MOVIES OF THE MONTH

JANUARY 2022

CATEGORY: ANIMATED FILM

WINNER

OPAL

Directed by Alan Bidard

Martinique

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OUTSTANDING ACHIEVEMENT AWARD

CoVideo

Directed by Nickeless Fisher

United States

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CATEGORY: AMATEURFILM

WINNER

CoVideo

Directed by Nickeless Fisher

United States

_

OUTSTANDING ACHIEVEMENT AWARD

the escape of the century

Directed by Jacques MICKE

France

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CATEGORY: BEST ACTOR

WINNER

The Coffin Bound Kings

Acted by Matthew Ewald

United States

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CATEGORY: BEST ACTRESS

WINNER

Routine

Acted by Paige Laree Poucel

United States

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CATEGORY: BEST CINEMATOGRAPHER

WINNER

Ersis

Cinematographed by GEORGIOS DIMITROPOULOS

United Kingdom

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CATEGORY: BEST DIRECTOR

WINNER

Boca

Directed by Jijo Sengupta

India

–

OUTSTANDING ACHIEVEMENT AWARD

Candy

Directed by J. Samuel Ryan

United States

–

 AWKWARD ENDEAVORS

Directed by Derek Frey

United States

_

The Feeling Expert

Directed by Jamie Anderson

United States

_

CATEGORY: BEST EDITING

WINNER

AWKWARD ENDEAVORS

Edited by Derek Frey

United States

_

CATEGORY: BEST FILM  SCORE – Soundtrack

WINNER

Gridlock Lullaby

Music by Releaux

United States

–

OUTSTANDING ACHIEVEMENT AWARD

Say It Thrice

Music by Kautuk Saksena

India

_

CATEGORY: BEST PRODUCER

WINNER

Ritornare

Produced by Shirley Fan Zhang

United States

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CATEGORY: COMEDY SHORTS

WINNER

AWKWARD ENDEAVORS

Directed by Derek Frey

United States

_

OUTSTANDING ACHIEVEMENT AWARD

The Feeling Expert

Directed by Jamie Anderson

United States

_

CATEGORY: DEBUT FILMMAKER

WINNER

Red Carpet

Directed by  Scott Altman

United Kingdom

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  OUTSTANDING ACHIEVEMENT AWARD

Say It Thrice

Directed by Kautuk Saksena

India

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CATEGORY: DOCUMENTARY FILM

WINNER

Fifteen Past Seven

Directed by Einar Thor

Iceland

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OUTSTANDING ACHIEVEMENT AWARD

Ma

Directed by Nirmalya Majumder

India

_

Creators

Directed by Shamil Aliyev

Azerbaijan

_

Holy craziness

Directed by Maria Margarida Moreira

Portugal

_

Critics’ Choice

2005 Nights and Days

Directed by Andrzej Dudziński

Poland

_

EARTHIAN

Directed by SHAILENDRA SINGH

India

_

Daughter of the Revolution

Directed by Tunde Talas

Hungary

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A Communist, the Scam

Directed by BIRAT ROY CHOUDHURY

India

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CATEGORY: EXPERIMENTAL FILM

WINNER

Haus C19

Directed by  Sonja Toepfer

Germany

_

OUTSTANDING ACHIEVEMENT AWARD

CROWD

Directed by Recep Akar

Turkey

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CATEGORY: FAMILY/CHILDREN FILM

WINNER

Mother’s New Year

Directed by Yiming Fan

China

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CATEGORY: FEATURE FILM

WINNER

Not To Forget

Directed by Valerio Zanoli

United States

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  OUTSTANDING ACHIEVEMENT AWARD

Say It Thrice

Directed by Kautuk Saksena

India

_

CATEGORY: FEATURE SCRIPT

WINNER

Yanko The Gypsy

Written by Anžy Heidrun Holderbach

Germany

_

OUTSTANDING ACHIEVEMENT AWARD

RJ MADONNA

Written by Anand Krishna Raj

India

_

Wormhole 276

Written by Veronica Tabares

United States

_

New Moon Killer

Written by Dean Harakas

United States

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CRITICS CHOICE

THE TRUTH SERUM

Written by Martin Zitter

United States

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Local-ized

Written by Leonidas Stanescu

Singapore

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CATEGORY: FILM/ VIDEO POSTER

WINNER

AWKWARD ENDEAVORS

Poster by Derek Frey

United States

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CATEGORY: FILM ON RELIGION

WINNER

The Resurrection of Jesus

Directed by Holger Klussmann

Germany

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CATEGORY: FILM ON NATURE / ENVIRONMENT / WILDLIFE

WINNER

Biodiversity in Crisis

Directed by GEORGIOS DIMITROPOULOS

United Kingdom

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CATEGORY: Horror / Science Fiction / Genre Film (Any length)

WINNER

The Coffin Bound Kings

Directed by Matthew Ewald

United States

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CATEGORY: LGBTQ FILM

WINNER

Yesterday, My Dead Boyfriend Messaged Me on Grindr

Directed by Curtis Lee

Australia

_

CATEGORY: MICRO SHORTS

WINNER

Routine

Directed by Russ Emanuel

United States

_

OUTSTANDING ACHIEVEMENT AWARD

Night terror

Directed by David Duke

United Kingdom

_

CATEGORY: MOBILE FILM

WINNER

The Talk

Directed by Ryan D’sa

United Arab Emirates

_

OUTSTANDING ACHIEVEMENT AWARD

Wanderer

Directed by Joseph Antony

India

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CATEGORY: MUSIC VIDEO

WINNER

We Should Do This Again

Directed by Glen Dunzweiler, Ken Newman

United States

_

OUTSTANDING ACHIEVEMENT AWARD

Boca

Directed by Jenni Otero

United States

_

Slight

Directed by Roy Rosental, Joe Gnoffo

United States

_

CATEGORY: PERFORMING ARTS

WINNER

Showreel

Performed by Henk Brugge

Netherlands

_

CATEGORY: SHORT FILM

WINNER

Take The Chocolate

Directed by Dr Shahid Kamal

United Kingdom

_

OUTSTANDING ACHIEVEMENT AWARD

Brave

Directed by Michael Ringdal

Spain

_

“I Celebrate Myself”

Directed by Mimi Garrard

United States

_

I Wish…

Directed by Jijo Sengupta

India

_

CRITIC’S CHOICE

Pvt. Ravel’s Bolero

Directed by J Z Murdock

United States

_

Chateau Sauvignon: terroir

Directed by D.M. Night Maire

United States

_

Silent Screams

Directed by Kushagra Shinde

India

_

SELECTED

3000

Directed by Chin Hsiang Chang

United States

_

Triad Power

Directed by Brian Pinkus

United States

_

Diegesis

Directed by Gabriel Angulo

Peru

_

Appayya Clinic

Directed by Dinesh acharya, Rajesh Kergal

India

_

CATEGORY: SHORT SCRIPT

WINNER

S.A.L. (Serious About Love)

Written by Dean H. Huh, Chris Arocho

United States

_

OUTSTANDING ACHIEVEMENT AWARD

The Shift

Written by James Thornton

United States

_

Lucky

Written by Carolyn Wagner

Australia

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CATEGORY: SILENT FILMS

WINNER

The Magic Balloon

 Directed by Jessi Thind

Canada

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CATEGORY: TELEVISION / PILOT PROGRAM OR SERIES

WINNER

Insomnia Theater

Directed by Mark Starks

United States

_

OUTSTANDING ACHIEVEMENT AWARD

Triad Power

Directed by Brian Pinkus

United States

_

CATEGORY: TRAILER/TEASER (5 minutes or less)

WINNER

You Were Chosen

Directed by Heather Waters

Australia

–

CATEGORY: Virtual Reality (VR) / Augmented Reality (AR) and 360 Video (Any length)

WINNER

The ŠKODA SLAVIA AR Filter

Directed by Prateek Sethi

India

_

CATEGORY: WEB AND NEW MEDIA

WINNER

The Avatar Tribune Issue One

Directed by Hinano Reia, Nicolas Servais

United Kingdom

–

OUTSTANDING ACHIEVEMENT AWARD

The ŠKODA SLAVIA AR Filter

Directed by Prateek Sethi

India

_

Eye on Entertainment

Directed by Dawna Lee Heising

United States

_

CATEGORY: YOUNG FILMMAKER

WINNER

The Magic Balloon

Directed by Jessi Thind

Canada

–

The post Monthly Result January 2022 appeared first on Cult Critic.

Questions to Gustavo Coletti, Director and Producer of The Diameter of the Abyss.

Cult Critic – Since 2016, you have proved your felicity as a director, producer, writer and actor in several documentaries and feature films. Which of these roles would you say have given you the most scope to express your artistry?

Gustavo – I’ve been a writer since I was 14 years old, and I dabbled in almost everything that can be written, but I grew up deeply admiring the masters of Italian cinema. Fellini, Antonioni, etc. My first approach to audiovisual language was writing 120 episodes of a soap opera for North American television. Then, Mexico gave me the opportunity to direct for the first time. Today my love is shared between writing and directing movies, knowing that it is a scattered way of expressing myself in art.

Cult Critic – What prompted your decision to pursue a career in the film industry?

GC – I’m not involved in the film industry. I am part of a film movement that is marginal, and that fortunately can be carried out more easily because new technologies have made film production cheaper. Realizing one day that I could access the necessary budget to make a film was a motivation and a surprise.

Cult Critic – Is there a specific reason behind why you primarily work with docufictions? What entices you about this genre?

GC – Actually, I think I make an experimental cinema within conceptual art. As in the plastic arts, conceptual cinema would be a cinema that puts all the emphasis on the idea (concept) that it wants to convey, and not on the quality of the final product. When I have to make an aesthetic evaluation of what I am doing, I rely on my wife, Claudia Cogo, who is a painter. The docufiction is perhaps only occasional in the process of experimentation. I also traveled through music and photography among other things.

Cult Critic – What is the inspiration behind defying heteronormativity and representing the queer community and its complicacies in this feature film?

GC – I had a traumatic experience in my youth in Argentina, when during the military dictatorship in 1978, a very dear friend was assassinated, not for his political ideas but for being homosexual. Also, I was always a freedom activist. For 20 years I have run an internet newspaper called anticensura.com and a few years ago I wrote a monologue that was performed with great success, called “El Amor Lésbico” (The Lesbian Love).

Cult Critic – Tell us about your forthcoming project(s). Would you be interested in exploring other genres of films anytime soon in your upcoming work(s)?

GC – I write a lot, but everything I write has a hidden cinematographic intention. I am working on the post-production of a medium-length film called “Maldito Baudelaire” (Damn Baudelaire), which is nothing more than the film version of a play that has a premiere date in Buenos Aires in two months. Yes, I am interested in directing other projects that fit more into the conventional narrative, but with themes that in some way analyze the future that awaits us. Analyze the new political and social scenarios that we already glimpse.

Questions to Fernando Alegre, author of the play, actor and theater director

Cult Critic – Why did you appoint two separate actors to play the role of the same character – the character of Pablo?

Fernando – Pablo, like Héctor and Mara, are one and all. They are different ways of approaching an interpersonal bond, which have details that differentiate them, similarities and particular features. Physical and emotional. The initial idea was many and many performers. Younger Pablos, older Pablos. A game where the same text is interpreted differently and therefore the link with oneself and with others mutates.

Cult Critic – How do the two representations of Pablo differ and resemble at the same time?

FA – I think I answered in the generality of the previous question, but I’ll try to be more specific. Pablo, Mara’s partner, is a more affectionate and demonstrative guy. Passionate, but owner of a sensitivity that he demonstrates with gestures and attitudes. It is the interpretation of a Pablo more affected by the breakup, there is more life lived in him than in Hector’s partner, therefore, there is more past, there is more memory and there is more sadness due to rejection and abandonment.

Hector’s Pablo is younger, more impetuous and irreverent. More reactive to the words of his partner. There is less reflection in his actions, and he is also more violent. His learning matrix and his resentments are fresher. His attitudes are more adolescent, like… like the world owes him something… that.

Cult Critic – How are the characters of Hector and Mara associated with one another?

FA – Well, just like the Pablos, they are two ways of loving. Two looks, traversed at times by guidelines of heterosexual norms, which reproduce links. Until we manage to deconstruct ourselves, we will continue to be reproducing a univocal way of relating to each other.

Also in the development of the material, the idea appeared that Hector is Mara without transition, without starting hormone treatment. That appeared as a game in an essay, but somehow it could also be a way of telling how we all live many lives in the same body. And that the mutation of our bodies is not always modifier of our behaviors.

Cult Critic – What does the nightmarish and surrealistic episode of Hector and/or Mara’s dream render? Does the play of lights in this chapter have any symbolic purpose?

FA – The nightmare scene, realizes the fears. Death is mutation, all eroticism is related to the primary drives that fill us with desire and often justify a bond.

Many times in my works, there are characters who, from dreams, have behavioral modifications. They are species of Cassandras, from Greek mythology. So on the one hand there is the mystery of the dream, the universe of the mystical and premonitory and, on the other hand, the more psychoanalytic view of the elaboration of traumatic situations from a dream. The appearance of fears, or possible resolutions, is a stage game. The projections account for those various skins that cover us. Even in the nudity of the bodies, the light textures are impregnated intermixed with the hairs and pores, and “dress” those bodies with fur. Fixing the idea of ​​the primitive in the genital encounter. Kill the desire. die of pleasure.

Cult Critic – Can you explain how the title ‘The Diameter of The Abyss’ establishes and upholds the objective of the documentary?

FA – An abyss is an unfathomable, incalculable space. It has no measure, there is no possibility of measuring how much or how far.

Somehow the title accounts for that particularity, it is an oxymoron. And the measure of the circumference (the diameter) is directly related to the spiral structure of violent relationships. They are an infinite journey, a mobius strip, .

The documentary part of the film is that fissure in space-time, where the characters are ejected from themselves, they leave the screen to be questioned, understood, reflected upon by the actors and actresses. And in an emotional game, as the rehearsals, theatrical staging and filming took place… the characters faded away with the performers without knowing, understanding, or defining who they were. Where does fiction end and where does “reality” end?

The post The Diameter of the Abyss | An Interview with Gustavo Coletti & Fernando Alegre appeared first on Cult Critic.

Firstly, I would like to congratulate the director for making such a layered film which deals
with different kinds of conflicts and divides in such a short span of time.

Cult Critic – My first question would be: what is the significance of the plague? Is it a reminder of COVID-19 or something else?

Richard – The significance of the plague is reminiscent of COVID-19 and
proves to be a mirror reflection of the pandemic.

Cult Critic – What would you say has been your inspiration for this story?

Richard – Most of the inspiration of the story was from COVID-19 and my previous short film “Distance” which had a similar theme and took place in the forest.

Cult Critic – There must have been several challenges as you had to shoot during the pandemic. Could you tell us about what you had to go through?

Richard – I was working on a tight schedule and I used my school’s, Howard University’s, equipment and it took us a whole day to shoot this one movie and then I had to return the equipment. I was keeping said equipment in my house and had to lug it into my car.

Cult Critic – There is obviously some politics involved in having a white man and a black woman play the role of the protagonists in the story. Could you please elaborate on this choice?

Richard – There was no politics involved in the casting. I chose the cast based on talent, and how I envisioned the movie to be.

Cult Critic – Forests have been traditionally associated (since Shakespeare’s times) with a place of respite where one can be safe from the sorrows and miseries outside. Could this be a reason for the choice of your location or was it something else?

Richard – The forest was chosen, like in Distance, for loneliness and solitude in a depressing tone for the film.

Cult Critic – Could you tell our audience why you chose to have the black woman be a mute person? What is its significance in the story?

Richard – The black woman is mute because there is something special about her even if it is never confirmed in the course of the story. Also because silence does speak volumes.

Cult Critic – “Where there is smoke, there is fire” is a proverb we have commonly heard. So, there is hope for the two at the end as they can meet other people, as I understand it. But what do you reckon happens? What does the smoke exactly mean for them?

Richard – The smoke means that there are people out there and they are not
the only ones out there. It’s possible that they will see another faction of people elsewhere.

Cult Critic – The way the music has been used in this film reminds me of Stanley Kubrick who used long sequences of music without visuals before and/or after the film. Have you been inspired by this as well? What was your purpose in using this technique?

Richard – It wasn’t necessarily Kubrick that inspired me but it was a technique that I was fond of as I used it to convey the calm before the storm.

Cult Critic – Even though we usually find people whose families died in plagues wishing death upon themselves as well and giving up instead of trying to flee it and live another day, we see that your protagonists try to survive. Is this the message that you wanted to share? If so, why?

Richard – The message that I wanted to share was comradery. Despite people’s differences, in tough times we all need to learn to come together because there is only one planet Earth.

Cult Critic – The colours used in the film are primarily cold. Does this have any meaning in the film?

Richard – Some of the colors are cold and others are warm. This usually shifts throughout the tone of the film.

Cult Critic – I found the score extremely poignant and relevant. What are the things that your music composer kept in mind while creating the score?

Richard – Well, I composed the score and I wanted to keep it simple and not to do anything to distract from the film. It was a simple movie and I wanted to make a simple score.

Cult Critic – Finally, I would love to know why you chose the title “Wounds” for your short. Whose wounds and which wounds do you refer to?

Richard – I called the film “Wounds” because at the end of the film, Anthony falls and hits his head and Makayla is forced to try and heal his wounds.

The post Wounds | An Interview with Richard Schertzer appeared first on Cult Critic.

Combat Nuns, all or nothing: Not all Nuns are as they seem – caring and innocent! In
particular, Sister Brickball. You’ll not want to run into her in a biker bar… she’ll more than
hit you over the head with a bible. She’s not a sinner, nor is she criminal intent. She’s just
unorthodox in her ways, and the priest of her church is tired of her daily visits in the
confession booth.

Cult Critic – You are the screenwriter to Combat Nuns, all or nothing. A unique story with a strong theme and premise. How did the story come to mind.

Rick – Years ago I read an article in the Los Angeles Times newspaper about a group of tough, Catholic women who challenged an abortion clinic and were subsequently arrested.  I just took the idea and ran with it.

Cult Critic – The film’s premise, plot, and story are unique. It’s a very compact 5 minute film… do you see it as a proof of concept to a feature film… maybe a series. Not quite Charlies Angles, but, Charlies Nuns?

Rick – Absolutely! It’s so funny that you mention Charlie’s Angels, because I have often used that comparison for Nuns!  But, I like your Charlie’s Nun name even better!  Yes, I do see it as a POC for an eight-episode, half-hour series, and I crafted it with that in mind.

Cult Critic – Have you worked with producer Regina McKee Redwing before?

Rick – As a matter of fact, I have! Several times! And she plays Foxy the Bar Owner, too!

Cult Critic – Sister Brickball, played by Dot Marie Jone, gave a remarkable performance. Have you worked with her before? How did you cast her?

Rick – Gary Kasper, who plays Mohawk Murphy, introduced me to her before I wrote Nuns, and when I was looking for a Sister Brickball, Gary suggested her, and I thought she was perfect: Emmy nominated actress, 15-time arm wrestling champion and has a heart of gold!

Cult Critic – You opened with short flashback scenes of the Nun’s violence, that gave a great character backstory. This was well executed, and not done by many short film directors or screenwriters. Your take on this.

Rick – I’d rather show exposition than tell it.

Cult Critic – The story has a strong message, what would you like viewers to take from the story?

Rick – There is a power of good that is always fighting for you

Cult Critic – Were there any production challenges and or BTS you’d like to share?

Rick – Sure!  The scene after the credit roll was an impromptu moment that worked out well.  We were moving from the bar scene to the confessional scene (the whole movie was shot in one long day) which was set up on a sound stage at Screenland Studios in Burbank Calif.  As we were loading in, Gary Kasper and Dot were talking about Gary’s motorcycle and I asked Dot if she could ride and she replied, “Heck yeah!”  “How about a spin around the block?” I asked. She was ecstatic!  We’re clapping and yelling as Dot takes off just as the camera crew pulls up and I’m thinking…this might work….

Dot comes back on the motorcycle and I suggest a line for her to say as a Public Service Announcement and then drive down the alley behind the studio (no traffic) toward camera, stop and say the line (we’ll hook up a boom microphone) then drive past camera, and we’ll see what we get.  She does it perfectly, but the battery on the bike dies and she can’t drive off!  We only needed one take and we got it!  It wasn’t exactly as planned but it works

Cult Critic – As a screenwriter, filmmaker, and director; do you only write what you intend to film?

Rick – Nope. I’m open to all possibilities.

Cult Critic – Do you ever scout screenwriting forums for your next film? If so, to you, what stands out in a script? This is a question pondered by most aspiring screenwriters.

Rick – No, I don’t.  Don’t really need to.  Life offers so many ingredients for possibilities to create amazing stories, that all you have to do is listen and then sprinkle a little imagination on top.

Cult Critic – Screenwriting is a visual medium. As both a screenwriter and director what advice can you offer aspiring screenwriters.

Rick – Don’t stop writing. Write. Write. Write!

Cult Critic – What came first for you, filmmaker/director or screenwriting. And what inspired you to become the secondary?

Rick – Writing came first and directing came second as natural way to complete the process of creation.

Cult Critic – How did you come about being a filmmaker, director. And what advice can you give aspiring short filmmakers?

Rick – I’m a theatre trained actor, so writing and directing scenes, plays etc has always been a part of my life, so the segue way to film directing wasn’t that big of a step for me.  My advice to aspiring short filmmakers is to keep creating and surround yourself with positive, artistic people.  I like to test myself on how I can tell a story, or express an idea as clearly as possible with a minimal use of time.  Brevity is key.

Cult Critic – What’s next for you… is there anything you are currently working on?

Rick – I’m in pre-production (with Regina producing again!) on an animated short, “The Escort”.  I want to run the gamut of as many human emotions as I can using animated images and music, no dialogue.  Plus, I’ve never directed an animated movie, so I want to teach myself that process as well.

Cult Critic – Lastly. Your ending, after the credit role. The Nun on a Harley Davidson, saying; Kids, always wear your helmet. Cause its good advice! Your take on having inserted that scene.

Rick – We were screening Nuns in a film festival at a theatre in Beverly Hills on a Friday evening.  There was a press event before the screenings began.  After seeing Dot ride a motorcycle, I thought why not have her pull up on the motorcycle while everyone is waiting in line for tickets?  So during rush hour traffic on Wilshire Blvd in Beverly Hills Calif, Dot Marie Jones, wearing her habit and smoking a cigar, drives down the sidewalk on a Harley Davidson motorcycle amid cheering and the blaring of car horns!!  What fun!! And how many complaints did we get?  Nun!

The post Combat Nuns All or Nothing | An Interview with Rick Williamson appeared first on Cult Critic.

‘Machines;’ that is what we have become in this day and age, and with the progress of technology and science, we might eventually become even more machine-like. We are already a part of a much larger system, a system that churns our minds and sucks out our emotions. In the end, what is left is but a husk of what was previously a person with hopes and dreams, and a resolve to find happiness in life.

Director Pierre J. Secondi with his short, “The Warziniek’s File” introduces us to a similar world, where things work out like clockwork, and where humans can be robbed of their identities with the click of a button. Pierre J. Secondi’s vision of the future is strikingly similar to what might happen if one had to create a realistic version of The Matrix. How would we lead our lives? And could we do anything out of the ordinary under the noses of our overlords, and not have them erase us from existence entirely? These questions are beautifully answered by the director with the help of a simple, but stunning plot.

Paul Warziniek, or citizen 4.815.162.342, is living a simple life until he receives an email informing him that he has apparently been charged with parking tickets. As normal as that might seem to many of us, the plot takes an interesting turn when we realize that Warziniek never owned a car in the first place. Naturally, he heads over to what seems like a government administrative office to resolve this minor error. What Warziniek didn’t expect was this minor problem to become the greatest issue he has ever had to face his entire life. A person who had entered the office a happy man, never leaves the administrative building to see the light of the day ever again.

Secondi’s treatment of characters in his short film was truly fascinating. The way he has handled a group of extremely talented actors, and placed them in a setting that portrays our current world and its problems in a hyper-exaggerated manner is an extremely commendable feat. The exaggerated expressions made by the cast, and the dialogues given to them might seem unnatural when compared to how humans might communicate in real life, but that is exactly what separates Paul, our protagonist from the rest of the lot. Paul seems like the only level-headed and logical person in an office that should have reasoned with Paul, and helped him resolve his issue.

It is fascinating how people in the government office are so obsessed with practicality and time that they would stop working if the clock were to malfunction, but they don’t seem to understand Paul’s problem because of their flawed chain of command. Paul Warziniek, a person a started out as the only sane person in a room full of robot-like humans could not retain his sanity by the end of it.

As for the cinematography, the short film was, by all means, a treat to the eyes. The choice of colours and costumes to set Paul apart from the rest of the cast and the environment was remarkable, and well executed. The director was quite literally able to alienate his main character in a world he calls his home. The editing flowed extremely well; the editor was able to bring about a life-like feel in their rhythm with the excellent choice of shots to cut to. However, at times it did feel like the selection of shots were somewhat repetitive, especially in the reception desk scene, when Warziniek was confronting the receptionist. The repetition of over-the-shoulder shots felt monotonous at times; the editor could have used a different shot to bring about a visual change in that segment.

Furthermore, the sound-design was extremely well planned, and the visual effects nailed the mark! The film really did feel like it was made fifty years from now; excellent use of visual effects and amazing set design were able to help sustain the illusion of being in the future till the very end.

Rohan Bhattacharya is a video editor, filmmaker and writer. His film Komorebi won the second prize in ‘South Asia Japanese Language Short Film Competition,’ organized by The Japan Foundation, New Delhi and his latest film “Tsubaki” has been screened at the Tokyo Short Film Festival in Japan. His production house Sunkaku Productions makes movies in Japanese language to create a bridge of culture between India and Japan.

The post The Warziniek’s File appeared first on Cult Critic.

When an Indian hears the name Sachin, the first thing that comes to mind is cricket, and the thought of Mr. Sachin Tendulkar being referred to as “the God of Cricket.” This narrative is also about a young, aspiring cricketer from Pune named Sachin Panwar, who dreams each day to become the greatest player in the sport like his idol. His unwavering passion for cricket drives him to improve every day by practicing without the support of any sort of professional training. This gifted young man observes other kids practicing in a large stadium under the supervision of a coach and learns by simply watching them play. Everyone who watches him play is astounded to learn that he has never been trained and yet is so talented. His talent alone provides him with the greatest opportunity of his life, as he gets a to showcase his skills in the All India Under-Eighteen Team selection process. However, destiny has other plans for him and an unfortunate accident changes the entire course of the story. What and how things take shape from here is for the viewers to explore on watching this film.

‘Sachin Live from Pune’, is majorly a sports-oriented film which highlights the hard work, passion and challenges that every sportsperson has to face in order to achieve success. Moreover, the level of competition is so high in this field that often even the best of the best cannot make it to that one spot because of several issues such as finance, corruption or simply luck. The protagonist of this narrative, belongs from a slum area in Pune living with his small yet extremely loving family that is ready to support their child’s dreams and do everything in their power to ensure that he leads a happy life. This boy matures before his age as he witnesses the hardships of living in poverty, he respects and adores his parents for giving him more than they could afford and wishes to give them a wonderful life by becoming a top-class cricketer. While Sachin does everything he can, fate has other plans, and a seemingly trivial event ends up putting an end to everything for the family as well as him.

The emotions captured throughout the story are overwhelming yet extremely real. The struggles of this innocent teenager are relatable for thousands of young aspiring players out there. The story’s simplicity aids in establishing an immediate connection with the viewers. Moreover, the performance of the entire cast, especially Sachin Panwar aka Alok Kudale is praiseworthy. Injuries are an unavoidable part of a sportsperson’s life, and the director hopes to bring attention to this aspect of their profession through his film, while also addressing the concerns of ordinary lower and middle-class children who aspire to achieve greatness in such competitive fields as sports or entertainment. He has surely hit the target by narrating this story just the right way.

The director, Ganesh Devidas Kadam is currently working in the Pune Municipal Corporation as a senior clerk and he acquired the skill of filmmaking a few years later. His film “Flyover” released in 2010 is listed in the Limca Book of Records-2013 for its unique style of production as has also been appreciated in various national level film festivals. He still continues to keep his passion alive by contributing to the world of cinema through his wonderful short films.

‘Sachin Live from Pune’ is an emotional, inspirational and realistic short film that purely captures the struggles of a teenage boy, who aspires to be a great cricketer and make his parents proud. The circumstances and obstacles of his journey will definitely make the audience feel for the poor soul whose innocence and extraordinary acting skills keep you hoked on to your screen waiting for the next event in this enthusiastic boy’s life to unfold.

Samiksha Periwal is an 18 year old student from Kolkata, West Bengal. She is an enthusiast, eager to learn and explore. She has done her schooling from Lakshmipat Singhania Academy, Kolkata and is currently a student of Christ University, Bangalore pursuing a triple major in BA Psychology, Sociology and English. She is a passionate writer and has won many laurels for her school through the years.

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‘Live in Satsuma’ is the story of a happy and loving couple who support each other and earn a living from selling homemade tin products. The husband, Jiro questions life after reaching close to the age of his father’s death and aims to figure out his ultimate goal. On the other hand, the wife, Nobuko lives in the present by doing things that give her joy and believes in living each day with utmost gratitude for being able to be beside the love of her life. While the couple compliment each other very well in everything that they do, Jiro’s constant fear of death makes him do something that changes the dynamics of their relationship as well as relives him of his incessant fear. Whether it is fruitful or not is for you to judge after viewing this wonderfully made film which feels like a big warm hug.

This film is about understanding the meaning of one’s existence. It talks about the positivity in having a long and healthy life. The problems of old age do come with the happiness of being satisfied after living with a loved one for so long. The story beings by showing that Jiro enjoys playing with his toys, especially robots because they make him feel close to his father. They remind him of all the good things that he has learnt from him as a child which makes him feel grateful. Nobuko also spends her time working together with her husband, cooking delicious food and enjoying her dance lessons. She is more of the carefree kind and finds happiness in celebrating little moments of love with her partner. Their relationship sets a benchmark of love and marriage, two very delicately intertwined concepts which are not valued as much today. However, the importance of having such a loving and reassuring bond has been beautifully portrayed through the leads of this narrative.

The beauty and power of nature has been emphasized by highlighting the Sakurajima volcano which has been compared to a guardian that gives its inhabitants the energy to grow each day into something better. Throughout the story, its characters have been seen very close to nature, valuing its spiritual essence and life-giving qualities. It also highlights some of the cultural practices of Japanese culture and way of life. The theme of living life to the fullest has been explicitly portrayed through simple yet satisfying images of everyday life in an ordinary household.

The entire cast, especially the leads of this film have done an outstanding job by keeping the story so realistic and simplistically beautiful through their performances which has helped in creating a deep connect with the viewers. The background score is especially praiseworthy for setting the appropriate mood throughout the picture while highlighting just the correct emotions from the characters. The director has narrated the story in the best possible way giving out only positive vibes to his audience.

The director Hiroshi Toda is himself seventy years old yet young at heart because he wishes to continue making films till the time he dies. He has made almost thirty-three films by now which have been selected at several film festivals. His message to the audience of this film is to watch with an open mind and just feel yourself while you’re watching this feature. According to his philosophy, what every individual feels within is the ultimate of life.

This Japanese film has definitely won many hearts, inspiring the youth to have meaningful lives and teaching them to live in the moment. This story has the ability to make its viewers reflect upon themselves and their actions and delve into a spiritual world, free from all the immediate dealings in life, resting close to nature, with your body relaxed and your soul calmed by the soft serene music playing in the background. Kudos to the entire team for crafting this unmissable piece of work.

Samiksha Periwal is an 18 year old student from Kolkata, West Bengal. She is an enthusiast, eager to learn and explore. She has done her schooling from Lakshmipat Singhania Academy, Kolkata and is currently a student of Christ University, Bangalore pursuing a triple major in BA Psychology, Sociology and English. She is a passionate writer and has won many laurels for her school through the years.

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‘KAMALOCA’ is a hybrid film that is somewhere in between a documentary and fiction including a variety of genres and themes covering the emotional impulses of all the characters that have been highlighted in the story. It begins with the scenes of destruction and devastation caused by the chemical explosion in Beirut, shifting to a dark, shabby room including a bunch of hackers who join together in the Parisian suburbs to plot against the system, government and politics in the city by letting out a virus- ‘KAMALOCA’ to disrupt the functioning of the same. However, this multi-layered story isn’t as simple as it sounds. Each layer reveals a new difficulty, a new source of concern, and a slew of new traumas for this particular set of people. The story dives deeply into each character’s emotional characteristics and displays a sub-plot through their life problems.

The background of this film is set in the recent Beirut explosion that occurred on 4^th August 2020 when a large amount of ammonium nitrate stored in a port in Beirut exploded apparently because of an external heat source causing over hundreds of deaths, injuries and a property damage of billions of dollars, completely destroying the lives of over three lakh homeless people. The causes for this massive disaster are still under investigation. The story itself is complex as it touches upon a host of themes ranging from political instability, mental trauma, sexual abuse, infidelity and a lot more. The content of this film is definitely a lot more mature and aims at an adult audience which is ready to view the brutalities in real life, capturing moments of torture, murder, abuse and mental vulnerability. Taking up such sensitive topics for creating content itself takes a lot of expertise. Hence, the entire crew of the film should be appreciated in the first place to do such an emotionally exhausting project. While the pace of the story is a little slow and might seem confusing at first, however, the way every piece of the puzzle comes together at the end makes it interesting. The climax is for sure intense and unexpected to a certain extent which keeps the audience glued to their screens.

The use of the camera for including stills and extreme-close up shots to capture every emotion portrayed by the characters is commendable. This film’s screenplay is distinctive in its approach to story sequencing and there are enormous shifts from one shot to the next in terms of the appropriate setting each sequence. Even while experimenting with the camera so much, the filmmaker has worked hard to keep the tale connected and intriguing. The background score and lighting are also exactly right to keep a spooky, dark and devilish atmosphere throughout, complimenting the storyline well. The film has the ability to awaken all your senses as the entire cast of this film has done such a brilliant job in acting out these compounded characters, each having a separate mental anxiety to deal with. Their performances can actually bring chills down your spine through the realities of such crime groups using their planning and plotting to disrupt ordinary lives in order to attack the ones in power.

The director, Christophe Karabache is a French-Lebanese filmmaker. His current style in filmmaking includes both documentaries as well as fiction and many of his works have been theatrically released in France by Visiosfeir Distribution, apart from been showcased at several international film festivals.

In a nut shell, this film is an intense, dark and emotionally absorbing ride which takes you through all shades of instability in an individual’s life. It captures absolutely naturalistic moments a few troubled and traumatized souls and adds a spooky vibe to the entire plot. It is an exciting watch with a little emotional damage if you relate to the themes. For viewers interested in such crime thriller plots it is a definite must watch.

Samiksha Periwal is an 18 year old student from Kolkata, West Bengal. She is an enthusiast, eager to learn and explore. She has done her schooling from Lakshmipat Singhania Academy, Kolkata and is currently a student of Christ University, Bangalore pursuing a triple major in BA Psychology, Sociology and English. She is a passionate writer and has won many laurels for her school through the years.

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Hope is something that keeps a man going in life, like a light at the end of a tunnel. The film also talks about this very aspiration of not giving up or feeling disheartened by the lows in one’s life. ‘Everything is Possible’ is a motivational short story of a shepherd and his son who get lost in a vast desert with absolutely no sign of life anywhere close to them. Their journey of reaching the ultimate destination and expecting for a better end is what drives the story and inspires the audience to never give up.

The background of this film is set in 1972 Turkmenistan, a country in Central Asia which is also said to be on the way of the Great Silk Road. This is suggestive of the fact that a lot of travelers had passed this vast stretch of desert which might have seemed like an unending area. In the film, it is this place where the young boy and his shepherd father lose their way searching for their camels, walking out of breath and longing for water. The entire situation seems dull and the father very soon decides to give up because he believes that there is no hope for them to survive. This very moment, his young, yet optimistic son reminds him of his own teaching which makes the shepherd choose ‘hope’ and believe in miracles. What happens next and whether the father and son reach their final destination is for you to see and explore, yet this valuable piece of advice given by such a young child is sure to change a lot in the story as well as ‘hopefully’ the audience’s perspective of looking at life.

The cinematography and background score of this film are praiseworthy as they make the performers’ struggle look so convincing that the viewer’s would definitely sympathize with these characters and create an instant connect. Moreover, the minimalistic dialogue and apparent silence of the story talks volumes about the main idea and keeps you engaged to know, what next? “Trusting oneself where there is no possibility and having self-confidence is the key of all possibilities’’, is the main message that the director tries to put across through this short story. The work of the entire team has surely achieved their aim of motivating and inspiring their audience in a mere span of four minutes.

Creating a concept that gives hope to its viewers especially at a time when the entire world has seemingly lost hope on getting back to their ‘normal’ lives because of the pandemic is definitely a great choice. Considering the present context and applying the film’s story to it brings in a lot of light and positivity in a dull and gloomy environment. The story motivates you to get up and do better, ignoring the negativity and starting over with an optimistic outlook, which may seem far-fetched at once, but will definitely lead to doing something productive at the end.

The director Myratgeldi Mollayev puts forward the narrative through a third person’s perspective with a strong voiceover in the background. His way of highlighting the difficulties and challenges faced while travelling in a desert is quite interesting and it adds on to the thrill of the story. It also seems a little supernatural like when the concept of miracles is introduced leaving the characters’ stunned by nature and its doings. The elements of fear, adventure and intense motivation to achieve something are the highlights of this film. A seemingly simple character of a young boy and a shepherd explicitly showcasing these complex emotions so well throughout the film bring out the essence of it correctly.

The film in itself isn’t extraordinary as such, yet it has the ability to motivate and inspire you to do something better and that is what truly matters. It is a short and sweet watch for the much-required boost of energy in your monotonous routine.

Samiksha Periwal is an 18 year old student from Kolkata, West Bengal. She is an enthusiast, eager to learn and explore. She has done her schooling from Lakshmipat Singhania Academy, Kolkata and is currently a student of Christ University, Bangalore pursuing a triple major in BA Psychology, Sociology and English. She is a passionate writer and has won many laurels for her school through the years.

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Writer, producer and director of ‘Jack Be Nimble’, Steve Wollett, CEO of Furious Nerd Production and the Archduke of Kronstadt, is a prolific and versatile artist. Inspired by real-life conversations with his gaming friends, Wollett produced this sci-fi horror feature film at the zenith of the coronavirus pandemic. ‘Jack Be Nimble’, a true tribute to gaming and nerd culture, features Vernon Wells as Jack, the protagonist, and Bai Ling as Nurse Edmonds, the demon banished from Hell to the aggravating mortal world on a quest to collect a hundred willing souls.

With degrees in criminal justice and comparative religion, Steve Wollett has worked in several fields including the military, emergency services, criminal justice, civil engineering, cancer research, and worked in various capacities on over a hundred and fifty films. Having gained a scrupulous insight into filmmaking, he has begun to write and direct his own films only recently and won awards far and wide for the same. Taking that into consideration, we can draw a parallel between the character of Jack, a retired soldier and ex-priest with Wollett himself, a former EMT and firefighter, a US Army veteran, and a substitute health care specialist.

Containing ample references to Dungeons and Dragons, the film accomplishes its purpose as a homage to gaming culture. A group of old gaming friends, namely Jack (Vernon Wells), Otto (Steve Silver), Storm (Liz McCullough), Karl (Brent Moorer Gaskins), and Nick (Frank O’Brien) live in Shady Acres Assisted Living, a health care facility for old people, under the supervision of Doctor Monroe (Katherine Mesa) who is solely concerned about filling beds and gaining handsome profit. “This fucking place is a death trap”, says Jack, “We live in a facility where someone dies every week.” Our incapacitated hero, a drunk in a wheelchair spouting apparent nonsense suspects the presence of a soul-sucking demon in the facility. “We have a killer amongst us”, he says. But no one believes him. Should we?

Coming to the character of the ‘demon’ in question, there are many layers to it. In the guise of Nurse Edmonds, the demon exudes intense sexual energy. The filmmaker perhaps plays with one of the seven sins of man – Lust. However, she does not seduce her victims into voluntarily handing over their souls to her. The lust is primarily manifested with cinematic virtuosity when she feeds on their souls. On the contrary, in the scene where she visits Nick at his bed to give him the good news and he tries to violate her, the role of lust as sin is reversed, for, after all, it is not the weapon of the demon but that of Man.

Bai Ling does an exceptional job at playing the ‘generous’ nurse. With great finesse, Ling performs excitement, desperation, despair, kindness, tenderness, empathy, grief, affliction and torment among other emotions through the character she plays in this fantasy thriller. The cinematography and editing play vital roles in highlighting and uplifting the character of Nurse Edmonds. Owing to his knowledge in comparative religion, the filmmaker works with the clash between holy magic and sorcery of the sinful in this feature film. The bewitching demon with her occultic charms not only allures the characters in the plot, but also the audience in some ways; for she is not the villain of the story, but the anti-hero even more.

‘Jack Be Nimble’ may be deemed as an entertaining work of fiction. The film can widely be enjoyed by gaming enthusiasts, geeks, and individuals intrigued by witchcraft, necromancy and black magic. The plot involves enough mystery, suspense and is rather engaging. In fact, there can be an alternate interpretation of the story. Towards the opening of the film, Jack is shown drinking near a staircase hallucinating about the nurse in her demon form. And since we know him to be a survivor of war, we can also identify Jack as a delusional veteran in a desperate mission to prove the existence of the supernatural to cope with the physical and psychological loss he had encountered on the battlefield.

Anushka Dutta is a student of English Honours, and a part-time content writer. A writer, singer and an artist; they have worked as an ambassador for Japan Film Festival in 2020 organized in Kolkata, India. They are a professional singer and have done playback singing in movies.

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