Professor Johnson, a college poetry professor, lectures his students on a poem by Rumi. When class finishes, one of the students, Olivia, approaches the professor with a question about the poem. This leads into a romantic fantasy musical sequence. Conflict arises soon after when Dean Cox and his secretary, Miss Flannigan, accuse Professor Johnson of exploiting Olivia.
Written & Directed by George Kostopoulos
George Kostopoulous has created a dark comedy centering around the taboo of a teacher sexually involved with his student and having to defend his actions to the school’s principal. But is it really that simple? No, no it isn’t.
As the film opens, the first thing that captures your attention is some fantastic cinematography thanks to Nicola Raggi. The slow pans and seamless transitions from shot to shot was expertly crafted. This really helped highlight a wonderful performance by Greg Amici, who was portraying ‘Professor Johnson’. The actors definitely had a rapport with one another and it showed in how believable they were.
One of the most comedic moments was Miss Flannigan’s facial expressions as she stood listening in at the Professor’s door. Quite possibly my favorite scene was the one choreographed by Joe Medeiros. The other students as dancers doing pirouettes and jete’s around the two lead characters as they were dancing was a joy to watch. The music seemed a bit more of a Tango than a Rumba to me, but “Rumi’s Tango” doesn’t give you that fun alliteration.
All in all, this definitely had the feel of: things aren’t always what they seem. George Kostopoulous put together a unique and comedic film about reversing roles and having a student entrap their teacher.
Walt Whitman is one of the most important poets in American literature. His main work, Leaves of Grass, was written over a period of forty years, and describes human nature, society, and the natural world, both physically and philosophically.
The vintage feel combined with the iteration of a poem by Walt Whitman, makes ONCE I PASSED a very beautiful short film. The visuals and score really make the classic poem come to life, although with a few changes to apply to the particular story that Martin Gerigk is using to tell. The use of old photography juxtaposed with moving still photography across the screen made the story really pop and grab the attention of the audience by invoking curiosity.
The film really explores the use of memory. Nostalgia is invoked first when the use of old black and white photography. This combines with a soothing voice that feels quite panicked in places as if the narrator is struggling to remember a specific moment in his life. The repetitive lines makes the entire film seems like the memory of an old man desperate to remember more than just small details from a trip when he was a young man.
The score is almost bittersweet, telling the tale of a forbidden romance between two men in a time where their relationship would never have been accepted. Making this film almost like it’s trying to recall memories from a clandestine affair in a city far from home. The geometric shapes give the film a spark almost like the brain is struggling to remember more details about a flame from the past. The accompanying charts seems to be an attempt to reignite the brain through old science experiments from a time long ago.
Martin Gerigk is able to explore the full depth of fleeting memory by capturing the key moments the brain can remember. The story tells of what seems like a pleasant trip, but the brain only clings to the negative moments for years to come by blocking out the positive. The film explores the range of human senses in order to recapture a memory, playing with sight, touch and sound in order to activate the full memory.
The combination of Walt Whitman’s poem with the vintage, fleeting images makes this a great film for fans of Whitman. It fully captures the themes that Whitman explored by combining editing techniques with an intriguing score.
‘Night Ride from LA’ is based on a real car ride at night from downtown LA to the desert near Palm Springs a few years ago. The footage was taken from the car by continually shooting single long exposure photos to document the ride of about two hours without any break. This technique condensed the whole trip to a flickering twirl of time-stretched movements and night light graffiti causing a kind of psychedelic trance. A love letter to the energy and vibe of the Californian way of life.
The perfect way to describe driving in Los Angeles at night would the film NIGHT RIDE FROM LA. The film feels chaotic with moments of peace interspersed throughout the brief five minutes. Dividing the piece into 3 segments was a great way of capturing the moment of California driving, especially with the soundscape that was included to really feel immersed into the drive.
Martin Gerigk’s two hour drive is sped up in a way that really makes the tone of the film feel like Los Angeles. The use of inverted images of the drive keeps the film entertaining, as it captures what sometimes a long drive can do to the mind. Gerigk seamlessly moves from phase to phase in order to capture both the chaos and peace of driving at night. Lights play with the imagination as cloud cover brings a sense of serenity.
The score captivates the viewer in a way that feels authentic to Los Angeles at night. The combination of a strong percussion with the sounds of the city makes the heart race as if it’s not Gerigk driving, but the audience. It almost feels like a race or adrenaline high that eventually leads to the inevitable mental crash. The soundscape makes the film a perfect marriage between driving in Southern California at night and the vibe of the nightlife atmosphere.
Separating the film into three parts, using vastly different visuals that compliment each other, was a great filmmaking tactic to really draw the audience in to an authentic drive. The chaos followed by a brief moment of peace amongst the tall palm trees only to be thrusted back into city driving makes the final part of mentally crashing makes the film feel complete. Gerigk even managed the feeling of the mind going numb with the Sesame Street like countdown of close-ups of license plate numbers until the film finally came to an abrupt stop.
If someone wants to feel what driving in Southern California is really like, this film would capture the full experience.
Separate gives us a glimpse of a future where the Supreme Court has the ability to overturn marriage equality and demands the children of same sex couples be placed with “traditional” families.
From the moment you hear the opening chords of a haunting lullaby and see a little girl skip across the frame, you know you are in for a very suspenseful ride. The filmmakers did a sensational job creating an ominous feel and Director of Photography, Mark David did not disappoint in making it look very dystopian.
There was a beautiful father daughter bond between lead actors Cool Benson and Daelyanna Benson. Their off screen rapport definitely translated on screen and they both were a joy to watch, bringing real emotion and believability to their characters. Cool was also the main screenwriter along with Ryan Scwartz, they both came up with a terrifying storyline that felt very Black Mirror-esque. In light of what is happening in some states, this could be a very real, very horrible future for us.
The ingenious writing in this also gives us hope and emphasizes love. A love between family that cannot be broken. One line really resonated with me and it was when Daelyanna said “They turned off their hearts”. What a powerful way to describe the intolerance of others, through the innocent perspective of a child.
This film leaves you wanting to see more. You immediately get invested in the characters and the story. Sensational film all around and I can’t wait to see what happens next.
“Unicorn Symposium,” a short fashion film directed by Max Simonson, is an expressive and magical film taking viewers on a journey of self-discovery and the power of embracing the present moment. With stunning production design by Lufan Shi and captivating clothing and accessories by Vow Studio, the film creates a visually engaging experience seamlessly blending between reality and fantasy.
The opening shot introduces us to our leading lady, portrayed by actress Olivia Fildes, whose clothes—a simple white turtleneck and black denim jacket—reflect her plain and neutral personality. Standing beside her is a pedestrian holding onto a white balloon, symbolizing imagination and childlike wonder. The use of a colorful abstract sweater on this distant wayfarer creates a striking visual contrast, further accentuating her subdued character. This contrast emphasizes our protagonist as a “Plain Jane” living in a mundane existence.
As the story unfolds, we witness our leading lady spending a seemingly ordinary day shopping at the mall. However, through clever foreshadowing and the appearance of our stranger on the street, color bursts onto the screen as they pass by a contemporary Memphis design-inspired style boutique. This transition marks a turning point as the protagonist’s dull personality begins to shine brighter, as she begins to shop and choose clothing pieces for a classic dressing room montage.
The film skillfully employs extreme close-up shots to reveal our leading lady is featured in the polaroids displayed on the mirror, leaving her bewildered. Suddenly, she finds herself transported to another world, reminiscent of the movie “13 Going on 30.” Walking into her surprise birthday party, the look on her face expresses her confusion and disbelief. The production design masterfully creates a retro atmosphere, complete with paper umbrellas, polaroids, handheld cameras, balloons and metallic streamers, ultimately enhancing the overall celebratory experience.
Despite her attempts to convince the group it is not in fact her birthday, the party guests, through their gifts and affection, persist in celebrating her. The film expertly portrays a play on clichés, as the production design, including the delectable food styling, immerses viewers in the festive atmosphere. From fun drinks to birthday cake, a chocolate fondue fountain, and gelatin treats, the partygoers embrace the moment and live within the joyous celebration.
In these moments of revelry, our leading lady undergoes a transformation, changing into the clothes she left behind in the fitting room. Feathers fly, creating a dreamy and whimsical effect, symbolizing her newfound freedom to live fully in the present. The film captures the essence of a special day, filled with spontaneous singing, pinata smashing, and heartfelt laughter.
Amidst the chaos and jubilation, tears are shed and laughter resounds, underscoring the emotional depth of the characters. As the experience comes full circle, a recreated moment reminiscent of the first polaroid seen on the mirror brings everything back together. Our protagonist, realizing the significance of the occasion, feels compelled to capture the moment on her phone, reflecting the modern tendency to document and share every aspect of life.
However, as she leaves the room to grab her phone, life takes another unexpected turn, forever altering her perception of reality.
“Unicorn Symposium” is an enchanting expressive experience derived from Max Simonson’s direction, coupled with Lufan Shi’s stunning production design and Vow Studio’s impeccable clothing and accessories, create a visually captivating experience for all. Ray Lin’s music composition further enhances the film’s atmosphere, making it an ultimately cohesive and magical journey.
In its exploration of self-discovery and the importance of remaining present, “Unicorn Symposium” reminds audiences of the value of cherishing the experiences unfolding before our very eyes. This thought-provoking and enchanting film will leave viewers questioning the extent to which we should be living in the moment free from our technological devices.
Wisdom behind the poetic words, rather than visuals guide the film VOICES OF HAKKA WOMEN. The introduction forces the viewer to focus on the words to impart the history and culture of the Hakka women as the short documentary delves into the unique experiences of six different women through the art of poetry in a way that is compassionate, yet understanding of the hardships that multiple generations of women went through within the Hakka culture.
Ya-Ling Peng and Suzon Fuks went above and beyond to show the differences in the way each poem was recited, making each one unique. The filmmakers utilized various types of techniques in order to tell the stories in each piece to make them stand apart while seamlessly working as a collective. The powerful visuals aided in the storytelling process by using still photography, animation, dance and objects analyzed is explicit detail to name a few of the methods employed within the film.
VOICES OF HAKKA WOMEN begins with a brief history of the Hakka women, a much needed segment so that all viewers can understand how women are using poetry to finally find their voice in a culture where they were oppressed for several generations. The six poems are similar while very different, with each one imparting wisdom even though the women were uneducated to prove the filmmaker’s statement at the start of the film as a strong truth, that despite the lack of a formal education, the matriarchs of their families were still quite smart.
Stated in the fourth poem, “Going to Open-Air Theatre with Grandpa” by Mei-Yen Chen, is a theme that rings true throughout all six of the poems. She states that “poetry is healing to the soul,” which is apparent in the passionate way each poem is recited over the complimentary visuals. The women who wrote these powerful pieces have a distinctive voice that imparts the culture in a way that is heartwarming to their culture by being able to show the memories both good and bad throughout the written word. Peng and Fuks were careful in deciding the techniques used to add unique visuals is what really makes the documentary different than other documentary shorts because they force the viewer to really focus on the importance of the words rather than showing off with fancy cinematography. They make it clear, the stories behind the poems are what is important when the images behind the words compliment rather than distract the viewer.
Peng and Fuks did an excellent job at educating about the Hakka women and anyone who wants to learn about these remarkable women should view this film. The filmmakers seem to know best to let those who experienced the hardships of being Hakka women should be the ones to tell their own stories rather than through a secondary source. The way each poem was written and visualized is a way that will stick with the viewer for quite some time.
Festival Reviews 