“Karibu Nyumbani” translates as “Welcome to my Home” in Swahili. Guides in the Maasai Mara have a deep-rooted pride, knowledge, and love for wildlife. This film encapsulates that passion from the perspective of George Osono, a guide in Mara North Conservancy, who completely embodies this spirit of caring for nature.
Directed by Matthew Williams-Ellis
Review by Andie Karvelis:
Welcome to my home. That’s what Karibu Nyumbani means in English, and what a welcome it is! Matthew Williams-Elllis has created a stunning film centered around the Maasai Mara or as the locals call it, The Mara in Kenya.
You’re immediately spellbound by the cinematography, with its endless sky and colorful sunsets. Wildlife so vivid you could reach out and scratch behind a lion’s ear. The film immerses the viewer in this beautiful area where instead of just watching, you feel like you are experiencing it. Filmmaker Matthew Williams- Ellis really found the perfect balance of storytelling and sensational visuals. Even the music was perfectly ethereal.
George Osono provided the voice over, his cadence and inflection let you know his deep love for this amazing land. I always appreciate smart filmmaking and the fact Matthew added in subtitles was an effort worth making. Having the opportunity to also learn about this national reserve made me long to see the wildlife that resides there protected for decades to come.
Variance Propagation is an optically based experimental film shot in realtime without computer generated effects or post processing. The only physical subject is light and water. I have developed open lens systems which operates in complete darkness in a 20’ x 30’ room. The actual lenses have no body and are a combination of glass and melting ice which degrade over time such that no two takes are exactly the same nor are they repeatable. The art of the process has become in creating the conditions which manifest the effect since it is largely uncontrollable, it is a practice of allowing and openness. The audio is created primarily in realtime with as few post tweaks as possible. It is hoped that this sense of the immersive, rooted in physical reality can serve to ground us and help reset media stereotypes.
Review by Victoria Angelique:
VARIANCE PROPAGATION is a tranquil film that one can melt into, being taken away from the world in a moment to reset by being drawn into the art on screen. It would be great in an immersive art experience, where individuals could pay to be lost in a world of color and sound. The film is impossible to look away from for even a second as even blinking could cause a small fragment to be missed.
The techniques used in this film are different, but effective. The fact that only natural elements are used, rather than computer generated images makes this more a work of art than a film. The artist using ice and water to create the shapes that are enhanced by colored lights invokes geometrical images that constantly change as the film flows from frame to frame. It creates a beautifully pleasing artwork to watch.
Sound is another important element to this film. It is amplified, making this art better to watch with headphones in order to fully immerse oneself into the film. The soundscape draws the audience in, allowing the gorgeous images to flow seamlessly with the score.
VARIANCE PROPAGATION feels as if it should be showcased in an art museum. A piece that one can watch multiple times and come away with something different each time. It is an immersive work of art with the feeling that it should be in a room where the audience is completely surrounded by the images and sounds. This is a rare short film as in invites the viewer to continuously watch it only to be surprised when it ends.
If I Were a Pony by Leonard Eckhaus is the story of a boy and his pony told from the Pony’s perspective. The pony and the boy share many adventures. They ride across streams; they ride with friends and sometimes they just enjoy each other’s company.
Review by Parker Jesse Chase:
“If I Were a Pony” by Leonard Eckhaus is a heartwarming and adorable tale for kids exploring the deep and enduring bond between a boy and his pony. What sets this story apart is that it’s told from the young boy’s perspective, looking into the clouds wishing he was a pony himself, adding a unique and endearing twist to the narrative.
The film takes us on a journey filled with adventure, where the boy and his pony ride across streams, enjoy the company of friends, and simply relish each other’s presence. The cute concept is further accentuated by a delightful and catchy song that brings a sense of brightness and fun to the entire experience. The musical performance is beautiful and endearing, making it an enjoyable watch for both kids and adults.
The animation in “If I Were a Pony” is smooth and well-executed, making it a visually pleasing treat for young audiences. The programming for kids is evident, with a story emphasizing the importance of friendship and the value of cherishing the moments shared with loved ones.
The film cleverly explores the concept of wishes and dreams, as the boy wishes he could be a pony, just like the one he loves so much. However, the story beautifully conveys they don’t need to be the same in order to share an incredible bond. Their relationship is built on laughter, shared adventures, favorite snacks, hugs, and moments of reflection. While there are instances of sadness, these moments allow the characters to reflect on the memories they’ve created and find contentment in the life they’ve built together.
“If I Were a Pony” is a touching and heartwarming tale highlighting the enduring love between humans and animals. It reminds us true friendship transcends differences, and the memories created are worth treasuring. This film is a must-watch for kids and anyone who appreciates the beauty of the human-animal bond.
Despite a dark history and only 5% speaking the native language, a local Hawaiian hero fights to save his culture by teaching traditions, sustainability and life skills to disadvantaged indigenous kids.
Review by Parker Jesee Chase:
“I Am Kanaka,” a short documentary film by Genevieve Sulway, takes us on a poignant journey into the heart of Hawaii, a land with dark histories attached in a now diminishing native language being spoken by just 5% of the population in our current time. Through the lens of ex-teacher Kaina Makua’s education program, the film offers a glimpse into a future where Hawaiian, properly presented to be known as Kanaka culture, is preserved and life skills are imparted to underprivileged youth.
The film unearths the social disparities deeply embedded in Hawaiian society, as local voices vulnerably confess being called Hawaiian is considered offensive to them, leading to the creation of the documentary’s title, “I Am Kanaka.” With a focus on the history of Hawaii’s colonization, the documentary delves into the struggles and acts of poverty faced by the indigenous culture. While Hawaii is often perceived as a vacation paradise, those living within this community are confronted with real hardships and challenges.
“I Am Kanaka” provides a multifaceted exploration of Kanaka culture through the stories of its people. It offers a wealth of information on the history and the educational journey from the past to the present. The revelation hula dancing was once banned highlights the disconnect between the tourist image of Hawaii and the true cultural heritage of the islands. This documentary encourages conversations about acknowledging the land’s history and the injustices suffered by the Kanaka people.
One of the most eye-opening aspects of the film is the revelation the Kanaka did not believe in owning land, making the colonization of their land by outsiders, including figures like Mark Zuckerberg, all the more significant. The documentary calls for reparations and recognition of the harm done during the colonization process, raising questions about the ownership of land and the responsibility of those who hold it.
“I Am Kanaka” underscores the importance of bringing Kanaka history to the forefront, emphasizing the need for acknowledgment and understanding. The documentary showcases the vibrant culture, creative traditions, and rich history that were almost taken away by colonial powers. It draws attention to the sobering fact 10% of the population in Hawaii are homeless, offering an on-the-ground experience through the eyes of locals.
The film presents a diverse array of voices, offering compelling stories that serve as a unifying message in regard to Hawaii. It provides a sense of the vastness of the land and offers an excellent starting point for those who may not be well-versed in the region’s history. It delves into lesser-known aspects of the past while also focusing on solutions to current issues.
“I Am Kanaka” captures the beauty of Hawaii and its people beyond the narrow lens of tourism, highlighting the depth of the culture in its brief duration. The inclusion of black and white photos and drawings continues to add depth to the narrative, and the film’s focus on exposing the young generation to their traditions is especially heartwarming.
“I Am Kanaka” is a well-rounded, eye-opening, and emotionally resonant exploration of Kanaka culture and history. It serves as a powerful reminder of the importance of preserving indigenous traditions and acknowledging the past. Genevieve Sulway’s work provides a valuable glimpse into the heart and soul of Hawaii, a place with a rich history that deserves more recognition and understanding on a global scale.
A Documentary film about the life and activism of LGBTQ Scot Kath Duncan The most important Uk Civil rights leader past 100 years but almost forgotten in time until my Highly acclaimed stage play #liberty and my biography of Kath The Last Queen Of Scotland stage play Liberty
Review by Andie Karvalis:
Ray Barron-Woolford is an activist, writer and filmmaker. This documentary is based on his biography of Kath Duncan The Last Queen of Scotland and his LBGTQ stage play Liberty.
The way we discover the beginnings of Kath Duncan’s life is wonderful. Ray Barron-Woolford is so passionate about telling her history and that passion is infectious. The historical footage and photographs really helped bring the story to life, along with Ray Barron-Woolford’s voice over. The lovely Kath Duncan is portrayed by Emily Carding. This film’s cinematography and camera work is very well done. Tom Colvile, Cara Bowen, and Balan Evans did a wonderful job with lighting, creative shots, filming the interviews and live action sequences.
Personally, I found this film fascinating. Each interview with Lady Phyl, Neale Hanvey, Carole Grayson, John White, and Ray Barron-Woolford was inspiring. It was also incredibly educational for younger generations who are not aware of Kath Duncan’s impact on civil rights. Plus the unsung heroes who follow in Kath’s legacy and fight for what they believe in, taking a leadership role in helping all of us create a better world.
Celebrated dancers Jennifer Hong (of Chinese decent, Los Angeles based) and Mariia Bakalo (Ukraine) move spontaneously in a contact improvisation, ritualistic dance poem for the camera of Taso Papadakis. The melodic soundtrack is also improvised by “Quartetto Fantastico” a group of talented, adventurous and classically trained musician hailing from Los Angeles.
Review by Andie Karvelis
This film opens and you are struck by such beautiful cinematography. A lone dancer in brightly colored clothing that compliments the desert landscape but also stands out from it. The music, by Quartetto Fantastico is as gorgeous as the dancers movements, effortless and serene.
Jennifer Hong’s concept and choreography is creative and beyond lovely. Her performance with Mariia Bakalo was fantastic, they both were so fluid and a joy to watch. Taso Papadakis directed, edited and was the cinematographer on this and did an amazing job – especially with the transition from day to night as Jennifer and Mariia danced. Plus the crystal clarity of the underwater photography was breathtaking.
They say “the Devil is in the details” and the filmmakers got those details down to perfection. It didn’t go unnoticed that Jennifer and Mariia had on similar tops but in different colors. The colors fit the landscape so nicely as that landscape changed. The story is woven through the dance and you find yourself enchanted by it.
A pair of do-gooders attempt to protect a young, force-sensitive girl from bounty hunters on their way to rendezvous with a mysterious contact with the power to protect her much better than they can.
Review by Andie Karvelis:
A long time ago in a galaxy far, far away…
Who isn’t familiar with the opening statement of the Star Wars franchise? It’s iconic. George Lucas has been inspiring generations for decades with this beloved, otherworldly universe. The Walt Disney Company took up the mantle to further capture our imaginations and give us new heroes to be inspired by. Star Wars and its characters have been a part of us all, especially for Brent L. Peterson.
Star Wars: Rendezvous could only be written by someone who has a genuine love of this universe and its characters. Brent L. Peterson ( let’s just call him Brent from now on. He seems like he’d be okay with that ) has that love and that connection to the characters. Forgive me for a moment while I fangirl out a little. Brent didn’t just write this film, he also directed it! If that isn’t impressive enough, he made all the props. And when I say props, I’m talking all the cool Star Wars tech ( blasters, macrobinoculars, light sabers, tracking & communications devices, remote detonation device, that flying spy orb,….and ohmygoodness- the SHIP! ). Incredible, right? But wait, there’s more! Brent’s portrayal of Darth Maul in the film is absolutely fantastic! So is his comedic timing, as quite a few times he had me laughing out loud with his perfect delivery of a line.
As ingenious as Brent is, he couldn’t do all this alone. Lila Martinez really went above and beyond with costuming and makeup to bring these characters to life. Stunt coordinator Gary Choi did an incredible job with David Cameron to create fight scenes that were believable and realistic. Creating the world of Star Wars, so it looks like part of this universe is the team of Jannis Schelenz and Coby Dax as the Directors of Photography. Plus the visual effects team was completely spot on! Thad Lamur, Jeremy Orr and Coby Dax worked with the folks at TechLab Steam to really seamlessly incorporate all of the visual effects, making the audience really feel like they were watching a Star Wars short film. Plus you can’t ignore the sensational music composed by Gregory Warren Blunt.
The storyline is engaging and fits beautifully into this franchise ( are you listening, Disney? ). The talents of Brent as Darth Maul, Rylan Healey as R’iila and Virginia Asbury as Ahsoka Tano really shine. Cleverly, Brent has left us wanting more. We’re invested now in R’iila and want to know where her journey goes! Leaving the story hanging in the balance just seems wrong. So…help us, Brent L. Peterson. You’re our only hope.
She just wants to sing country and western on stage, but it’s not easy for a South Asian-American in the deep south where every audience is a hostile one. “How Do You Fall Out of Love with County Music” is a humorous and moving short film about cultural alienation and the possibilities for human connection through music. Set on stage in a honky-tonk bar, Amy Singh courageously bares her soul to the audience and reveals deep truths about racism and belonging in our country today.
Review by Victoria Angelique
HOW DO YOU FALL OUT OF LOVE WITH COUNTRY MUSIC is a short film that is great for comedic relief in a familiar setting with a relatable protagonist named Amy. The story captures a feeling many artists struggle with when they are first starting out and vocalized the inner-dialogue through a monologue. This makes the situation Amy is in all the more realistic as she is not afraid of speaking her mind, even if it might be politically incorrect. This only aids in the humor of her situation, knowing as a woman of color that she is not exactly welcome at a country music club to perform to the point that she tries to relate to her audience before ever picking up her guitar.
The cinematography grabs the attention right away and stays consistent throughout the film as a way of signifying Amy’s nerves, becoming smoother as she speaks and her nerves fade away. She is able to chase her butterflies away by speaking over the background noise, another great filmmaking technique that director Shyamala Moorty utilized to emphasize a part of the human condition that many people overlook as Amy focuses in on the negative voices over the positive. The positive voices are never even heard, as Amy can only hear the words that confirm her worst fears, that a woman who looks like her has no place in country music.
The words Amy speaks in her monologue are politically incorrect in a way that feels authentic. She airs her grievances in a way that feels like a stand-up comedian, showing that she really is not afraid to let go and be herself. It’s obvious that she is working up her nerves to perform, but through her speech she is able to connect to her audience to prove that she actually does belong in a country music setting. She knows how to get noticed so that her audience will not tune her out as they converse with their table mates. She forces them to listen to her so that her music will be heard.
It’s quite interesting that the filmmaker never actually portrayed Amy singing, so the audience actually does not know if she has talent or not, it’s left open to hoping for the best for her. The nightclub vibe is set throughout the entire film, with the red lights and clinking of glasses. The story never makes it feel like there should be more than one setting as it works with just Amy speaking as her audience occasionally quips back, her inner fears being verbally worked out until she feels like she can perform. Amy does what many artists struggle to do, she makes sure she is noticed before she begins performing so that the audience knows she actually does belong in country music.
A rising actor reaches stardom by taking method acting harmfully serious. Things escalade when he tries to teach others his way by forcing them to “be the role”.
Review by Andie Karvelis:
There is a darker side to the world of acting. One that goes far beyond Stanislavsky’s teachings of “What if…”. One where imagination and empathy are non-existent and you must become the character. Writer/Director/Actor Kaze Uzumaki explores this slippery slope, weaving a story that is suspenseful and dark.
The cinematography by Konstantin Freyer is absolutely stunning. He is able to capture the mood of the film with each and every frame. From the moment the film opens you are intrigued, and as that first scene progresses you feel like Alice tumbling down the rabbit hole. Heart racing, a million questions going through your mind and this very uneasy feeling.
Kaze Uzumaki understands how to build upon that uneasy feeling through the story but also through the music. Philemon Montaser is responsible for the score, and he delivers perfection.
The music underneath the performances ( which are already wonderful ) elevated them even more.
This film is not only incredibly well done, it leaves you asking yourself: How far would you go to get a role?
“The Greatest Use” is a Dramatic Sci-Fi short about where we stand with forgiveness in the living and beyond.
Review by Parker Jesse Chase
“The Greatest Use” delves deep into the complex concept of forgiveness, both in the realm of living and beyond. Directed by Ryan Allarde, this thought-provoking exploration challenges our perceptions of forgiveness and the role it plays throughout our lives.
The film opens with Roger (Ryan Allarde) waking up in a mysterious room, haunted by the remnants of a horrifying nightmare. As he gathers his thoughts, he discovers he is not alone; four strangers surround him in the room. Their confusion mounts as they realize they cannot leave, and their anxiety spikes when a fifth person presents them with a perplexing test. This test becomes the catalyst of the story, forcing the characters to confront their pasts, their presents, and the chance of a future. Keyword: chance.
Forgiveness is the central theme of “The Greatest Use,” and it is artfully woven into the narrative. The enigmatic fifth person pushes the four individuals to examine their attitudes towards forgiveness. Is it something given freely or extracted forcefully? Can forgiveness be weaponized, and how does it shape our past, present, and future? These questions hang in the balance, challenging both the characters and the audience to reflect on their own experiences with forgiveness.
The film poses a deeply personal question: Have you forgiven yourself for the life you’ve lived? This introspective theme runs throughout the narrative, urging viewers to consider their own capacity for self-forgiveness.
The story unfolds with a poignant line, “I miss you,” setting the tone for the emotional journey to follow. The characters, clad in white, awaken in a room symbolizing purity in death. Tension escalates as their initial exchanges turn heated, culminating in a dramatic gavel strike so to speak by the head of the table, Fawn, the Angel of Death.
The stakes become clear: the characters have been granted a singular chance to return to the realm of the living, while others may journey into the afterlife. The word “chance” takes on a significant weight. Fawn asserts her authority, labeling this encounter as an assessment, setting the stage for the characters’ stories.
Tuck (Sarah Sypniewski), recounts a story of murder driven by a desire to protect her niece from her lover’s brother’s molestation. Her willingness to sacrifice herself to save others pose profound questions about the nature of forgiveness. As she fades into death, the audience is left contemplating whether her actions will ever be forgiven by her lover Maria.
Sebastian Richardson (Oliver Rotunno), represents privilege and entitlement. His disdain for the situation clashes with the Angel of Death’s poignant reflections on trust and his role in his & potentially even his mother’s death. The film astutely critiques systemic societal issues of wealth and power. Richardson’s apology and transformation in the face of forgiveness are impactful, even leading the Angel of Death to utter the words, “I’m sorry.”
Shinae Chae’s portrayal of Christine takes us through the struggles of motherhood, forcing her to confront her role in a tragic car accident involving her ten month old daughter. Her journey towards self-forgiveness is poignant, reflecting the power of family in the process.
Ryan Allarde’s Roger takes center stage as he questions Fawn about forgiveness. In a powerful and emotional monologue, Roger’s character delivers a gripping performance, pondering the judgment he faced in life and now in death. His choice to be on the side of death raises the haunting question of whether forgiveness knows no bounds, even beyond the grave. In a surprising twist, Roger’s future hangs in the balance between life and death.
The film’s powerful performances and exploration of forgiveness make it a compelling watch. Ryan Allarde’s direction, combined with the exceptional acting talent of the cast, elevates the film’s message on a thought-provoking and memorable level.
Festival Reviews 