such programs as Hannibal, Designated Survivor and X-Company. We hope to see her in more short films in the future.

Lauren and Peter are very excited to announce that The Girl Next Door has been picked up by the video on-demand platform, Seed & Spark. If viewers  want to see the short in its entirety, as well as many other exquisite projects curated by a team that devotedly supports independent filmmakers, they should sign up for an account and stream it today.

The ability to connect with others is very important for one’s physical, mental and spiritual well-being. The Girl Next Door is certainly a chilling reminder of the consequences that can befall someone when he or she fails to connect properly with other human beings. Thanks to Lauren and Peter for reaching out to Short Film Fan with The Girl Next Door and good luck with your future short film projects. Give them a follow on Twitter @GNDfilm to see what they are up to next!

Finding Love Among The Dead: “I’m In Love With A Dead Girl” (2016)

Spring is back in Canada. Every spring is an opportunity for new life and renewal, as well as to dust off what remains of the past winter. While some may toil in their yards trying to get it ready for planting flowers and gardening, others turn to romance and looking for that one true love. But where does a person find someone to date and possibly connect with? A speed dating session? Maybe through websites or smartphone apps? If all else fails, would you go so far as to dig up someone’s grave?

In the 12-minute short film I’m In Love With A Dead Girl written and directed by Brandon Rhiness, we meet Spencer Milton (played by Tom Antoni). In Spencer’s mind, life is good. He has his hobbies and his friends. But, as one of his friends points out, he is encouraged to seek out a girlfriend. After a few dates with different women, he reads an article on the Internet about Lucy Raven (Afton Rentz) who was killed in a hit-and-run. Upon reflection, he decides to dig Lucy out of her grave and give her a chance. As a result, Spencer faces a few awkward moments and a moment of reckoning. Watch the full short below:

 

Short Film Fan spoke with Brandon to learn more about why he made I’m In Love With A Dead Girl, as well as to get a deeper understanding of the film’s meaning.

Short Film Fan: Why did you decide to produce I’m In Love With A Dead Girl?

Brandon Rhiness: I had just come off shooting the first two episodes of the web series Mental Case that I write and direct. Those were my first “real” filmmaking projects (I don’t include the really bad short films I made in college. Lol!).  Those episodes were extremely low budget. Series co-creator Afton Rentz and I paid for everything out of pocket.

But now that I had a bit of experience behind me, I knew I could do better. The idea for Dead Girl came to me one day and I wrote the script over a couple days. At a Mental Case meeting with Afton, I pitched the idea to her because I wanted her to play the dead girl. She liked it and came on board.

This time, I wanted a bigger budget, so we raised money through Indiegogo. I promoted the hell out of the project, got on TV and in the newspapers and we raised enough money to shoot the film!

SFF: Would you classify your short as a romantic comedy, a horror film or something completely different?

BR: I’ve always had difficulty with that question. It’s hard when submitting it to festivals because I never know what category to submit it under. I’d say it’s a horror/paranormal thriller/comedy. It’s all of those, but at the same time none of those. Lol!

People laugh when they see the film, but it also got accepted into a horror festival. So, I guess the film is whatever you want it to be.

SFF: What was your biggest challenge that you faced when you were making this film?

BR: The biggest challenge was coming up with the money. When you ask people to give you money to make a film, they want to know their money is in good hands and the film will get made. I didn’t have much of a track record since the Mental Case episodes hadn’t even been released publicly at this point. But I did have a few years of writing and publishing comic books under my belt, so I think that demonstrated that I could get a project done.

When it came time for the actual shoot itself, everything went very smoothly. We have a great crew.

SFF: The ending feels like it is open to interpretation by the audience. What explanation from the viewers has made the most sense to you?

BR: Yeah, I’ve heard different interpretations of it, and I don’t want to say anybody is right or wrong. The way I see it, in Spencer’s mind, he was in love and doing a beautiful thing. But in reality, he was taking advantage of Lucy because she was dead and wasn’t a willing participant. So when she comes back at the end…she intends to punish him for his crime.

But by all means, if anybody has a different view, I’d love to hear it!

SFF: What message did you want to get across to the audience with I’m In Love With A Dead Girl?

BR: Don’t dig up corpses, kids!

 

Short Film Fan Review: I’m In Love With A Dead Girl is a dark romantic comedy that is very much open to interpretation. For example, one could interpret that Spencer was trying too hard to have a relationship with someone who was not interested, thus the relationship was a ‘dead issue’. Also, Spencer and Lucy as a couple could also be viewed as an example of one of those relationships keeps going when it really should not. Finally, Spencer could be seen as living in the past and trying to relive a dead relationship. It is a bit challenging to find them at first, but these and many other interpretations can be found in this short. So, it will be necessary for the viewer to watch the film a few times in order to make his or her own interpretations.

As an extra note, it was impressive to learn that this short was put together with funding via Indiegogo. Many independent films are beginning to turn to sites like Indiegogo to help them with their production fundraising needs. Fundraising is a tough activity, but can be rewarding in the end when the fundraising goal is met.  So, if you a happen to hear about a Canadian short film conducting a crowdfunding campaign, consider contributing a few dollars to it. Your generosity could ensure that independent projects such as I’m In Love With A Dead Girl have a chance to thrive.

What Are They Up To Now: Alan Powell Explores The Power of Denial in ‘As One’ (2016)

Keeping in step with the promise of trying new things on Short Film Fan, ‘What Are They Up To Now’ is the latest feature that will show up here from time to time. The goal is to touch base with those who have been previously interviewed on SFF and to explore what has been going on in their careers since their last appearance on the site. In this first edition of ‘What Are They Up To Now’, Short Film Fan reconnected with Canadian filmmaker Alan Powell, now a resident of London, UK, to talk about his latest short, As One.

 

Many people are often oblivious to the fact that they live in a state of denial. Living in denial can occur, for example, when a person ignores the pain and suffering that he or she experienced sometime in the past and pretends that everything is alright with their present lives. Or, someone may be in denial if he or she chooses to ignore his or her current needs and learns to live without them instead. For a while, the denial works and the person lives life somewhat happily. But, at some point, something will happen or someone will say something that breaks down the person’s denial barrier and those blocked inner feelings are released quickly and powerfully.

Alan Powell’s 11-minute short As One (2016) looks at this delicate topic through a woman’s struggle with her current relationship situation. Twice-divorced Maggie (Janie Dee) is on her way to a wedding in a classic London black cab along with her daughter Abi (Jeany Spark) and two other passengers: Douglas (Neil Morrissey) and Danny (Edward MacLiam). By the time the party reaches their destination, Maggie’s life, in a sense, has been deconstructed and she’s left to pick up the painful pieces and carry on. Watch the trailer:

In last year’s interview on Short Film Fan, Alan was in the middle of working on As One. Now complete, the film will have its North American premiere at the 35th Vancouver International Film Festival this month, as well as its European premiere this coming November at the 31st Festival Européen du Film Court de Brest in France . Short Film Fan followed up with Alan to get some input from him on why he made As One and how living in London influences his filmmaking:

 

Short Film Fan:  What motivated you to make this short?

Alan Powell: It started with the expression ‘never underestimate the power of denial’. I first heard it in the film American Beauty. I thought it was a fascinating line and it stayed with me. What can the power of denial actually do? It can create a life full of lies and delusions to protect oneself from the fact that they’re unhappy or living in deep-seated pain and unwilling to face the truth. This resonated with me. I know people who live their lives or have lived their lives never wanting to peak outside the bubble they created for themselves. I wanted to explore the journey of a woman who knows the truth that exists outside that bubble yet denies its presence in her life. What does that look like? How would she deal with it? As One is really a character study of the dynamics denial creates in relationships.

SFF:  You mentioned previously that As One was a short that you originally had set in Toronto, ON. Besides the change in location, in what ways did producing As One in London, UK, affect the film’s original concept and final result?as-one-poster

AP: Setting it in a Black Cab in London enhanced the concept. It’s a tight space and visually compliments the film’s theme. In Canada, there’s no way I could have had the same dynamic in a cab. The historic Black Cabs are designed to sit two passengers across from another two. So the four passengers are facing each other which was ideal blocking for As One. In terms of London as a location, maybe it’s just me but shooting here is far more pleasing visually to the eye because of the history that’s here. The textures, the tone it sets, all of it looks great on film.  Then, there are the actors. Again, maybe it’s just me, but the accents, the authenticity they bring to their work; it all feels very sophisticated for this Canadian boy :). Canada equally has these elements, too, but you really can’t compare the two countries. What also helps is having a cinematographer that knows how to capture beautiful images. Oliver Ford has shot two films for me so far. He won an award for the last one (Phone Box). He’s a true artist and he makes me look great!

SFF: How does making a short in London compare to making a short in Toronto, in general?

AP: Same challenges. The only difference I can see is that you have access to name talent here. I think it’s pretty cool that Sir Ian McKellen lives down the road from us. We saw him at our local supermarket last Christmas. When I was living in Wapping, Rod Stewart lived nearby too. So, this is a pretty cool place. Some of Hollywood’s biggest names still live in London and some will consider doing short films if the script is strong enough. That’s why Neil Morrissey came on-board. He shot to fame in the 90’s with his role of Tony in the sitcom ‘Men Behaving Badly’. He’s been busy ever since. He’s still considered royalty here, so it was an honour to have him join the cast.

SFF: Are you satisfied with leaving As One as a short, or would you consider turning it into a feature?

AP: You’ll be pleased to know that I’ve developed the script for the feature film. It recaps the short in the first 5 minutes and then carries on from there with the same tone and pace. Needless to say, I’m very much looking forward to putting it on the screen next.

 

Short Film Fan Review: The cab ride was definitely the perfect place to expose and ultimately defeat Maggie’s denial of her deep unhappiness. At first, we see a cheerful Maggie; feeling alive from the energy that London offers. However, as the conversations between the four passengers continue during the cab ride, Maggie’s protective barriers slowly start crumbling away. Could this same turn of events have happened during or after the wedding? The film made a very good point with the fact that in denying ourselves, we deny others in the process; creating isolation and further denial. Seeing the Black Cab travel through a busy London evening was a treat and the view of Big Ben at the beginning of the film was stunning. As One was a perfect mix of drama and comedy that is worth watching more than once.

As One screens in Canada at Vancouver Film Festival on October  7th and 9th. Get your tickets soon and don’t miss this opportunity to see Alan Powell’s latest short! If you happen to catch As One at VIFF, Tweet your thoughts about the film to him directly @alan_powell.

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Make ‘The Date’ (2014) Your Restaurant Menu Pick On Valentine’s Day

Valentine’s Day is coming. On February 14th, the malls will be packed full of men and women buying gifts for their significant others. Dinner reservations will be made, cinema line-ups will be a little longer than normal and romance will fill the air. For singles, the day might consist of sad recalls of past relationships, questions surrounding unrequited love and increased visits to dating websites. It’s definitely a day where each of us can take a step back and examine how relationships can impact our lives for better or for worse.

Numerous films over the decades have dealt with love, romance and relationships from all sorts of angles and plots resulting in predictable endings. However, the Canadian short The Date is not your typical dating and relationship film. Written and produced by Mazi Khalighi, and starring Katie Boland and Noah Reid, The Date is a unique look at the beginning, middle and ending of a relationship between two people.

The Date takes place in only one location: a hamburger restaurant. The film begins when Steph (Boland) and Mike (Reid) meet up with each other at the restaurant sometime after their relationship ended.  Afterwards, we watch as Steph and Mike start, sustain and end their relationship at the same table in the same restaurant. Just like many real-life relationships, everything is positive and shows potential at the beginning. After a few years, the relationship plateaus and becomes routine. In the end, as problems and hard feelings have surfaced, Steph and Mike split up and go their separate ways.

Watch the film here:

 

In terms of a dating and relationship film, The Date was brilliantly presented and is perhaps one of the best Canadian short films made in a long time that deals with this topic. It was different and refreshing to experience the story only from the perspective from the restaurant conversations.  Boland and Reid did a great job in executing their roles. The emotions and body language looked and felt extremely real; it was as if we were sitting in the restaurant right beside the couple.

So, whether you’re with your sweetie or doing some online dating on Valentine’s Day, pull out a chair at your favourite burger joint, sit down, take out your laptop or tablet and check out The Date.

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