The short horror flick “Vinyl” illustrates a number of classic horror film techniques: isolated protagonist, flickering candles, in-your-face close-ups. But perhaps director Harrison Nowak’s most powerful trick is quick cutting. In three and a half minutes, we get 50 cuts, which means that the average cut is 4.2 seconds. But averages can be deceiving. Close to…
read more →Is it possible to develop a variety of sophisticated filmic techniques in a short movie? If you carefully study the 60-second drama “Maiden,” we’re convinced you’ll answer ” Yes!” Directed by Iranian filmmakers Fatemeh Saeedi and Saeed Aghakhani, “Maiden,” a finalist in the 2018 Mobile Film Festival, employs many filmic techniques that you’re likely to encounter in well-made features.…
read more →If you’re lucky enough to come upon a totally fresh subject—a UFO landing in your backyard—your documentary will likely be interesting. But how can you grab viewers if—as usually happens—your subject is familiar? One answer is to borrow a technique discovered long ago by Hollywood moviemakers: “Start with something familiar but give it a twist.” Robb Montgomery illustrates this approach in his mini-doc…
read more →Michel Kharoubi (aka MK) is a French photographer—principally shooting with a mobile—and a corporate movie director. A director of short movies—such as “Circus”—his goal is to direct feature films. In the interview that follows, Kharoubi talks about how he developed his filmmaking skills. He emphasizes the value of studying the work of master filmmakers. Regarding “Circus,”…
read more →Italian actor/moviemaker Matteo Tibiletti made “Yes, No” to address a major societal problem. At the same time, his prize-winning movie demonstrates the power of the minimalist movie. With a cast of only two performers and no locations and no props, Tibiletti creates a haunting drama. In an interview (below), the director takes us behind the scenes…
read more →Many Hollywood movies are presented from the protagonist’s point of view—with the lead narrating the action. A couple of famous examples are “Sunset Blvd.” and “Bladerunner” (the studio’s version). But the first-person movie where we see only what the protagonist sees is a rarity. An example is “Dark Passage,” which maintains the protagonist’s perspective for…
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