A lonely old lady is slowly dying in her old mansion when the arrival of the daughter of her caretaker mysteriously changes her future prospects.
Review by Andie Karvelis:
Who doesn’t love a good mystery? Especially one that is part psychological thriller. The Old Lady centers around Dona~ Ana ( really wishing I could put the tilde where it belongs ) who is slowly dying in her vast mansion. Yet, strange things start to happen when her caregiver’s daughter comes to visit.
Screenwriter, ANGELE MARTENS, gives us a slow burn of a story. Creating a breadcrumb trail of clues for the viewer to follow so their inner sleuth comes out. The cinematography is absolutely stunning and the aerial photography only adds to the beauty to this film. This is due to the Director of Photography, David Garcia and Miguel de Uliarte who work wonderfully together.
Director, Andres Romero, clearly understood how to create a mysterious environment and it shows with how wonderfully the actors did. Manuela Garcia, Angels Martens and Tamara Pena~ ( again, wishing I could have the tilde on top of the “n” ) gave nuanced and authentic performances which drew you into the story and kept you engaged. The ending is a twist that every mystery lover will appreciate.
Committed to getting his crush to love him, Mark uses an AI to snoop into her private life; but when the AI unexpectedly develops love for him and spite for her, he must choose the AI or lose everything.
The short film CLAIRE is an allegory for how dangerous the reliance on technology can be, especially AI, when it takes over and ruins lives. The socially awkward in society, especially teenage boys like Mark, can quickly become creepy when they use Artificial Intelligence to learn how to not only help friends cheat on tests but also to get the girls they romantically desire. AI turns Mark from a likable character into a stalker.
The AI system, Claire, is designed with amazing graphics. Director, Paul Ngang, crafted an amazing film from a story that shows how dangerous AI could eventually become in this world. Mark doesn’t mean to harm Lila or anyone else, but Claire reads his intentions wrong. He is such a social misfit, that it doesn’t even register that Claire spying on Lila is morally wrong as he continues to watch the girl. Claire is able to distract him in the brief moments he asks by showing Lila showering.
Predictably, things do go wrong as Claire attempts to understand complex human emotions that an entity without a soul could not possibly comprehend. The AI system becomes anthropomorphized as she becomes obsessed with Mark. Claire becomes dangerous, even willing to kill if that’s what it takes to keep Mark to herself. If she was human, at some point her conscience would’ve advised that doxxing the boy wasn’t how to get him. Being a computer makes it where she attempts to understand humanity and fails miserably.
The ending of the film, CLAIRE, is left open with many questions left unanswered. It could be turned into a feature film that aims to destroy the AI system that is now too dangerous for this world. She is willing to blackmail, hack and destroy anyone that gets in her way. This leaves the one question remaining, can Claire actually be destroyed?
John is convinced he’s been on this planet for longer than his lifetime. This feeling of knowing more than what meets the eye troubles him deeply. To find some peace of mind, he decides to consult an hypnotherapist to dive into his subconscious and get some clarity. This leads him to find some truth in his beliefs: the one that he has been living through multiple bodies, for centuries.
Review by Parker Jesse Chase:
In the action-drama “Déjà Vu,” director Jean Frenette takes the audience on a mind-bending journey through time and consciousness, masterfully exploring the enigmatic phenomenon of déjà vu and past- lives. The film centers on John Monroe (Raphael Grosz-Harvey), a man tormented by a profound sense that he has lived multiple lifetimes. This unsettling feeling propels him to seek answers through hypnotherapy, leading to a revelation transcending his current existence.
The narrative begins with a contemplative John grappling with an inexplicable familiarity of the world surrounding him. His search for clarity brings him to a hypnotherapist’s office, setting the stage for a deep dive into his subconscious. Frenette skillfully utilizes a series of b-roll transition cuts, seamlessly integrating these with John’s voiceover, which draws the viewer into John’s introspective journey through his point-of-view lens.
The film’s depiction of hypnosis is both intriguing and immersive. As John undergoes the session, the story unveils his belief in past lives, supported by vivid, almost surreal, visual storytelling. The Japanese influences (from 1492) presented in the film add a layer of depth and authenticity, enhancing the narrative’s exploration of reincarnation and eternal souls.
One of the standout aspects of “Déjà Vu” is its sound design. The film refrains from excessive or gratuitous action, opting instead for a soundscape that heightens the sensory experience. Every auditory detail—from the subtle ambiance to the intense moments of action—elevates the film, making the viewer feel every moment alongside John.
The film’s visuals are equally compelling. The locations, whether the serene therapy office or the dense, mysterious forest of John’s past life, are meticulously chosen to create a cohesive and immersive world. The cinematography, particularly the extreme close-ups and slow-motion sequences, effectively builds tension and conveys John’s growing paranoia and confusion.
Grosz-Harvey delivers a poignant performance as John Monroe, embodying the character’s inner turmoil and determination with a quiet intensity. The film’s pacing, while brisk, allows for moments of introspection and revelation, culminating in an open-ended conclusion that leaves the audience pondering the nature of time and identity.
“Déjà Vu” is a captivating exploration of the soul’s journey through time, blending action, drama, and philosophical inquiry into a compelling short film. It’s a beautiful piece that not only tells a story but invites the viewer to question the very fabric of their existence. With strong performances, thoughtful direction, and a hauntingly beautiful score, “Déjà Vu” is a testament to the power of short films to leave a lasting impact.
The film, CHOMP, serves an allegory for the danger of being addicted to processed food, what people would do for money and the corruption of science when it’s used for evil. Ryan is warned by Xander that the Doctor performing the experiment is evil, but he’s not sure until he is forced to consume cheeseballs. Their bodies and mental state change before they can even think about the danger they’ve put themselves in and the Evil Scientist thinks it’s funny.
The set design and cinematography pull the viewer right into the film, instantly invested in what is going on in this laboratory. It seems sinister from the start, with the checkered walls and the only bright color the vibrant orange of the cheeseball. A symbol of the innocence of childhood is used for a wicked science experiment. The reason for this experiment is never revealed, only that the Scientists involved seem to enjoy torturing people.
The effects in CHOMP are award winning. It makes the viewer feel as distorted as Ryan feels once he consumes the cheeseballs. When the world resets with Daisy and the changed Ryan, it seems back to normal except for a few glitches. It’s as if the audience is in Ryan’s mind, as he regains control of his life to save Daisy.
This film felt like it should be a feature, with more questions asked then answered. The purpose of the experiment is never divulged. CHOMP is still a great film as it leaves the audience wanting more while being able to have the concept ingrained into their minds.
In the hauntingly enigmatic and dialogue-free short film, ‘Screaming Silence’, Elizabeth, a young woman in the aftermath of a traumatic event, navigates her world through a haunting soundscape of everyday noises, which ‘peoples’ her world and forces her to face her reality of circumstances and her fear of reaching out for help. As the audience intimately experiences her journey, Elizabeth’s silence becomes a bittersweet force, echoing the profound emotional depth that empowers her to move forward in an altruistic twist of an ending.
The film, SCREAMING SILENCE, captures the pain and complex emotions a woman goes through when dealing with tragic circumstances. Elizabeth has secluded herself, ignoring the calls from her mother as she deals with whatever happened to bring her to this point. There are some clues that suggest she was either dumped or worse, sexually assaulted.
Elizabeth is having trouble focusing, her world surreal as she comes to terms with her pregnancy and how she is being forced to deal with this alone as she retreats inside her own mind. Her emotions are a rollercoaster. She goes from terrified and miserable to finally accepting the pregnancy only for the misery to come flying back when she miscarries. The sorrow is short lived as relief sets in, proving that a woman’s emotions are complex.
Long, focused shots set the tone of the film as they depict Elizabeth’s emotional state. It takes a lot for her to do simple tasks such as making tea or even bathing. It’s draining as she forces herself to complete simple chores. The natural sounds aid the uncomfortable tension as she suffers in silence. It’s only after her miscarriage that Elizabeth is able to reach out to her mother and exit her home. She’s finally able to reenter life.
SCREAMING SILENCE goes through a whirlwind of emotion. It’s a visual essay that shows the world of Elizabeth is complex and there is not a simple solution to end her suffering. Sometimes it is better to get away to think and other times it’s better to scream. This film shows that women often feel forced to deal with events alone, just to find peace in the circumstances of her life.
EarthLove is a poetic music/dance film with 6 dancers, filmed in the city of Malmö, south of Sweden. “There’s a revolution that needs to happen and it starts from inside each one of us. We need to wake up and fall in love with Earth. We’ve been homo sapiens for a long time. Now it’s time to become homo conscious.” Thich Nhat Hanh
We all reside on this little blue rock called Earth. It’s our only home and it gives us so much. Oceans to swim in, grass to play in, trees that provide oxygen, plants that give us sustenance and so much more. If we don’t take care of our home, who will.
Swedish filmmakers and musicians, Kent Olofsson and Felicia Konrad have designed this love letter to the earth through music and dance. Set inside this lush, green forest with a gorgeous pergola, it is the perfect place to film this piece. The Cinematographer, Benjamin Zadig, made excellent use of this beautiful location.
There’s a wonderful contrast between the landscape and the dancers all dressed in bright colors and patterns. The clashing colors all fit the choreography and add to the persona of each dancer. Musically this takes you in so many unexpected directions while using a unique ebb and flow of dissonance. It’s whimsical, heartfelt and has a kind of psychedelic vibe to it that makes you want to just embrace nature and dance.
Directed by William Joseph Stribling. Written by and Starring: R.J. Lewis
Meet Tony Valenci and his bona fide sideshow of eccentric colleagues. Tony has spent his life dreaming of setting a world record. Despite numerous failures, Tony has never stopped believing in himself. Now, Tony has devised his most ambitious world record attempt yet: to be the first man to blow fire while skydiving. https://www.facebook.com/downinflamesfilm
Review by Victoria Angelique:
The film DOWN IN FLAMES never evokes sadness even when Tony meets his demise. The tone is light and humorous throughout the entire mockumentary. The story is entertaining and great characters are introduced that appear realistic with how the world was set up for the narrative. Circus acts talking about Tony, the Human Volcano, wanting to break a world record without blinking an eye about the danger he’d put himself in until Tony chooses to take it too far by jumping out of plane while blowing fire.
The special effects and stunts in this film are remarkable. They seem flawless, as if the audience is actually watching these acts through a first person perspective. This can be credited to filmmaker William J. Stribling as every character is vastly different, which makes it quite entertaining to watch.
The editing is what makes this film memorable. Editor, Andy Stein, made this film feel like an actual documentary rather than a mockumentary. Footage is grainy to make it feel like it’s actual home videos of Tony as the characters remember him. The cinematography aids the editing as the set up is traditional documentary style of interviews. The end song feels like Johnny Cash meets the Devil Went Down to Georgia. It could easily become a hit.
DOWN IN FLAMES is a humorous, yet uplifting story that has the audience rooting for Tony to succeed in his endeavor to break a world record. He seems like a character that would want his every move filmed or photographed since he wants to break the record through a dangerous stunt. Tony’s death doesn’t even bring the tone down as he died doing what he loved, something most sideshow acts succumb to through their dangerous stunts. It makes the film more exciting.
What connects all things on this beautiful and unique planet we call home? Can we reach deep into our collective universal past to understand that everything is carefully intertwined and dependent on everything else? Filmmaker Barb Barton presents a visually stunning and thought-provoking journey into the origin and interconnection of all things. This documentary short film is designed to inspire the viewer to see their place in life through a different lens and focus not on what separates but connects us. Can a broader view help us heal our relationships with nature and each other?
Review by Victoria Angelique:
Director Barb Barton created a visually captivating film that is a cinematic masterpiece. The soothing narration of Ruelaine Stokes takes the audience on the journey throughout time and space to prove the film’s thesis that all life on Earth came from stardust. It’s told in a way that feels like it’s something from a fairy tale, making the concept easy to understand through a familiar trope.
This film has fantastic graphics, combining computer graphics with a compilation of real photographs to create a stunning environment. This film really should be shown in an immersive theater as it is not only a scientific film, but a beautiful work of art. One of the most stunning graphics is when the filmmaker takes a woman lying on Earth to zooming out to the furthest region telescopes can possibly go in the universe, far beyond our solar system, before zooming back down to Earth and through the woman’s eye. This really drives the point home that all life is interconnected to stardust.
This is a historical and scientific film that really shows how miraculous life on Earth is by depicting how everything is truly connected in the grand design from the universe. Barton shows that not only human life was created from stardust, but how all the elements and creatures on Earth were created from dust. It gives a full understanding of the phrase spoken at funerals, “from dust to dust”.
This amazing work of art should be shown in the NASA tourist centers. It’s written in a way that people of all ages could understand and it doesn’t contradict religious opinions to be controversial. The scientific descriptions combined with the elements gives a deep understanding of how life on Earth was created.
Many years ago, while my father was working on his Bonsai plants in the garden, my mother said to me “He made my life a Bonsai” The result, decades later was this extremely personal work intertwining the technically brutal creation of the beautiful bonsai tree with the life of my mother.
Review by Andie Karvelis
Director and Choreographer Leslie Watanabe has done an artful job with this film. One of the most clever things is to incorporate two narrators. David Janowiak and June Wright provide the voices for the film and both are so important for the story. David takes you on an educational journey about the Bonsai trees while June provides the voice of the “Mother”.
You can definitely see the correlation between the Bonsai and June’s portrayal, entwining them into one story. This was only heightened by the creativity of the dancers and Leslie’s choreography. The way the dancers formed the different shapes of the trees and the film superimposed that tree over their image was lovely.
The film’s score was provided by Lance Riley and it was absolutely beautiful. It captured your imagination and transported you to Japan. The costumes were amazing to see, very traditional Japanese and I personally loved learning about the different types of Bonsai trees.
.. love fairy tale situated on undefinite time ,an research for an ideal harmony between woman and the man ..
Review by Andie Karvelis:
Prepare to embark on an abstract journey through infinite time and space. Through this endless void of loneliness you have one objective, one driving need…love.\
Love is something that all of us desire. Whether it’s the romantic kind or the kind of love you feel for friends and family. Love inspires us, it comforts us, and it gives us hope. The filmmakers of “V” crafted an enigmatic tale through computer generated animation that was stylishly done.
The music threaded throughout the film is impressive and reminded me of a heart beating.
V invites you to be subjective and take what you want from it. I think that was very clever of the filmmakers because love is, after all, subjective.
Festival Reviews 