Cheers to all who chanced the ominous looking clouds to make the Bohemia institution an amazing, if somewhat controversial, night of short film.
Didn't get a chance to come down? Never fear, some of the talented participants have blogged their work from the event.
Tim & his comic 'Robots'
Michael's 24 hour comic
Or check out photos at the Official Website
]]>So what can you say on film, in around 15 minutes? A hell of a lot if you judge by the 12th Annual Manhattan Short Film Festival. This festival of truly international shorts has attracted a top class field of mini movies from the people whose features you'll be watching in the coming decade.
Keep your eyes peeled for the harrowing Polish film ECHO from director Magnus Van Horn. This slow burning drama unfolds detail by detail to reveal a relentlessly tragic tale with a shattering conclusion.
Helene Florent's Canadian gem LEGER PROBLEME (A Little Inconveneinve) uses old school effects and state of the art computer graphics. to pull of a whimsical comedy that shows everyday people unable to decide between their head and their heart.
German film 12 YEARS (Daniel Nocke) also employs eye-popping computer graphics to tell it's very short, sharp story of love gone wrong.
The Australian film PUSH BIKE made in
However, the Italian short GUERRA (War) will be a definite crowd pleaser. Set in the aftermath of the Second World War this film painstakingly recreates life in an Italian village. Paolo Sassanelli definitely stakes his claim as a filmmaker to watch with this moving comedy of the world of his father and grandfather.
The quality of performances and production values in these films make them a must see for filmmakers tackling the short form or for film-goers who want to see the future of cinema. Come on down, check these out and definitely vote. Last year 60.000 people did but only 126 votes stood between first and second place. And haven't we all had enough of elections that are too close to call?
See you at the Manhattan Short Film Festival, 7pm this Thursday 30th September.
Phil Jeng Kane
Holmes-Brown spoke to FTI about what audiences should expect from his period drama feature.
What would you consider your original inspiration for writing the screenplay?
As a young, emerging filmmaker, how would you describe your experiences with getting your script into production?
From the beginning I think Nikit Doshi (Producer) and I realised that this would be a self-funded production, as it had to run according to our own schedule and film-making style. So it is essentially an incredibly low budget feature film, but we have been exceptionally blessed with the people we have had around us from the beginning of the project. I have been particularly fortunate with my Director of Photography, Arthur Bienkowski, who from the very start of the film knew exactly what kind of film I was setting out to make.
With very little experience directing outside of the university environment, I have had to challenge myself in working with cast and crew in new and very different ways. Often we have attempted exercises and discussions by instinct rather than prior knowledge. But the process of working with my actors, particular James Porter, Rina Freiberg, Nina Deasley and Cody Fern, to develop their characters and to build our scenes, has been very rewarding.
The whole process has been quite a startling experience. We have experienced, I would think, a great deal of the knockbacks that emerging film-makers are struck with. From location issues and filming delays, to changes in cast and crew. But we've used each opportunity to further hone the film, and to concentrate our efforts in getting the film made. It has proven to me that with enough faith and perseverance you can make your film, on your own terms.
Do you have any expectations or apprehensions going into the first stage of filming?
It is always interesting turning up to set on day one with a crew that you've never worked with before. A cast who remain, under your hand, untried. But now that we are halfway through our first block of shooting I am humbled everyday by the willingness and talent expressed by our amazing crew. Rarely have I seen a group of people work so coherently and comfortably together.
Personally, I am waiting to see how my writing fares once taken through the process of rehearsal, shooting and editing. I think that this is the real test of a director; to translate everything that occurs into a coherent whole, with one core and one mind. I am very excited to see my actors step into their scenes. We have had considerable conversations regarding the development of the characters and I look forward to seeing them allowed to grow and breathe within my scenes.
Can you tell us about the filming locations?
As it is a period film we went on a long process to find a suitable building for our set. With a budget as low as ours, building our interior sets was never an option and so we knew that we had to locate a building that would give us everything that we needed in one space. I think I have now seen every significant pre-1930's building in the
The building in which the majority of our film takes place is the
When can audiences expect to see the final product?
That is the #1 question. But I believe that the film will be completed shooting by early September and we shall be completing the post-production process by the end of the year, or early next year. From there we are aiming at International film festivals with the goal of an International premiere.
Check out The Rag Witch official site, or become a fan on Facebook.
Written and directed by Claire McCarthy
Starring Radha Mitchell, Joel Edgerton, Isabell Lucas and Samrat Chakrebarti
Ben (Edgerton) and Fiona (Mitchell) are a youngish Australian couple who travel to
From the moment Ben and Fiona arrive in
The plot of The Waiting City is light on incident. The journey of its characters is largely internal. However, I was fascinated by that journey. First time feature director McCarthy has created a solid and engrossing drama. Ben and Fiona's drive to have a child will be familiar to many and their bewilderment at dealing with an utterly foreign culture will also strike a chord.
To take a small and internal story and open it up enough to make a feature is a feat that many Australian independents don't achieve. McCarthy's success in doing this is due to a number of well-handled elements. The story has just enough meat on its bones to make it worth investing in emotionally. The performances of the two leads are very strong. Mitchell is often excellent in her movies, but not always in the right vehicle. The role of Fiona is perfect for her. Edgerton is a charismatic actor, who has played a number of similar-feeling roles, but the part of Ben is his best performance for a number of years. McCarthy's way of shooting
The film's cinematographer, well known in Western Australian film circles, is Denson Baker. He was in
This is the best way to consider it. We can be proud that a film made with Australian talent is this good, but perhaps more noteworthy is that it has the chops to be shown anywhere and doesn't rely on quirky Australian traits or our wide brown landscape as its hook. It's a character story that relies on craft and talent.
Obviously this is not a film for an audience looking for a vast tale of externalised emotions and death-defying actions concluding with giants orange fireballs in the night sky over
The film is currently screening at Luna Cinemas in Leederville. I rated it an 8/10.
Reviewed by Mr Trivia.
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What was the original inspiration for the film?