After Alex Kahuam’s success at Horror Fest International last year, he is releasing his first horror feature Forgiveness. His film Red Lightwon for Best Midnight Movie at the festival. Similar to the tone of his short film, Forgiveness captures the human condition and how everyone fears something different. Just after watching the trailer, you will understand Kahuam’s style of filmmaking and it’s really unique to the horror genre.
The trailer definitely makes an impact and leaves you wanting more. Just within minutes, Kahuam isolates the viewer into the thing they fear most. The score that accompanies those eerie scenes locks the viewer in this trance, almost like it is locking you into this nightmare. The visuals are very obscure and the editing in the trailer works extremely well to create an eerie atmosphere. These people are trapped inside an isolated room with their most important senses stripped from them.
Imagine not being able to hear…
Imagine not being able to speak..
Imagine not being able to see…
Now imagine being trapped without any of those abilities.
Kahuam is extremely talented because he understands the human condition and brings out the fear in simple situations. It is always exciting when a filmmaker approaches a genre in a different way and brings something interesting to the table. Forgiveness is definitely one to look forward to, so keep it in mind, the next time you need a nice little horror movie. The film will be out soon enough but this trailer is enough to hold you over!
It was a rough year but we had some great films that came out to help get us through the madness! So without further ado, here are my Top 10 films of 2020 with some honourable mentions of course.
1. Promising Young Woman dir. Emerald Fennell
“This film is unlike anything I’ve seen and it is because of how the story is structured. It does slow down towards the middle of the film, only to pick back up and deliver one of the most controversial endings of the year. Some will agree with the ending and others will most definitely be infuriated. However, the ending of the film is the perfect reflection of how women are treated and what men deserve.”
“The film felt like the embodiment of the character of Emma Woodhouse, like her entire soul was spread into the corners of the frame and we could feel her presence, even if she wasn’t on screen. De Wilde captured Ms. Woodhouse’s entire being and made sure we understood who she was.Emma had the perfect balance of tension between possible suitors and a whirlwind of situations that caused Emma to spin out of control.”
“The wonderful thing about Spike Lee, is that he makes you fall in love with his characters in the first act of the film. In the second act, he shows you their pain, flaws and grievances. Then in the third act, he exposes his characters, like an open wound, to the world that has so deeply wronged them, time and time again. It is a film, like every other Spike Lee film, that unloads accurate information about Black history. Lee has never shied away from telling it like it is and has always managed to show every perspective on racial ideologies.”
“Not only did Whannell write a fantastic story, he also created a chilling, isolated atmosphere that affected his protagonist, as well as the audience. You feel everything with Cecelia because of the framing and camera movements, it feels as if you’re stuck with her on this journey. The sound design is also something that flowed nicely throughout the film and was utilized at the right moments, for dramatic effect.”
5. Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn dir. Cathy Yan
“I loved everything about this, especially the fact that it focused on the many ways women can be mistreated by men. It definitely has a different girl power energy and maybe it’s because I’m older but this badass, anarchist, violent, R rated energy just gives off a higher level of empowerment. I don’t think I’ve ever experienced something like that. Seeing all those women on screen, harnessing their powers and setting aside their differences in order to take a villain out.”
“Soul is emotional and incredibly moving because it has conversations about the choices people make in their lives. What makes us fully formed people? Why do we have the need to find a purpose in life and if we don’t we consider ourselves failures? These are internal struggles that we have all faced, time and time again.”
“It has a nice mixture of comedic moments and realistic discussions about life, which I really appreciated. The perception of loneliness, is always something that should be explored and how life can sometimes seem meaningless, if you do not have someone to share it with. That is why placing the central event, as a wedding day, in this film was extremely beneficial because of the weight it holds on everyone’s lives. It is very well crafted because they address so many different ideas of love and relationships.”
“The direction had this dual sense of atmosphere. Even though it takes place in a recording studio, it did not feel stuffy and static, like other plays that have been adapted for the screen. Wolfe created two separate rooms that had separate energy from each other. What was most impressive was how Wolfe captured his actors.It felt like we were on stage with these actors, the close ups and tight knit camerawork that was used was extremely effective.”
“Regina King’s direction was subtle and effective. She took the stage play and made it her own. It felt effortless as everything flowed from scene to scene, even light conversations to deeper ones. Even though the film takes place in one room for majority of the runtime, it’s the dialogue that holds you and the way King focused on her actors. She brought out such fantastic performances and the way she moved them through each scene was strong.”
“The film is not a representation of this current era that we are living in. Instead it represents the long fight against systemic racism and how this level of injustice has not been handled properly. A Sorkin script is never easy to get through, many actors have said that it is harder than it seems. It is fast paced and the soundtrack also brought everything together, it wasn’t overused and it came in at the right moments.”
There are many ways filmmakers have incorporated themes of grief, love and loss in their films. InThe Fabric of You, writer and director Josephine Lohoar Self uses stop motion animation, to create emotional connections through memories. The film is set in the Bronx, where we are introduced to Michael, a gay, twenty-year-old mouse, who hides his true identity, while he works as a tailor. When Isaac enters the shop one day, he changes Michael’s perspective and their relationship blossoms. The film is presented by the Scottish Film Talent Network and funded by the BFI and Creative Scotland. The film had its world premier at The 2019 Edinburgh Film Festival as part of The New British Animation 2 Strand.
The concept of the film was inspired by the Pulitzer Prize-winning graphic novel Maus by American cartoonist Art Spiegleman. The novel recounts the experiences of the author’s father, during the Holocaust with drawn wide-eyed mice, representing Jewish people and menacing cats as Nazis. It spoke to Lohoar Self, “I used it as a catalyst for looking at stop motion animation as a way of telling more adult themes and seeing it as a vehicle for themes of grief and memory.” this is what the film does so well. The memories that Michael reminisces about throughout his day cut into his everyday activities. They can be happy memories or traumatic ones and it is all framed in how he processes those moments.
Lohoar Self has a Fine Arts background and wanted to incorporate her artistic knowledge as a painter through animation. She is skilled in telling stories through her paintings and wanted to combine that with her love for filmmaking,
“I enjoy working with like-minded creative people, so painting for me was sort of isolating. This was a great collaborative, creative experience with film and animation. That’s what it offers and I was particularly drawn to stop motion animation because of that.”
She felt that stop motion animation could explore different levels because of the endless possibilities that can be created in that space. There are moments that can be altered through memories in time and space, “I think I was really interested in exploring how grief affects memory and how memories are affected after someone passes on.” Lohoar Self said. There are moments in The Fabric of You that cut through Michael’s everyday activities to show that he misses his partner. Those were powerful moments because anyone who has suffered a loss will understand how Michael is feeling.
There are waves of sadness that can hit you at the most random moments because a small thing could remind you have that person and that is what this film does so well. Lohoar Self wanted to present the complexities of those feelings through different plains, “I thought it would be fun to draw the parallels between people seeing objects and memory and also cutting between three different layers of reality, imaginary and fantasy.” She also used a singular object, a button, to create a profound moment between Michael and Isaac.
Lohoar Self wanted to create a deeper, emotional connection between Isaac and Michael by using the buttons as a representation of individuality. Fashion is something that can define you as a person, Lohoar Self goes onto say, “Fashion can be a form of expression, so I think for me, fashion as a concept in the film was quite important, as a way of revealing your identity and revealing who you are but also a way of hiding it and concealing it.” Isaac accepted Michael for who he was and the button symbolizes something entirely different halfway through the film. The importance of that particular object being tied to a memory is what makes this film emotional.
The Fabric of You uses stop motion animation to explore themes of love and grief through different plains. The narrative structure allows the audience to process the important memories as Michael does, his emotional spectrum is put on display and affects his everyday life. The film is assembled to draw in the viewer with its quick editing and fantastical elements, while retelling a traumatic story that can resonate with everyone. There is so much that can be done with animation and to be able to use a different form, to express adult themes, can really help audiences process their feelings.
Women have shared so many similar experiences with each other for many years and there have been films that have truly captured the female experience. The short film Twist, written and directed by Aly Migliori, analyzes the loss of innocence in this coming of age thriller. It takes the female experience and tells a universal story that women know a little too well. Migliori gives a fresh take and elevates the experience through the use of colours, lighting, minimal dialogue and the score.
Migliori wanted to put these character in a space and in this heightened period all in one night, “I wanted to show the consequences, the learning, the growth and kind of feeling the loss of innocence without any kind of explicit blame or anything. It’s a pretty impactful moment for her, it’s pretty innocuous for the others.” The film takes place at night as a teenager named Hannah (Helena Howard), finishes work at her local ice cream parlour and she walks home alone at night. A car, with three boys pulls up right beside her and they convince her to get in, so they can drive her home.
She takes this universal story, this universal experience and makes a great thriller while addressing a young girls first encounter with the dangers of being a woman. Naming the film Twist was extremely clever because it’s an entendre. Migliori played with the idea of the expectations of the title, both literally and how everything unfolded at the ice cream parlour. She goes on to say that, “The ice cream parlour, this very Americana ice cream parlour has connotations with American nostalgia, American childhood and kind of American censorship. I think this story is kind of resisting that mythology, while playing with it.” That is why the ice cream parlour as the centerpiece of the film worked so well. It felt like a wholesome location because of the nostalgia tied to everyone’s childhood and then Migliori turned it into a place that has scarred its lead character.
What was most impressive was how the score elevated the moment Hannah realized what was happening and how this moment would affect her for the rest of her life. All women remember the one moment where everything changed, when their perception of the world, of boys, changed. The score had this teenage pop angst as Migliori described with a sinister undertone that completely worked with Howard’s performance. The connection was so raw and it forces the viewer to remember that specific moment in their own lives.
What really tied everything together was the cinematography and the use of lighting. The choice to light up the ice cream parlour and make that the standout while keeping everything else around the parlour in darkness worked very well. There were bright reds used at the beginning of the film and then as the film got deeper into the story, it got darker, “The red takes on a much darker meaning later on, as the story progresses we’re still using the same colour palette, we’re just shifting it darker and she’s kind of growing up and losing her rose coloured glasses on all of the elements of the female experience.” Watching Hannah go through that experience and having all of these elements change with her made a huge impact.
Twist is a short film that offers so much in such a short period of time. It dives into the female experience and leaves you questioning the moments in your own life. All women have a similar story and no, that is not an exaggeration. Aly Migliori delivers on all fronts and her biggest aspirational takeaway is that hopefully some people find a certain parallelism in their own experiences and feel heard, while also truly enjoying this story.
Cake Day is a short film that authentically highlights the journey of an addict. Cameron (Cameron Crosby) emotionally deteriorates, as he contemplates the consequences of honesty, on a day of celebration during one of his meetings. It is a poignant film that is directed with such care and honesty from everyone involved. It is important to handle this subject matter with the utmost respect, when generally retelling an experience that you may, or may not have been directly affected by. The centerpiece of this film is the meeting itself and that is why it is so special.
Director Phillip Thomas really wanted to present an emotional story that would speak to everyone. He wanted to be able to create a sense of empathy and understanding for those who have been struggling with an addiction. He managed to create a community within the film itself. It was comforting to watch this short film, knowing that the people behind the camera wanted to create this support system for its viewers,
“You can’t tell an experience like this without having the authenticity and people around you to teach you what it is or else you’re going to fail. That was the whole point of the process of doing this short film, it was to make sure that I could in fact speak on behalf of people, that I haven’t experienced what they’ve experienced.”
– Phillip Thomas, Director of Cake Day
Thomas did his research and he went to different meetings with Cameron Crosby to help get a better understanding in how to tell this story. They only had three days to shoot this film and the bulk of the film takes place in one of the meeting rooms they actually attended. Thomas made sure to keep the exact same setup to make it feel authentic because normally there is no documentation of any meeting. In order to create a sense of community for his audience he needed to accurately create the atmosphere as well.
When collaborating with filmmakers, especially when discussing difficult subject matter, there is a support system that builds, when working with everyone without even realizing it. There are friendships that form when going through a creative process with others, even more so when the subject hits close to home. When getting into character, Crosby found it a bit challenging to get into the that headspace again, “To go into the headspace of the what if, what if that would happen to me and how I would react to it and like whether to move forward and try to get better.” Crosby gave an emotional, internalized performance because it came from such a personal space.
Crosby wanted to be apart of a film that would send a positive message to anyone struggling, he was happy to work with Thomas because of all the care that went into the story,
“I think that’s an important message of the film just bc you take one step back doesn’t discount the 20 steps you made forward. Nothing was really uncomfortable because Phil set up such a great atmosphere, where I just felt safe and protected, which allowed me to get deeper and allowed me to get into that dark headspace.”
– Cameron Crosby, Cake Day
It’s incredibly important to have these honest conversations, where the filmmakers can go even deeper into the psyche of the character, to fully form a story that can be so personal. There is definitely a right way to tell these stories and that is what Cake Day does, it just captures this one day and expands upon the internal conflict of its lead character. Every aspect of the film, from the atmosphere to the fantastic score elevated the performances from the actors. It’s an important film that accurately depicts the struggle of being honest, not only with those around you, but with yourself.