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Currently setting the blogosphere alight with its tale of humans who possess supernatural powers, this 10-minute film acts a precursor for a larger narrative the duo are currently crowdfunding on <a href=\"https:\/\/www.indiegogo.com\/projects\/code-8-a-film-from-robbie-stephen-amell#\/\" target=\"_blank\">Indiegogo<\/a>.<\/p>\r\n\r\n<p>Narratively <em>Code 8<\/em> isn't exactly breaking new ground, think <em>X-Men<\/em> meets <em>District 9<\/em> and that seems to be the premise in a nutshell, but it more than makes up for its lack of originality in the storytelling department with some stellar production values and assured performances. Quickly immersing you in a world where those who are born with abnormal capabilities are forced to live in poverty, <em>Code 8<\/em> follows Robbie Amell's (<em>The Flash<\/em>, <em>The X-Files<\/em>) Taylor Reed as he struggles to control his powers as everyday life grinds him down.<\/p>\r\n\r\n<p>Though listed as the 'Drone Pilot' in the credits, the short doesn't star Robbie's brother Stephen (<em>Arrow<\/em>, <em>The Flash<\/em>) due to work commitments, but he admits on their Indiegogo page he's going to do everything he can to help make this a feature film. The duo are keen not to say too much about how their narrative will develop, but they do reveal the following in their crowdfunding campaign - \"this movie will be intense, it will feel real, and you will see a side of Robbie and Stephen that you haven\u2019t seen before. Oh, and there will be robots, superpowers, and a ton of badass action\".<\/p>\r\n\r\n<p>Following hot on the heels of Factory Fifteen's <em><a href=\"https:\/\/www.shortoftheweek.com\/2016\/03\/18\/ana\/\" target=\"_blank\">ANA<\/a><\/em> and David Karlak's <em><a href=\"https:\/\/www.shortoftheweek.com\/2016\/03\/25\/rise\/\" target=\"_blank\">Rise<\/a><\/em> there might be some of you out there getting a little bored with the Sci-Fi proof-of-concept short, but it's a trend that shows no signs of subsiding and with the impressive production on show in <em>Code 8<\/em> and the star power behind it, we're certain this is a storyline we're going to see more of (the Indiegogo campaign has already exceeded it's $200k target and still has some time to run).<\/p>\r\n\r\n<p>If you want to follow the film's progress be sure to like the Facebook page below or follow them on Twitter at <a href=\"https:\/\/twitter.com\/code8movie\" target=\"_blank\">@code8movie<\/a><\/p>","post_date":"2016-03-29 10:00:00","post_title":"Code 8","post_name":"code-8","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/Code-8-Robbie-Stephen-Amell-01.jpg","categories":{"count":6,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":818,"color":"#FFC400","display_name":"Famous Filmmakers","slug":"famous-filmmakers"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":91,"color":"#FF0059","display_name":"Sci-Fi","slug":"sci-fi"},{"ID":87,"color":"#FF0059","display_name":"Society","slug":"society"},{"ID":123,"color":"#9AA86D","display_name":"Special FX","slug":"special-fx"},{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"}]},"author":{"display_name":"Rob Munday","first_name":"Rob","last_name":"Munday","ID":"19","company":"","occupation":"","phone":"","notification_weekly":"1","notification_daily":"1","notification_texts":"1","subscriptions":["the-short-list"],"email":"kung_fuelvis@yahoo.co.uk","real_name":"Rob Munday"},"country":{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"},"filmmaker":"Jeff Chan","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.facebook.com\/Code8Movie\/","label":"Facebook Page"}],"duration":"10","genre":{"ID":91,"color":"#FF0059","display_name":"Sci-Fi","slug":"sci-fi"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.youtube.com\/embed\/DqO90q0WZ0M","play_link_target":"video","post_excerpt":"In a world where those with special powers are forced to live in poverty, some \"specials\" can't take it anymore - a short film from Robbie & Stephen Amell","production":"","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"Code+8+by+Jeff+Chan+%7C+A+Robbie+%26+Stephen+Amell+short+film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/Code-8-Robbie-Stephen-Amell-01-640x239.jpg","type":"video","topic":{"ID":87,"color":"#FF0059","display_name":"Society","slug":"society"}},{"ID":26545,"post_author":"45","post_content":"<p><span style=\"font-weight: 400;\">Taking an inherently ridiculous premise and giving it heart and soul? That takes skill. Enter from stage left Gearmark TV\u2019s <\/span><i><span style=\"font-weight: 400;\">Comrade Crunch<\/span><\/i><span style=\"font-weight: 400;\">\u2014an action\/dramedy about a vengeful Russian assassin who wants to relive happier times by eating his favorite breakfast cereal. A silly pitch? Perhaps. But, it\u2019s really well-executed: funny, engaging, and believe it or not, actually pretty touching.<\/span><\/p><p><span style=\"font-weight: 400;\">Roy Arwas, the film\u2019s director explains further: \u201cThe film, written like an absurd comedy, was crucially needed to be believable. So the biggest challenge was to make a cereal as important as the life of a child, or in our case, the memories of Victor's childhood (happiness). So the goal was to consciously forget the film is about cereal as a whole, and to shoot it as if the cereal was something as important as life itself.\u201d<\/span><\/p><blockquote><p>\"The goal was to shoot it as if the cereal was something as important as life itself.\u201d<\/p><\/blockquote><p><span style=\"font-weight: 400;\">He definitely succeeded. Arwas mentions that the film\u2019s writer, Alexander Crews, was inspired by the <em>Grant Theft Auto<\/em> video game series in terms of tone and style (hence, the darkly comedic vibe). It\u2019s a world where everything is shrouded in corruption and violence, but there\u2019s a hint of broad comedy that overlays it all. I said it before in a review of <a href=\"https:\/\/www.shortoftheweek.com\/2016\/02\/16\/irrational-fear-nothing\/\">Paul Trillo\u2019s latest film<\/a>, but I find it fascinating how video games are so clearly informing cinema, both in terms of aesthetic and tone.<\/span><\/p><p><span style=\"font-weight: 400;\">Admittedly, the <\/span><a href=\"https:\/\/www.youtube.com\/user\/GearmarkTV\"><span style=\"font-weight: 400;\">Gearmark.TV<\/span><\/a><span style=\"font-weight: 400;\"> YouTube channel hasn\u2019t really been on our radar, but at the risk of sounding clich\u00e9, now, that\u2019s all about to change. Led by a team of strong creative voices working on shoestring budgets, they are a group of six filmmakers producing great online content. Some of it is more sketch and viral in nature. But, in the case of <\/span><i><span style=\"font-weight: 400;\">Comrade Crunch<\/span><\/i><span style=\"font-weight: 400;\"> it\u2019s clear they are capable of reaching deeper as well. The film might be over-the-top in concept, but damn...as the climax happens in a siege of gunfire, you really do want this guy to get his damn cereal! And, in that way, <\/span><i><span style=\"font-weight: 400;\">Comrade Crunch<\/span><\/i><span style=\"font-weight: 400;\"> supersedes a lot of shortcomings (it\u2019s perhaps a bit too long, some of the action could be a bit more refined) by making you really care about this protagonist. Even though the situation is heightened and the lead character\u00a0stereotypical (yet, another tortured hitman), it\u2019s all surprisingly touching. Gearmark is proving to be a really compelling voice in the YouTube realm. The sheer fact that they are producing a short film every month this year is impressive. That they actually happen to be good? Doubly so.<br \/><\/span><br \/><span style=\"font-weight: 400;\">So, be sure to <\/span><a href=\"https:\/\/www.youtube.com\/user\/GearmarkTV\"><span style=\"font-weight: 400;\">subscribe to their channel<\/span><\/a><span style=\"font-weight: 400;\"> (seriously, this may be one of the most criminally underrated teams on YouTube). We\u2019re excited to see what they produce next.<\/span><\/p>","post_date":"2016-03-28 10:00:00","post_title":"Comrade Crunch","post_name":"comrade-crunch","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/ComradeCrunch_still.jpg","categories":{"count":6,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":100,"color":"#DB3377","display_name":"Action","slug":"action"},{"ID":137,"color":"#D9B800","display_name":"Crime","slug":"crime-topic"},{"ID":280,"color":"#D9B800","display_name":"Dramedy","slug":"dramedy"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":1089,"color":"#38BEFF","display_name":"Losing It","slug":"losing-it"},{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"}]},"author":{"display_name":"Ivan Kander","first_name":"Ivan","last_name":"Kander","ID":"45","subscriptions":["the-short-list"],"company":"Lucky 9 Studios, LLC","occupation":"Filmmaker\/Motion Designer","phone":"703-727-4362","notification_weekly":null,"notification_daily":null,"notification_texts":"1","email":"ikander@gmail.com","real_name":"Ivan Kander"},"country":{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"},"filmmaker":"Roy Arwas","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/www.royarwas.com\/","label":"Filmmaker Website"}],"duration":"15","genre":{"ID":100,"color":"#DB3377","display_name":"Action","slug":"action"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/www.youtube.com\/embed\/EZ1EeaciF5w","play_link_target":"video","post_excerpt":"A retired Russian assassin attempts to relive happier memories through his favorite childhood cereal.","production":"Gearmark Pictures","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"Comrade+Crunch+by+Roy+Arwas+%7C+Short+Film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/ComradeCrunch_still-640x360.jpg","type":"video","topic":{"ID":137,"color":"#D9B800","display_name":"Crime","slug":"crime-topic"}},{"ID":26558,"post_author":"45","post_content":"<p><span style=\"font-weight: 400;\">Another day, another incredible science fiction proof of concept designed to pitch a feature project. If I sound jaded, I don\u2019t mean to. It\u2019s just sort of overwhelming with the quantity and quality we are getting in the short form nowadays. From David Karlak (whose previously featured SotW film, <\/span><i><span style=\"font-weight: 400;\"><a href=\"https:\/\/www.shortoftheweek.com\/2013\/07\/25\/the-candidate\/\">The Candidate<\/a>, <\/span><\/i><span style=\"font-weight: 400;\">is one of my favorite shorts of all time), <\/span><i><span style=\"font-weight: 400;\">Rise <\/span><\/i><span style=\"font-weight: 400;\">is the type of project you can imagine a board room of studio suits creaming their pants over. It\u2019s gorgeously shot, features stunning visual effects, and is predicated on a great science-fiction premise\u2014the classic robot uprising story that the <\/span><i><span style=\"font-weight: 400;\">Terminator<\/span><\/i><span style=\"font-weight: 400;\"> franchise has been admonishing us about since 1984. The twist? What if the robots were the good guys: the victims instead of the overlords. <\/span><\/p><p><span style=\"font-weight: 400;\">Written by Marcus Dunstan and Patrick Melton (<\/span><i><span style=\"font-weight: 400;\">Feast, <\/span><\/i><span style=\"font-weight: 400;\">the <\/span><i><span style=\"font-weight: 400;\">Saw<\/span><\/i><span style=\"font-weight: 400;\"> series), the teaser feels undeniably like a Neil Blomkamp joint (both in aesthetic and humanist message, it\u2019s hard not to see shades of <\/span><i><span style=\"font-weight: 400;\">District <\/span><\/i><span style=\"font-weight: 400;\">9 and <\/span><i><span style=\"font-weight: 400;\">Chappie<\/span><\/i><span style=\"font-weight: 400;\">). But, the action beats feel original enough to make the visuals stand out. We often ask ourselves here at Short of the Week if it\u2019s worth featuring science-fiction teasers like this. After all, they\u2019re not short films in a traditional sense. Their intentions are clear: get funding for a feature, not tell a satisfying standalone story. As a purist, this sort of irks me (I do write for \u201cShort of the Week\u201d after all). But, I can\u2019t deny the quality of what Karlak has produced. To be succinct, it\u2019s a stunning 5 minutes. Game recognize game.<\/span><\/p><p><span style=\"font-weight: 400;\">Karlak originally sold his pitch for <\/span><i><span style=\"font-weight: 400;\">Rise <\/span><\/i><span style=\"font-weight: 400;\">to Warner Bros. back in 2011. Later, he used a high-profile <\/span><a href=\"https:\/\/www.kickstarter.com\/projects\/1725739753\/vfx-for-sci-fi-short-film-rise\/description\"><span style=\"font-weight: 400;\">Kickstarter campaign<\/span><\/a><span style=\"font-weight: 400;\"> to back the production of this proof of concept, raising over $38,0000 to bring his vision to life. And, well, the money is certainly on the screen. The visual effects not only look fluid, they\u2019re also impeccably designed. The integration between human and robot is seamless, but also aesthetically unique. And, the film\u2019s high profile actors (Anton Yelchin, Rufus Sewell) give the film a starry sheen.<br \/><\/span><span style=\"font-weight: 400;\"><br \/>So, what\u2019s next for Karlak? I guess we\u2019ll just to have to see. According to <a href=\"http:\/\/www.hollywoodreporter.com\/heat-vision\/rise-short-film-explores-a-877457\">the Hollywood reporter<\/a>, he sold a supernatural action pitch to Fox called<em> Outliers<\/em>, which he\u2019s also attached to direct. In terms of <\/span><i><span style=\"font-weight: 400;\">Rise<\/span><\/i><span style=\"font-weight: 400;\">, we\u2019ll see if a teaser this impressive results in mainstream success. We imagine that there might be more than a few sources willing to throw down some money. But, as our own Jason Sondhi reported with <a href=\"https:\/\/www.shortoftheweek.com\/news\/sci-fi-short-true-skin-first-certainly-not-last-short-move-streaming-tv\/\">Amazon\u2019s recent acquisition of <\/a><\/span><a href=\"https:\/\/www.shortoftheweek.com\/news\/sci-fi-short-true-skin-first-certainly-not-last-short-move-streaming-tv\/\"><i><span style=\"font-weight: 400;\">True Skin<\/span><\/i><\/a><span style=\"font-weight: 400;\">, \u00a0it may not necessarily be in the feature realm. A streaming service might be the ideal match for this type of science fiction property. I guess only time will tell. Until then, kudos, Mr. Karlak. You definitely have our attention.<\/span><\/p>","post_date":"2016-03-25 10:00:00","post_title":"Rise","post_name":"rise","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/Rise_still.jpg","categories":{"count":7,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":134,"color":"#6B7FD1","display_name":"Conquest","slug":"conquest"},{"ID":732,"color":"#9AA86D","display_name":"Humanity","slug":"humanity"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":91,"color":"#FF0059","display_name":"Sci-Fi","slug":"sci-fi"},{"ID":932,"color":"#D44C4C","display_name":"Survival","slug":"survival-topic"},{"ID":858,"color":"#349AED","display_name":"Trailer","slug":"trailer-collection"},{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"}]},"author":{"display_name":"Ivan Kander","first_name":"Ivan","last_name":"Kander","ID":"45","subscriptions":["the-short-list"],"company":"Lucky 9 Studios, LLC","occupation":"Filmmaker\/Motion Designer","phone":"703-727-4362","notification_weekly":null,"notification_daily":null,"notification_texts":"1","email":"ikander@gmail.com","real_name":"Ivan Kander"},"country":{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"},"filmmaker":"David Karlak","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/www.conceptrise.com\/","label":"Film Website"}],"duration":"5","genre":{"ID":91,"color":"#FF0059","display_name":"Sci-Fi","slug":"sci-fi"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/player.vimeo.com\/video\/156050986","play_link_target":"video","post_excerpt":"In the near future, sentient robots are targeted for elimination after they develop emotional symmetry to humans and a revolutionary war for their survival begins.","production":"Robot Uprising","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"Rise+by+David+Karlak+%7C+Short+Film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/Rise_still-640x360.jpg","type":"video","topic":{"ID":134,"color":"#6B7FD1","display_name":"Conquest","slug":"conquest"}},{"ID":26551,"post_author":"3","post_content":"<p>Profile docs are\u00a0a subgenre that, while as popular\u00a0as any in short film, may be finally engendering a backlash. Or maybe that's just wishful thinking? We watch a lot of them here at SotW, and have gotten pretty tired of the form, as they usually follow the same script\u2014vaguely interesting subject,\u00a0low-depth of field compositions, and non-sequitur cutaways, scored to soft, uplifting background music. Rinse, repeat. The ubiquity of profile docs in branded content is telling (and what it is telling is that they are bland).<\/p><p>Even Claudette Godfrey, who programmed today's profile doc\u00a0<em>Dollhouse\u00a0<\/em>at last week's SXSW Film Festival, took a dig at profile docs in <a href=\"http:\/\/www.mystatesman.com\/news\/entertainment\/movies\/sxsw-short-films-programmer-gets-to-see-the-future\/nqc22\/?utm_content=bufferf8439&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer\">this newspaper piece<\/a> leading up to the fest:<\/p><p><em>\u201cIf it\u2019s a three- or four-minute piece, I can tell within a minute if it is going to be one of those type of films,\u201d Godfrey says. \u201cIt\u2019s profile of an artist or a chef or somebody saying something sort of interesting. It\u2019s the theory of least objectionable content, you know? And people will share \u2026 that, and that is great. But it is not right for us.\u201d<\/em><\/p><p>\u00a0This lengthy prologue to\u00a0the review of\u00a0<em>Dollhouse\u00a0<\/em>proper, is to contextualize why, despite coming <a href=\"http:\/\/www.territimely.com\/\">Terri Timely<\/a>, a creative duo I greatly admire, I had low expectations for the film, and why, through its splendid execution, my skepticism was beautifully upended.\u00a0<\/p><p>Profile docs, when done well, can in fact be great, and <em>Dollhouse<\/em> is the latest example which I would elevate to that standing. What's difficult about the form is that filmmakers need to nail 3 aspects. They need to start with an interesting subject: in <em>Dollhouse,\u00a0<\/em>Kate Charles is the artist at the center of the profile specializing in \"reborns\", amazingly life-like baby dolls. This craft has been the subject of a lot morbid, and frankly, sexist fascination on the internet over the years, so it is rich territory to mine. Subject - check. Secondly, they need to coax a strong performance from the subject. This can be aided by on-set rapport, solid questioning, and improved through editing, but often interesting people are simply not interesting on camera. Charles does not suffer from this limitation fortunately, she is insightful, loquacious, and passionate. Check. The third, and last, consideration is direction. Is the doc visually interesting? Is it constructed well? Does the creator mold the raw materials into a definable arc?<\/p><p>Coming into viewing the documentary, this last consideration was the one I was most optimistic about, as\u00a0Ian Kibbey and Corey Creasey, the duo known as Terri Timely, are accomplished creators with a prodigious track record. With <em><a href=\"https:\/\/vimeo.com\/5297531\">Synesthesia<\/a><\/em> and 2015's <em><a href=\"https:\/\/vimeo.com\/141567420\">INPUT\/OUTPUT<\/a>\u00a0<\/em>they are responsible for what, in my mind, are 2 of the top 100 most iconic Vimeo Staff Picks ever. They also <a href=\"http:\/\/adage.com\/article\/special-report-agency-alist-2016\/geico-s-unskippable-ad-age-s-2016-campaign-year\/302300\/\">received great acclaim<\/a> for their Geico \"unskippable\" commercials. How their sensibility would translate to a rather straight documentary was unclear however. Upon watching though, it seems that their wonderful humor sustains.\u00a0<\/p><p><span style=\"font-weight: 400;\"><em>Dollhouse<\/em>\u00a0is splendidly funny, and it's funny in that most difficult of ways. Charles\u00a0is a humorous person, that much is clear, but she is not telling jokes, she is not <em>trying<\/em> to be funny. Nor is the film laughing at Charles, or in anyway belittling her passion. What Kibbey and Creasey do is use their direction and the film's edit to manufacture humor. A perfect example comes halfway through the film in a transition scene. A long shot is held and the music drops out, while Charles walks outside to her toaster oven, and there is a ding. Open it up and there are baby parts, freshly cured. Literally a \"bun in the oven\" being birthed. It is silly, and absurd, and morbidly funny\u2014this scene upends expectation and perfectly dovetails with the underlying uneasiness that viewers bring to the subject inherently. The film is 7min, and there are multiple moments such as this. Watch it right now.<\/span><\/p><p>The doc is brought online right on the heels of its festival debut via <a href=\"http:\/\/www.newyorker.com\/culture\/culture-desk\/the-screening-room-dollhouse\">The New Yorker's Screening Room<\/a>, which has rapidly emerged as a great new portal to quality short form filmmaking, such as previous SotW feature\u00a0<em><a href=\"https:\/\/www.shortoftheweek.com\/2014\/12\/31\/yearbook\/\">Yearbook<\/a>. <\/em>With an astute eye they have been acquiring top quality festival shorts for digital distribution, so\u00a0kudos to\u00a0Cond\u00e9 Nast, we look forward to more great work from them.<\/p><p> <\/p>","post_date":"2016-03-24 10:00:00","post_title":"Dollhouse","post_name":"dollhouse","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/dollhouse.jpg","categories":{"count":5,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":831,"color":"#FF2000","display_name":"Art","slug":"art-topic"},{"ID":73,"color":"#6B7FD1","display_name":"Documentary","slug":"documentary"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":900,"color":"#D69637","display_name":"SXSW","slug":"sxsw-collection"},{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"}]},"author":{"display_name":"Jason Sondhi","first_name":"Jason","last_name":"Sondhi","ID":"3","company":"","occupation":"","phone":"2069796394","notification_weekly":"1","notification_daily":"1","notification_texts":"1","subscriptions":[],"email":"sondhi@shortoftheweek.com","real_name":"Jason Sondhi"},"country":{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"},"filmmaker":"Terri Timely","labels":"","links":[],"duration":"7","genre":{"ID":73,"color":"#6B7FD1","display_name":"Documentary","slug":"documentary"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.youtube.com\/embed\/frl-R3C9ac0","play_link_target":"video","post_excerpt":"In this short documentary about art, motherhood, and make-believe, learn how veteran \"reborn\" artist Kate Charles strives for maximum verisimilitude in the creation of infant baby dolls. A winner at last week's SXSW Film Festival.\r\n","production":"Brady Welch\r & Cond\u00e9 Nast Entertainment","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"Dollhouse+%7C+Short+of+the+Week","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/dollhouse-640x340.jpg","type":"video","topic":{"ID":831,"color":"#FF2000","display_name":"Art","slug":"art-topic"}},{"ID":26538,"post_author":"45","post_content":"<p><span style=\"font-weight: 400;\">As the Syrian crisis continues to rage on in the Middle East, there have been a lot of stories in the news about refugees looking for a home. Here in the United States, it's a topic surrounded by controversy. But, in Sweden\u2014where asylum has been granted to 163,000 refugees\u2014the issues are primarily logistical ones. Quite simply: where will they house all of them? Well, for 500 such people looking for refuge, that place just happens to be a Wild West theme park named High Chaparral.<\/span><\/p><p><span style=\"font-weight: 400;\">This is a wonderful short doc\u2014a combination of quirky subject matter (hey, an American-style cowboy\u00a0theme park deep in a Swedish Forest!) and an emotional topic (families looking for sanctuary in the shadow of war). It\u2019s this marriage of sentiment and quirk that really makes <\/span><i><span style=\"font-weight: 400;\">High Chaparral<\/span><\/i><span style=\"font-weight: 400;\"> stand out. To be honest, as a team, we\u2019ve screened several short docs about the Syrian crisis. And, while most depict harrowing stories, they often feel overwrought (think meditative voiceover and lots of sad kid imagery). I don\u2019t mean to downplay the seriousness of the situation in that part of the world, but<\/span><i><span style=\"font-weight: 400;\"> High Chaparral <\/span><\/i><span style=\"font-weight: 400;\">just feels fresh in comparison. It\u2019s inspiring, whereas so many other films about the subject seem to lack a defining factor. In other words, it\u2019s touching but never lugubrious.<\/span><\/p><blockquote><p><span style=\"font-weight: 400;\">\"I've got a serious case of bad news fatigue.\"<\/span><\/p><\/blockquote><p><span style=\"font-weight: 400;\">Director <a href=\"https:\/\/vimeo.com\/freid\">David Freid<\/a> elaborates about his motivations behind the film: <\/span><span style=\"font-weight: 400;\">\u00a0<\/span><span style=\"font-weight: 400;\">\u201cAs a child of the 80\u2019s, with an impressionable head for headline news and charity infomercials, I grew up learning that the Amazon is in trouble, that Ethiopians are starving, that icebergs are melting, and that the Middle East conflict is constant and absolute. I'm older now, not much seems to have changed, and I've got a serious case of bad news fatigue. But there is some good too, and for a few hundred people looking for safety from war, it only takes a handful of Swedish\/Lebanese\/Syrian cowboys to do something meaningful.\"<\/span><\/p><p><span style=\"font-weight: 400;\">There\u2019s an inherent ridiculousness to this situation\u2014refugees living amongst fake old-timey saloons and horse corrals. But, it\u2019s also fittingly poetic. These are people who have been forced to flee their homeland, embarking on a journey into the unknown frontier. This is their new beginning. And, in turn, Freid and his team capture \u00a0moments of simple humanity: the wonder of seeing fresh snow for the first time, or the compassion of the park\u2019s owner, Emil Erlandsson, who was willing to turn his family\u2019s long running business into a humanitarian Frontierland for the winter. <\/span><\/p><p><span style=\"font-weight: 400;\">Like the case of most theme park visits, this unconventional arrangement will eventually have to come to an end. In the spring of this year, High Chaparral will once again need to open for tourist business, and, in effect, its current inhabitants will need to find new places to live. But, for the time being, Freid\u2019s great little short documentary manages to capture this strange, but hopeful epoch\u2014a brief time when people forced from their homeland found solace in a modern recreation of the past.<br \/><\/span><br \/><span style=\"font-weight: 400;\">If you enjoyed this piece, be sure to check out more impressive documentary content from <\/span><a href=\"https:\/\/vimeo.com\/melfilms\"><span style=\"font-weight: 400;\">MEL Films<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/p>","post_date":"2016-03-23 10:00:00","post_title":"High Chaparral","post_name":"high-chaparral","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/High-Chaparral_screen.jpg","categories":{"count":6,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":841,"color":"#00E3E3","display_name":"Community","slug":"community"},{"ID":73,"color":"#6B7FD1","display_name":"Documentary","slug":"documentary"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":99,"color":"#C28800","display_name":"Politics","slug":"politics"},{"ID":127,"color":"#DB3377","display_name":"Sweden","slug":"sweden"},{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"}]},"author":{"display_name":"Ivan Kander","first_name":"Ivan","last_name":"Kander","ID":"45","subscriptions":["the-short-list"],"company":"Lucky 9 Studios, LLC","occupation":"Filmmaker\/Motion Designer","phone":"703-727-4362","notification_weekly":null,"notification_daily":null,"notification_texts":"1","email":"ikander@gmail.com","real_name":"Ivan Kander"},"country":{"ID":127,"color":"#DB3377","display_name":"Sweden","slug":"sweden"},"filmmaker":"David Freid","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/features.wearemel.com\/","label":"MEL Magazine"}],"duration":"9","genre":{"ID":73,"color":"#6B7FD1","display_name":"Documentary","slug":"documentary"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/player.vimeo.com\/video\/158882001","play_link_target":"video","post_excerpt":"Sweden's Wild West response to the Syrian refugee crisis.","production":"MEL Films","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"High+Chaparral+by+David+Freid+%7C+Short+Film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/High-Chaparral_screen-640x360.jpg","type":"video","topic":{"ID":841,"color":"#00E3E3","display_name":"Community","slug":"community"}},{"ID":26514,"post_author":"55","post_content":"<p><span style=\"font-weight: 400;\">At the core of <em>ALONE, <\/em>an experimental short from acclaimed production company <a href=\"https:\/\/www.shortoftheweek.com\/2015\/02\/03\/elgin-park\/\">Animal<\/a>, is a contradiction: we watch people, as they behave, while\u00a0alone. But that very concept,\u00a0<em>alone,<\/em> means that no one is there to watch. It is artifice therefore, like all film is, but the premise plays to the scopophilia that is an intrinsic appeal of the film-viewing experience, and unlocks a powerful intimacy, provoking\u00a0a humanist empathy that makes for a special experience.\u00a0<\/span><\/p><p><span style=\"font-weight: 400;\">In <em>ALONE, <\/em>there are scenes you will wish were longer, and others that you wish you could look away from. This ability to summon a visceral reaction in the viewer is what makes director Phinehas Hodges' film<\/span><span style=\"font-weight: 400;\">\u00a0a standout. There is a deep-seated fascination that each of us, as humans, possess for each other, and an equally deep-seated insecurity we harbor within ourselves. We can be gross, brave, depressed, and downright strange when nobody's watching, and we wonder, but most often forget, that others can be too\u2014after all it\u2019s those moments when we\u2019re alone that we are in our most natural state. Hodges' collects these stolen, private moments, pushing past appropriate boundaries to give us a fly-on-the-wall perspective into \"being human.\"<\/span><\/p><p><span style=\"font-weight: 400;\">Hodges explains how the film\u2019s meaning was found through the process of making it: <em>\u201c<\/em>I honestly set out at first to make a video that I felt had the potential to be viral - a comedy, in fact, about what we do when no one is watching. As we filmed, that changed, and eventually I wanted the people watching to experience the liberation I did when I was filming it. The realization of how similar we are and how unique. I personally felt like, <\/span><span style=\"font-weight: 400;\">I guess I'm actually not that strange<\/span><span style=\"font-weight: 400;\">. The things I do fell well within the norm. Which was liberating in its own way.\u201d<\/span><\/p><p><i><span style=\"font-weight: 400;\">ALONE<\/span><\/i><span style=\"font-weight: 400;\"> showcases the freedom of being isolated. When no one is looking, we behave differently and Hodges cheekily points it out as certain people are literally caught with their pants down. There\u2019s both an uncanny, comedic darkness to this film and an inspirational edge, thanks to how relatable the various events on screen are. A particularly poignant scene is of a cross-dresser\u00a0putting on her fake eyelashes and tucking away her manhood. Another captures a man who wrestles with his cat while playing pretend\u2014it is guaranteed to make you feel less ashamed of yourself. The film has a reassuring way of making you feel like your own quirks are utterly normal and\u00a0justified. It\u2019s a freeing experience. <\/span><\/p><p><span style=\"font-weight: 400;\">You might have curiosity about the production process. Hodges\u00a0shed light on how each person was captured: \u201cOur crew was always small, 3 people max, as getting non actors comfortable meant getting to know them. We viewed everyone as collaborators and asked them to share with us some of what they personally did when no one was around. A lot of times I would sit down with the 'talent' for half an hour before we started shooting and tell them my inspiration and intentions for the piece, and after that I found they were a lot more ready to be vulnerable and open about what they did. Sometimes we left the camera running in the room and monitored remotely. We always shot long takes\u2014sometimes 7-10 minutes.\u201d\u00a0<\/span><\/p><p>The second half of the film builds with a crescendo of emotional highs and finally lands on an open casket that is then closed. There\u2019s a certain finality to this last state of isolation that Hodges equates to freedom. While not a subtle symbol, it\u2019s a powerful end to what is a quite unique, very affecting, and ultimately highly recommended non-narrative short.\u00a0<\/p><p> <\/p>","post_date":"2016-03-22 10:00:00","post_title":"ALONE","post_name":"alone","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/ALONE_3.jpg","categories":{"count":5,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":94,"color":"#58B08B","display_name":"Experimental","slug":"experimental"},{"ID":732,"color":"#9AA86D","display_name":"Humanity","slug":"humanity"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":861,"color":"#FFC400","display_name":"NSFW","slug":"nsfw"},{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"}]},"author":{"display_name":"Chelsea Lupkin","first_name":"Chelsea","last_name":"Lupkin","ID":"55","subscriptions":["the-short-list"],"company":"","occupation":"","phone":"","notification_weekly":null,"notification_daily":null,"notification_texts":null,"email":"chelsea@shortoftheweek.com","real_name":"Chelsea Lupkin"},"country":{"ID":63,"color":"#D9B800","display_name":"USA","slug":"usa"},"filmmaker":"Phinehas Hodges","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/www.animaleast.com","label":"ANIMAL website"}],"duration":"8","genre":{"ID":94,"color":"#58B08B","display_name":"Experimental","slug":"experimental"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/player.vimeo.com\/video\/157320165","play_link_target":"video","post_excerpt":"An experimental exploration of who we are when no one is watching: the freedom we experience, and the loneliness\u2014the way we sing, dance, love, cry, and dream when we are alone.","production":"Animal Media Group","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":3,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":1203,"display_name":"ANIMAL East","slug":"animal-east"},{"ID":1204,"display_name":"Elgin Park","slug":"elgin-park"},{"ID":1205,"display_name":"Pittsburgh","slug":"pittsburgh"}]},"text_color":"light","twitter_text":"Alone+by%C2%A0Phinehas+Hodges+%7C+Short+Film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/ALONE_3-640x357.jpg","type":"video","topic":{"ID":732,"color":"#9AA86D","display_name":"Humanity","slug":"humanity"}},{"ID":26508,"post_author":"19","post_content":"<p>A deeply moving tale of an expecting mother and how she deals with the possibility of having a child with Down\u2019s Syndrome, Carolina Giammetta's <em>I Don't Care<\/em> is an impressive short full of assured performances and relatable themes. Featuring a character-driven storyline that really encourages its viewers to give great consideration to its subject matter, Giammetta's 14-minute short resonates strongly without ever feeling forced or sanctimonious.<\/p><blockquote>\"I wanted to make a film that may help change new parent\u2019s perspective\"<\/blockquote><p>Commissioned by <a href=\"http:\/\/filmlondon.org.uk\/\" target=\"_blank\">Film London<\/a> as part of their <a href=\"http:\/\/filmlondon.org.uk\/funding\/shorts\" target=\"_blank\">London Calling<\/a> Shorts Scheme, the short was shot over three days with what the director describes as \"a small and sensitive crew\". Eager to discover what motivated the decision to make a film centred around Down's Syndrome, Short of the Week spoke to Giammetta to get an insight into the root of her storyline:<\/p><p>\"I was inspired by an amazing photographic exhibition, <a href=\"http:\/\/shiftingperspectives.org\" target=\"_blank\">Shifting Perspective<\/a> I went to see when my friend had a baby with Down Syndrome and I wanted to understand it more. As a mother who had feared having a child with Down Syndrome, it totally transformed the way I felt and I wanted to make a film that may help change new parent\u2019s perspective of it. I worked with the curators of the exhibition Richard & Fiona Bailey and cast their daughter Billie-Jo Bailey, who had never acted before, to play the lead\".<\/p><p>Here at Short of the Week HQ I have somewhat of a reputation as a man that's hard to move, but I'm not afraid to admit that <em>I Don't Care<\/em> left me gently sobbing in front on my computer screen when I first viewed it. As a parent it feels like it utterly encapsulates that unconditional love you have for your children, but more importantly, it really highlights the preconceptions we can all have about things we don't fully understand and forces us to take a reflective look at how we ourselves may judge others.<\/p><p>Now working on developing not one, but three feature-length productions and a play called <em>Ripple<\/em>, Carolina is also about to start directing for television. You can keep up-to-date with her work through the website below.<\/p>","post_date":"2016-03-21 10:00:00","post_title":"I Don't Care","post_name":"i-dont-care","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/I_Dont_Care.jpg","categories":{"count":5,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":95,"color":"#FF7559","display_name":"Drama","slug":"drama"},{"ID":194,"color":"#58B08B","display_name":"Family","slug":"family"},{"ID":1202,"color":"#38BEFF","display_name":"Female Filmmakers","slug":"female-filmmakers"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":79,"color":"#00E3E3","display_name":"UK","slug":"uk"}]},"author":{"display_name":"Rob Munday","first_name":"Rob","last_name":"Munday","ID":"19","company":"","occupation":"","phone":"","notification_weekly":"1","notification_daily":"1","notification_texts":"1","subscriptions":["the-short-list"],"email":"kung_fuelvis@yahoo.co.uk","real_name":"Rob Munday"},"country":{"ID":79,"color":"#00E3E3","display_name":"UK","slug":"uk"},"filmmaker":"Carolina Giammetta","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/www.carolinagiammetta.com\/","label":"Filmmmaker's Website"}],"duration":"14","genre":{"ID":95,"color":"#FF7559","display_name":"Drama","slug":"drama"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/player.vimeo.com\/video\/70405408","play_link_target":"video","post_excerpt":"An expecting mother takes a gardening job as she tries to deal with the possibility of having a child with Down\u2019s Syndrome in this deeply moving short","production":"Spool Films","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"I+Don%27t+Care+by%C2%A0Carolina+Giammetta+%7C+Short+Film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/I_Dont_Care-640x360.jpg","type":"video","topic":{"ID":194,"color":"#58B08B","display_name":"Family","slug":"family"}},{"ID":26507,"post_author":"19","post_content":"<p>Returning to Short of the Week for a third time, creative studio Factory Fifteen serve-up this enticing science-fiction short that centres around a worker in a futuristic car manufacturing plant as he starts to experience problems with the artificial intelligence that runs the production line. A 4-minute introduction to a world the talented team are currently developing into a larger project, <em>ANA<\/em> dazzles with its impressive aesthetic but really hooks its audience in with its intriguing narrative take on the singularity.<\/p><blockquote>\"A short-term ambition was to create a really high-end piece of drama, mixing performance and VFX\"<\/blockquote><p>Aiming to put a new twist on a popular science-fiction storyline and make their concept more relatable by showing how such a situation could affect the \"ordinary\" man, <em>ANA<\/em> explores one vignette from a world where technology is rising-up against those that created it. Produced as a way to entice an audience into the universe they are currently evolving into a longer piece, Factory Fifteen's Paul Nicholls spoke to Short of the Week about the aims of the project:<\/p><p>\"We had multiple ambitions with the film. A short-term ambition was to create a really high-end piece of drama, mixing performance and VFX. For us the design of the world (<em><a href=\"https:\/\/www.shortoftheweek.com\/2013\/05\/31\/jonah\/\">Jonah<\/a><\/em>, <em><a href=\"https:\/\/vimeo.com\/84978203\" target=\"_blank\">Chupan Chupai<\/a><\/em>, <em><a href=\"https:\/\/vimeo.com\/106592017\" target=\"_blank\">The Bug<\/a><\/em>) is as important as the performance in our projects, to create a believable world. Working with Richard Brake (<em>Game Of Thrones<\/em>, <em>Batman Begins<\/em>, <em>Doom<\/em>), we knew we had the performance down, it was then up to us and the rest of the team to deliver the rest. The long-term goal was to develop this as a teaser to a larger project, which is currently in development\".<\/p><p>As any of you who have experienced a Factory Fifteen film before will know, their work comes with a certain level of expectation for the production attached. <em>ANA<\/em> is a short that, once again, doesn't disappoint in this department. With stellar VFX work combining with crip live-action in creating an on-screen world that feels both plausible and nightmarish, studio Co-Founder Nicholls reveals the short's impressive production process:<\/p><p>\"The film was made almost entirely in 3D pre-visualisation (with real locations made to scale), before shooting, something we always do. All of the design work and even final 3D modelling was done before shooting. Ros Davidson from RAW was the key line producer in securing locations and crew, basically making it all happen. It was then shot on location in Coventry on a crazily ambitious 2-day shoot, stretching everyone involved, especially our camera team led by DOP Ben Kracun, and production design team led by Laura Tarrant Brown, both of whom did an unbelievable job. In the edit we were lucky enough to work with Nick Fenton (Submarine), who I think had a lot of fun editing his first sci-fi piece. It was then a 7-week post production process developing all of the visual effects at our studio. We had about 10 staff working on it in total during that time. The music and sound design was another key component, which Mark Sayfritz smashed out another killer job on. The final sound fx and mix, colour grading and online edit was all done at Prime Focus.\"<\/p><p>Never ones to rest on their laurels, Factory Fifteen already have a number of irons in the fire when it comes to new projects. Looking to secure funding to finish another short film, the studio are also working on an immersive, interactive documentary, a couple of ventures which explore the use of VR and full-dome and even a couple of \"secret\" projects they can't currently reveal the details of at the moment.<\/p><p>As ever, we'll be keeping an eye on their output and look forward to sharing any new work from their prolific production team when it arises.<\/p>","post_date":"2016-03-18 10:00:00","post_title":"ANA","post_name":"ana","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/ana-Factory-Fifteen.jpg","categories":{"count":5,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":91,"color":"#FF0059","display_name":"Sci-Fi","slug":"sci-fi"},{"ID":1185,"color":"#FF9898","display_name":"Short List","slug":"short-list"},{"ID":123,"color":"#9AA86D","display_name":"Special FX","slug":"special-fx"},{"ID":1098,"color":"#B57987","display_name":"Technology","slug":"technology-topic"},{"ID":79,"color":"#00E3E3","display_name":"UK","slug":"uk"}]},"author":{"display_name":"Rob Munday","first_name":"Rob","last_name":"Munday","ID":"19","company":"","occupation":"","phone":"","notification_weekly":"1","notification_daily":"1","notification_texts":"1","subscriptions":["the-short-list"],"email":"kung_fuelvis@yahoo.co.uk","real_name":"Rob Munday"},"country":{"ID":79,"color":"#00E3E3","display_name":"UK","slug":"uk"},"filmmaker":"","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/www.factoryfifteen.com\/","label":"Filmmaker Website"}],"duration":"4","genre":{"ID":91,"color":"#FF0059","display_name":"Sci-Fi","slug":"sci-fi"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/player.vimeo.com\/video\/158317728","play_link_target":"video","post_excerpt":"In this impressive sci-fi teaser from the creative studio that brought you \"Robots of Brixton\" & \"Jonah\", the sole worker in a futuristic car manufacturing plant is tricked into relinquishing control to the artificial intelligence that runs production.","production":"Raw TV","style":{"ID":123,"color":"#9AA86D","display_name":"Special FX","slug":"special-fx"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"ANA+by+Factory+Fifteen+%7C+Science-fiction+short+film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/ana-Factory-Fifteen-640x360.jpg","type":"video","topic":{"ID":1098,"color":"#B57987","display_name":"Technology","slug":"technology-topic"}},{"ID":26523,"post_author":"19","post_content":"<p>Originating from the filmmaker's childhood confusion over an English expression regarding sex, Marie Paccou's 1998 animation is the absurd, yet emotive tale of a woman who wakes one day to find a small man growing out of her abdomen. Telling her surreal story through sketchy black-and-white animation, complemented by a philosophical voiceover, at the centre of <em>Un Jour<\/em> is a thought-provoking metaphor that is bound to provoke many different readings.<\/p>\r\n\r\n<p>Though the situation Paccou's central character finds herself in is obviously a ridiculous one, it's to the filmmaker's credit that <em>Un Jour<\/em> never descends into farce (although there are comical moments in her story). Instead this fable-like story carries real weight and it's a narrative, which along with its aesthetic, still feels fresh and relevant today.<\/p>\r\n\r\n<p>Described by Annecy as a <a href=\"http:\/\/www.annecy.org\/about\/archives\/2015\/2015-festival\/festival-index:plng-100000302687\" target=\"_blank\">'film that became an instant classic'<\/a>, <em>Un Jour<\/em> was the filmmaker's introduction to the short film world and it's a world she's continued to be a part of almost 20-years later. With a series of other shorts published over the following years (all of which are available on her<a href=\"https:\/\/vimeo.com\/mariepaccou\" target=\"_blank\"> Vimeo channel<\/a>), Paccou remains a much-lauded and referenced artist in her field.<\/p>","post_date":"2016-03-17 10:00:41","post_title":"Un Jour (One Day)","post_name":"un-jour-one-day","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/marie-paccou-un-jour-animation.jpg","categories":{"count":6,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":89,"color":"#FF2000","display_name":"Animation","slug":"animation"},{"ID":1169,"color":"#0AC7B7","display_name":"Classic","slug":"classic-collection"},{"ID":95,"color":"#FF7559","display_name":"Drama","slug":"drama"},{"ID":1202,"color":"#38BEFF","display_name":"Female Filmmakers","slug":"female-filmmakers"},{"ID":200,"color":"#FFC400","display_name":"France","slug":"france"},{"ID":310,"color":"#0AC7B7","display_name":"Identity","slug":"identity"}]},"author":{"display_name":"Rob Munday","first_name":"Rob","last_name":"Munday","ID":"19","company":"","occupation":"","phone":"","notification_weekly":"1","notification_daily":"1","notification_texts":"1","subscriptions":["the-short-list"],"email":"kung_fuelvis@yahoo.co.uk","real_name":"Rob Munday"},"country":{"ID":200,"color":"#FFC400","display_name":"France","slug":"france"},"filmmaker":"Marie Paccou","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/http:\/\/mariepaccou.com\/","label":"Filmmaker Website"}],"duration":"5","genre":{"ID":95,"color":"#FF7559","display_name":"Drama","slug":"drama"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/player.vimeo.com\/video\/72200593","play_link_target":"video","post_excerpt":"One day a man entered my belly...1998 animation from French filmmaker Marie Paccou ","production":"","style":{"ID":89,"color":"#FF2000","display_name":"Animation","slug":"animation"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"Un+Jour+by%C2%A0Marie+Paccou+%7C+Animated+Short+Film","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/marie-paccou-un-jour-animation-640x360.jpg","type":"video","topic":{"ID":310,"color":"#0AC7B7","display_name":"Identity","slug":"identity"}},{"ID":26529,"post_author":"19","post_content":"<p>Praised by revered director Danny Boyle, Aaron Dunleavy and Joseph Ollman's compelling short <em>Throw Me to the Dogs<\/em> tells the story of an awkward boy struggling to adapt to teenage life in a hardy British town. A gritty and intense watch, this 12-minute short does exactly what British social realism should and puts <a href=\"http:\/\/www.screenonline.org.uk\/film\/id\/1037898\/\" target=\"_blank\">'the experiences of real Britons on the screen'<\/a>.<\/p>\r\n\r\n<blockquote>\"The film was entirely improvised, none of the cast had to learn lines and we did not allow them to see the script\"<\/blockquote>\r\n\r\n<p>Shot with a cast of non-professional actors, recruited from the streets around where the short was filmed, there's a rawness and believability in pair's filmmaking that makes <em>Throw Me to the Dogs<\/em> a powerful and memorable watch. Speaking to a <a href=\"http:\/\/www.thisislancashire.co.uk\/news\/14234911.Lancashire_Telegraph_website_to_host_worldwide_premiere_of_film_shot_in_Blackburn\/\" target=\"_blank\">local newspaper<\/a> in the UK, one-half of the directorial duo, Aaron Dunleavy, explained a little more about their production:<\/p>\r\n\r\n<p>\u201cWe shot <em>Throw Me to the Dogs<\/em> for a week in the February half-term last year. We had a completely local cast and a shoestring budget of just \u00a3900...As the film was entirely improvised, none of the cast had to learn lines and we did not allow them to see the script...The film is inspired by my childhood growing up in Blackburn, filmed around the part-demolished terraced streets of Griffin where my family still lives. It was great to be able to make a film so close to my heart\".<\/p>\r\n\r\n<p>Echoing the work of Lynne Ramsay and Andrea Arnold, who also started their career in short film, <em>Throw Me to the Dogs<\/em> feels not only like a riveting piece of storytelling but also an insightful glimpse into British life not often captured outside of sensationalist television documentaries. A piece of fiction at heart, the real-life inspiration, raw performances and unscripted approach of Dunleavy and Ollman's short makes it feel like an authentic, plausible slice of adolescent life.<\/p>","post_date":"2016-03-16 10:00:00","post_title":"Throw Me to the Dogs","post_name":"throw-me-to-the-dogs","background_image":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/Throw-me-to-the-dogs-Aaron-Dunleavy-Joseph-Ollman.jpg","categories":{"count":4,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[{"ID":95,"color":"#FF7559","display_name":"Drama","slug":"drama"},{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},{"ID":87,"color":"#FF0059","display_name":"Society","slug":"society"},{"ID":79,"color":"#00E3E3","display_name":"UK","slug":"uk"}]},"author":{"display_name":"Rob Munday","first_name":"Rob","last_name":"Munday","ID":"19","company":"","occupation":"","phone":"","notification_weekly":"1","notification_daily":"1","notification_texts":"1","subscriptions":["the-short-list"],"email":"kung_fuelvis@yahoo.co.uk","real_name":"Rob Munday"},"country":{"ID":79,"color":"#00E3E3","display_name":"UK","slug":"uk"},"filmmaker":"Aaron Dunleavy\r & Joseph Ollman","labels":"","links":[{"url":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/vimeo.com\/aarondunleavy","label":"Filmmaker Vimeo"}],"duration":"12","genre":{"ID":95,"color":"#FF7559","display_name":"Drama","slug":"drama"},"play_link":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/player.vimeo.com\/video\/153044501","play_link_target":"video","post_excerpt":"A troubled teenage boy is stripped of his dignity as his father abandons him for the outside world which he is trying to retreat from. A gritty British short entirely improvised using street-casted, non-professional actors by Aaron Dunleavy & Joseph Ollman","production":"","style":{"ID":64,"color":"#D9B800","display_name":"Live-Action","slug":"live-action"},"subscriptions":false,"tags":{"count":0,"limit":10,"page":1,"total":0,"page_max":0,"_links":{"first":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1","last":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","next":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=0","previous":"https:\/\/web.archive.org\/web\/20160329211154\/https:\/\/www.shortoftheweek.com\/?limit=10&page=1"},"data":[]},"text_color":"light","twitter_text":"Throw+Me+to+the+Dogs+by%C2%A0Aaron+Dunleavy+%26+Joseph%C2%A0Ollman","thumbnail":"\/\/web.archive.org\/web\/20160329211154\/https:\/\/static.shortoftheweek.com\/wp-content\/uploads\/2016\/03\/Throw-me-to-the-dogs-Aaron-Dunleavy-Joseph-Ollman-640x360.jpg","type":"video","topic":{"ID":87,"color":"#FF0059","display_name":"Society","slug":"society"}}]} }); </script> <script type="text/javascript"> var _paq = _paq || []; _paq.push(['trackPageView']); _paq.push(['enableLinkTracking']); (function() { var u="//web.archive.org/web/20160329211154/https://www.shortoftheweek.com/analytics/"; _paq.push(['setTrackerUrl', u+'piwik.php']); _paq.push(['setSiteId', 1]); var d=document, g=d.createElement('script'), s=d.getElementsByTagName('script')[0]; g.type='text/javascript'; g.async=true; g.defer=true; g.src=u+'piwik.js'; s.parentNode.insertBefore(g,s); })(); </script> <noscript><p><img src="//web.archive.org/web/20160329211154im_/https://www.shortoftheweek.com/analytics/piwik.php?idsite=1" style="border:0;" alt=""/></p></noscript> </body> </html>