2nd DATE by Jaik Andino is a young comedy that tells the story of two best friends and their daily battles to find love.
The script has 130 pages, and the reading flows quickly among the adventures that the two young protagonists Jaik and Wyatt have to face in the present and what happened in the past, precisely in 1993, when they were inseparable schoolmates.
The script appears very detailed. The author personally chooses the music that would be used, thus helping the reader identify with the reading and the protagonists' lives.
The plot is simple but can be shared by everyone. Who among us hasn't tried everything, even resort to professional help to be able to get a second date, going from adventure to adventure with the best friend on the side?
A script that embraces the genre of comedy but at the same time leaves a message that makes us reflect on the condition of young people, how difficult and delicate the school period is (the one told in the flashback), and how much it signs the future.
The second act ends with an unexpected twist that keeps the tension high until the end of the script.
But despite traveling as far North as possible, unexpected outcomes with the law, pleasant and less pleasant surprises, if in life you are a Jaik and you have a Wyatt. Every difficulty can be faced with positivity, hope, and definitely fun.
Michael Obiora writes, directs, and performs the 14-minute short film KARMArcus.
The short movie is about an actor and yoga teacher (a very realistic professional pairing) who is particularly full of himself. Thanks to a sensitive and honest casting director, he will finally understand that downsizing his personality could positively affect his private life and career.
Despite the theme of lack of self-esteem hidden by an attitude of over self-awareness being something prevalent in our young society, KARMArcus is a real comedy.
Its comic intent succeeds from the first images thanks to Obiora's skills. Without falling into the trap of the speck and without trying to wink to suggest laughter to the viewer, he manages to direct the audience towards his goal right away.
The entire cast is well-chosen, and it works. The actors are all suited to their role and very good.
The writing is clean, as is the cinematography. You don't feel the lack of crazy directorial tricks because the cast and script alone reach the goal of delivering 14 delightful minutes of a pleasant, professional, and well-acted product.
More than a movie, Sanctuary Dream by Grant Carsten is an experience for the audience. It purposely bothers, creeps, disgusts.
From the very beginning, a question is asked: are the characters so mean, or is the protagonist (whose name we'll find out only later on) that perceives them so aggressively due to his illness?
He is a beautiful, autistic young boy that reminds us of an angel, and his traits make us feel his pain even harder.
The photography is sometimes cold, sometimes blurry, rarely warm. Even if the red tones are used, it is a cold palette, coherent with the dry atmosphere that leads the characters' choices.
The camera follows the characters without letting them breathe at all. It gets close to their bodies, pushes them, and invades their space, making the experience extreme. The characters' anxiety is, therefore, the audience's discomfort.
At exactly half of the movie, we find out it was not only in the protagonist's mind, It was not his only perception: the other characters are awful. Because when he finally meets some human beings with a human being's soul, the screams fade out, as well as his pain and the one of the audience. And it's not random that right then, we also find out the protagonist's name.
So the answer seems to be Love. But is it enough when it comes in a little bit too late? Can it soothe something that has been hit for most of the time?
Sanctuary Dream is a problematic movie, not easy to shoot, not easy to act, not easy to watch. But it's undoubtedly a brave movie.
Cascadia is a 109-page feature script written by Tim Millette.
The story develops in the 90s, and there are many themes it deals with: from the love story between Rose and John to the passion for mystery of a group of scientists, from Ira Blackstone's love and respect for nature to Sheriff Crenshaw's dedication to his work, sympathetically unwilling to believe what his eyes don't see.
A lot happens in these 109 pages, and the vicissitudes of the protagonists are told by Millette with great precision, excellent grammar (which unfortunately many writers pay little attention to lately), extreme mastery of screenwriting techniques, and only a couple of typos (another aspect to which is often given little importance but which enriches and not a little a well-developed plot and structure).
A setting that at times recalls the atmosphere of Stranger Things, a narration studied in detail that helps the reader to see the landscapes, to savor the beauty of the colors of wildflowers and the white of the mountains, to hear the sounds of the wilderness and to get lost in its grandeur, as Millette's opening over black phrase recalls.
It's a well-written story with credible characters and never predictable dialogues, always measured and on point. It's a contemporary story whose crucial theme is perhaps nature and its majesty and, above all, the irrelevance of humanity in front of it, in front of the world (in front of the worlds).
We hope to see John, Rose, and the others come to life on screen soon... because they deserve it, and so does Tim Millette's vision.
“A 21st century" Breakfast Club ", ready to discover and announce a whole new generation of actors”.
This is part of the synopsis presented by author David Adam Seader for his award-winning and multiple selected screenplay DEATH OF JEREMY.
The genre that better describes the script would be drama and suspense.
But it would not be wrong to call it "horror" as well. Not a classic horror, with splatter scenes, monsters, and zombies, but an introspective and metaphorical horror in which humanity is completely managed by a few government members who have created a secret school to train a small number of select young people who will have the task, through computers, of literally choosing what good means and what bad means; to decide the future of humanity and the planet; to allow a few men of power to manipulate people's lives as if they were their puppets; to decide what type of world we will live in.
It does sound scary, doesn't it? Well, perhaps because it's not far from the reality we are experiencing right now.
The script flows nicely and the characters are very well described. The dialogues are not trivial and the actions, especially in the first half of the script, are well described.
Despite the fear that what's pictured could one day become real, or even worse, that is actually already happening (which could be totally an option since very often reality overcomes fiction), the script is also a pleasant journey in the 90s.
A question that may arise while reading the screenplay is the following: what would happen if guys as cool as the protagonists of Strangers Things (but in a teenage version of them) ended up in the best episode of Black Mirror? To find out, we just have to hope to see The Death Of Jeremy on screens soon.
BEYOND THE WALL is a short film directed by Azer Agalarov and written along with Leyla Begim.
This 22-minute-long movie is a hymn to nostalgia. But here, "hymn" is intended as a celebration, and "nostalgia" is expressed with a positive meaning.
As can be seen from the opening of the film, which the director entrusts to a sentence by Viktor E. Frankl, Austrian philosopher, neurologist, psychiatrist, and founder of speech therapy, the journey of the human being (which in the case of this short film is the journey of a painter towards his past), will inevitably have to go through the tunnel of pain for something that no longer exists except in the memories accumulated by each individual.
But being something inevitable, it should, in fact, not be a source of pain, as is the case with life itself. Hence, despite the nostalgia, despite the inevitable pain that it entails, it is impossible not to experience these feelings that should therefore be considered harmless.
The genre of the film is hard to define. It could be defined as experimental despite the realism of the story of images and content.
But the dance inserts (beautifully choreographed and performed by Alec Agalarov and Faye Anderson Agalarov), the time jumps, the constant use of music that vanishes only on the credits (to represent perhaps an overlap between real life and the movie itself) put this film in the experimental genre.
The cast and the actors' work (Turkay Jafarli and Elchin Jabrailbayov) are perfect and testify to the dedication and love that lies behind this short film.
Drected by Dave Tourjé & Christopher Sibley
John Van Hamersveld CRAZY WORLD AIN’T IT it’s a short documentary film.
A very precious work every artist should watch.
It’s a colorful glimpse into the kaleidoscope that is John Van Hamersveld’s seminal art career, viewed through the eyes of many artists and innovators he has influenced. John Van Hamersveld CRAZY WORLD AIN'T IT conveys a universal message of encouragement to anyone coming of age as an artist in a challenging world to accomplish this in.
In John Van Hamersveld CRAZY WORLD AIN’T IT, you can appreciate the story of this artist directly and also throught the artists interviewed who shared the essence of their work and you can reflect on how the world and the work of an artist has changed since the seventies to today with the advent of digital and the congestion of the world of images.
Artists to be interviewed were really well chosen by the directors. From each of them you can learn something very important and different points of view on how to be an artist.
The cinematography of the documentary John Van Hamersveld CRAZY WORLD AIN'T IT is very refined and full of colors as is the world of art.
The music that builds the sound design well underline “the journey” of John Van Hamersveld from his origins to his work today.
The directors of this documentary are: Dave Tourjé and Christopher Sibley.
Born in 1960 and raised in NELA (Glassell Park, Highland Park, Eagle Rock), Tourjés work is a reflection of the multi-cultural DIY sensibilities of NELA. His work is known as a contemporary hybrid of low and high art, reflecting his real-life immersion in surf and skate, the LA punk and music scene, graffiti and other subcultures that thrived in the NELA of the 70’s and 80’s. In 2011, Tourje was the subject of the short documentary "L.A. Aboriginal" which won 7 Best Short Film awards internationally and in 2013 he was the Executive Producer on the feature film "Curly" which won 5 Best Feature awards internationally.
Chris Sibley is a producer and director, known for John Van Hamersveld Crazy World Ain't It (2020), Healing Hands Documentary (2020) and Ophelia (2016).
John Van Hamersveld CRAZY WORLD AIN'T IT won as Best Sound Design at June Florence Film Award Monthly Competition 2020.
Congratulations to alla cast and crew.