Tag: Indie

SLFS 2011 Review: JOINT BODY

JOINT BODY is the newest film from indie writer and director Brian Jun, whose 2006 film STEEL CITY earned him the Sundance Channel Emerging Director award at the St. Louis International Film Festival. The film was shot just across the Mississippi River in Illinois, Jun’s home state.

The story takes place over seven days in a small town, following Nick (Mark Pellegrino) as he stumbles through an uncertain future. Having served seven years in prison, Nick is released on parole, with the condition that he relinquishes all rights of custody over his now teenage daughter to his ex-wife. Nick settles into a shabby halfway house and secures a job welding for a fabricator. Nick’s brother Dean (Ryan O’Nan) is now a cop on the vice squad, fresh out of the academy. In an awkward attempt to rekindle some connection that never exists between him and his brother, Dean supplies Nick with a throwaway revolver as protection.

As Nick slowly acclimates to life outside of prison, he meets an exotic dancer named Michelle (Alicia Witt) who lives in his building. With nothing left to lose, Nick proposes he and Michelle get coffee, with about as much confidence as a high school nerd asking the prom queen to dance. As it turns out, Michelle has little more to lose and they form the fragile beginning of a blind relationship, but their relationship is turned on its head shortly after it begins when someone from Michelle’s past returns unexpectedly, resulting in a violent incident putting Michelle and Nick down the wrong path once more.

Brian Jun, in my eyes, is already showing signs of a master storyteller. JOINT BODY is unpretentious, down to Earth and unassuming. The human drama he weaves is like a minimalist tapestry with the finest details. The suspense that builds in JOINT BODY is a slow burning sensation, taking a back seat to Jun’s development of tactile characters the viewer can connect with, only enhanced by performances that should result in a heightened respect for these two lead actors, as well as the director.

Mark Pellegrino, most recognizable for his television work on shows including Dexter and Lost, delivers fully as a misunderstood ex-con who only wants to live what little is left of his life without being noticed, but can’t shake the stigma now attached to his presence. Alicia Witt, best known for her role on the TV series Friday Night Lights and her recent role in PEEP WORLD, gives the audience one more reason to love her, embracing her role as a stripper, but adding so much to the character’s well-written role to lift Michelle out of the stereotype and into the hearts of the audience. Michelle is a good woman, stuck in a dead end situation by an immature decision made as a teenager.

JOINT BODY is shot with a gritty, almost sepia-tinged color palette, giving the story an added sense of decay. Layer the crumbling appearance of the small town on top of this and the film carries with it a subconscious tone of impending tragedy. Whereas the average reaction to such a setup would be for Nick to defy the law and set out to reconnect with his daughter, Jun takes the story in an entirely different direction. Nick makes every effort to do things right, while Michelle inadvertently pulls Nick into a worst-case scenario like a magnet for bad luck, despite her best intentions.

What I love most about JOINT BODY is how Brian Jun makes everything about this story beautiful, not in a storybook perfect sort of way, but in a way that takes all the bad things and unhappy feelings that are inherent in life and shows that even the darker gray shades of the human experience can have a poetically somber beauty. Where Hollywood would inject melodrama, Jun relies marvelously on realism and authenticity. This element of the film is present throughout the film, leading up to a partially open-ended, bittersweet conclusion that is as heartbreaking as it is fittingly appropriate.

I am proclaiming JOINT BODY as one of my favorite films of 2011. Within an hour of first seeing the film, I found myself with an overwhelming urge to revisit it a second time. I wanted to reconnect with Nick and Michelle, almost as if I wanted to make sure they were all right. Few fictional films actually make me feel like I actually care about the characters, but JOINT BODY does this effortlessly, leaving a deep and lasting impression with me that keeps resurfacing in my mind. If this is something you enjoy experiencing in a film, or never have and would like to know what it’s like, go see JOINT BODY and tally this as one more reason why independent film needs and deserves your support!

JOINT BODY will screen during the 2011 Stella Artois St. Louis Filmmaker’s Showcase at 7:00PM on Sunday, August 14th at the Tivoli Theatre.

SLFS 2011 Review: GIVE A DAMN?

As the wealthiest nation in the world, it’s difficult to define exactly what our role as individuals to the poorest nations in the world should be. To a great extent, this is a decision that has to be made by the individual. Keep this thought in your mind while watching GIVE A DAMN? Native Saint Louisan Dan Parris did while making the film, the title of which is a question, not a statement.

Parris, an average guy with what might be called an average devotion to his faith, made a decision to experience poverty and hunger, so that he could better understand exactly what his place can and potentially should be in the fight against the epidemic. However, as any wise person would do, he decided not to take on this adventure alone.

Dan enlists his friend Rob Lehr, a former minister who has lost his faith and become a rather pessimistic and angry atheist. Rob is reluctant, bitter about the very idea of considering he is somehow responsible for the lives of impoverished people in a country far from his own, but he chooses to join Dan anyway, if nothing else, for the first-hand experience of seeing true poverty for himself.

Dan is grateful for Rob’s participation, but needs a spiritual companion. He approaches his friend David Peterka, a devout Christian and a free-spirited wild card. David could be described as the unknown Christian member of the JACKASS films that’s high on life and open to just about anything adventurous. Immediately, it becomes apparent that Rob and David would not always see eye to eye, adding an additional layer of depth to the story.

And, so the journey begins. Dan, along with Rob and David, his own personal devil and angel on his shoulders, begin in Saint Louis and set out to hitchhike across the Unites States, Europe, and finally end up in Kenya, all on only $1.25 per day for food, lodging and transportation. Needless-to-say, this plan is not without its inevitable hiccups. Relative to the entire experience, their time in the United States is a cakewalk, compared to their time in Africa.

Let’s jump ahead a bit, progressing in the film to roughly the halfway point. This is when things get serious, and the story becomes truly compelling. Up to this point, we’ve been primarily focused on the physical journey, but when Dan and Rob barely survive a deadly plane crash in the African slums, the film splits into two parallel stories. Dan sustains injuries serious enough that force him to return to the United States, creating a secondary story arc, as David and another friend continue on their quest to live on $1.25 a day in Africa. This is where the heart and soul of the film emerges, grabs hold of the viewer and makes its most significant impact.

The cast and crew are literally one and the same, in true indie fashion, giving the story a very personal touch. While the film is technically still a work in progress at the time of this screening, it doesn’t feel incomplete. The story is well structured, just non-linear enough to add anticipation and lock in the viewer’s interest. The beginning of the film does feel a bit more like a television documentary series, but this quickly subsides. The only thing I can honestly pick out, as needing improvement in the film, are select areas where the audio could be tweaked, but the film is otherwise extremely satisfying.

Of course GIVE A DAMN? has visually emotional footage. How could it not contain some imagery, given the subject matter? One of the things the film has working in it’s favor is Parris’ conscious decision not to approach the project in a preachy fashion. Viewing the film never feels like a sermon, never feels like a non-profit infomercial, but more importantly throws varying points-of-view out into the open for the viewer to collect, sort, analyze and use for making their own decision. Yes, there are moments when God and religion take on a slightly more prevalent role, but rarely in such a direct and matter-of-fact fashion that may turn portions of the audience off. In this way, the film succeeds not only in promoting their cause, but also in calling out those who claim to support the cause.

When considering the scale of the experiment, taken on by three guys with virtually no budget and even less understanding of what they’re getting into, GIVE A DAMN? is a tremendous accomplishment. As harsh as this may sound on the surface, I believe the tragic plane crash may have actually been a blessing in disguise, despite the loss of two lives in the process. I do not wish to put words in the mouths of the filmmakers, but I can imagine they would agree with this statement, on some level. I know the film will have a lasting impression on my own outlook on the world. I hope you too will take the time to see the film, and ask yourself if you GIVE A DAMN?

The current 92-minute cut of GIVE A DAMN? will screen during the 2011 Stella Artois St. Louis Filmmaker’s Showcase on Sunday, August 14th at 2:30PM at the Tivoli Theatre.

Learn more about GIVE A DAMN? and the filmmaker’s cause on the website here.

New Trailer for CASUALTIES OF THE STATE

The fourth and final trailer for Corner Film Production’s second feature length film ‘Casualties of the State.’ A thriller set in the current political landscape, ‘Casualties of the State’ tells the story of two FBI agents and an NSA agent assigned to investigating the murders of high level government officials.

Directed by Jeremy Cropf
Produced by Alex Shirley, Alan Lamberg
Written by Alan Lamberg
Starring: Alex McCormick, Ted Jordan, David Mueller, Lauren Yates, Portia Secor, Paul Russell, Neal McCluggage, Collins Lewis, Scott Stotlz, Matt Kemmerer, John Lewis, Rhonda Husak, Jan Carson, Sandi Leicht, Carl Overly, Andrew Keller, Carlos Hagene, Gary Wells, Robert Ashton, Erik Williams, Aleh Neliubin, Nathan Gemayal, Adam Fry, Matt Shea

Coming Winter 2011 from Corner Film Productions

Casualties of the State – Trailer 4 from Jeremy Cropf on Vimeo.

ANOTHER EARTH – The Review

Art house cinemas seem to get a flood of low-budget indie dramas about drifting twenty-somethings every year. Well, here’s one with an interesting twist. ANOTHER EARTH, as it’s title suggests, is indeed about another, parallel, earth. It’s like our planet’s looking into a mirror. This film focuses not on that twin, but on how it’s sudden appearance effects the residents of this earth. And you guessed it- how this effects a woman in her twenties who seem to be adrift.

Said woman is Rhoda Williams, played by the film’s co-writer Brit Marling. We first see her celebrating at a party. Seems the young genius has been accepted by MIT. Driving home she hears on the radio the news of the discovered twin earth. Craning her head out the car window, she causes a horrific accident. We next see Rhoda being released from prison after serving four years. Her Mom, Dad and younger brother pick her up and take her back to the family home. She makes almost no effort to re-connect with them. At her request a job  agency gets her work as a janitor at a high school. Returning home one evening she stops by the scene of that accident fours years ago. She sees a man leaving flowers at the site. She follows him back to his home and decides to clean the run down house of  this composer, John Burroughs (William Mapother). In the time she’s been incarcerated, the twin planet has drifting much closer. A Richard Branson-type is mounting an expedition to this planet. He announces an essay contest that will offer a seat on the spaceship as first place. Will Rhoda enter the contest? Will she reveal the truth to John?

When I learned of the film’s premise I looked forward to an interesting speculation on the arrival of a twin earth. Unfortunately this film stays fairly grounded. We get to see the family watching an attempt at interplanetary communication on live TV and that’s it, aside from people staring up at the approaching planet. Co-writer and director Mike Cahill is very creative with these shots considering his very low budget. I just wished the scenes had some energy. This dreary-looking  film moves at a snail’s pace. The addition of a older Native-American janitor that Rhoda befriends seems a tad pretentious. There’s not much life to Rhoda’s character. She spends most of the film silently trudging through the snow, staring up, cleaning, and gazing at John. I admire that Ms. Marling worked on the script, but wish she would’ve made her character more compelling. I enjoyed seeing Mapother break away from the evil characters he’s played in films (IN THE BEDROOM) and TV (Lost), but this composer often behaves illogically. ANOTHER EARTH has a tantalizing idea, but it’s never very involving.

Overall Rating: 2.5 out of 5 stars

GET OFF MY PORCH – Short Film Review

Everyone has been solicited to purchase girl scout cookies at some point, usually around the same time every year. Some can even claim to have been pressured, coerced or even harassed into buying the tasty little fundraising treats. Hey, a girl’s got to earn her badges, right?

GET OFF MY PORCH (2010) is a fun-filled, darkly twisted tale of a man who finds out just how far two girl scouts will go to ensure everyone enjoys their cookies. Writer and director Patrick Rea (with more than 25 short films to his credit) clearly has a decidedly wicked sense of humor, one that touches on the macabre without actually going there in detail. Rea’s forked-tongue-in-cheek short film winks and nods, but despite all the intensity of the film’s unsettling humor, it remains surprisingly somewhat family friendly. If I were so shallow as to support the ratings code as it currently stands, I would probably give Rea’s film a PG-13, primarily for scenes of “implied violence and satanic worship.”

Of course, I’m not that shallow. Instead, I’ll give GET OFF MY PORCH, a 13-minute short, an “A” for “awesome” because I had a so much fun watching the film. I laughed, but I also felt legitimately spooked, especially once the true evil nature of the girl scouts bares its metaphorical fangs.

*It should also be noted, this review is in no way a direct commentary on the actual Girl Scouts, who do fine work for their communities. That, and, I don’t want them coming after me.

Brad Meehan plays Neil, just an average guy, who finds two cute girl scouts standing on his porch, smiling from ear-to-ear. They present their tasty treats in a rehearsed fashion, but Bert politely refuses, not out of some stroke of meanness, but simply because he had just recently purchased fundraiser goodies from some other kids. Just when Bert believes he has successfully protected his wallet from further thinning, he discovers persistence as he’s never known.

Let’s talk about Mary and Cindy. These are two of the scariest girls you’ll meet on the big screen. They’re adorable, innocent-looking enough, but this is all very deceptive. Mary, played by Katherine McNamara (TV series DROP DEAD DIVA, 30 ROCK), and Cindy, played by Andrea Strickler, are demented psychopaths. Yes, I said it. GET OFF MY PORCH is funny, yes, but it’s primarily a horror story. The things they manage to do to Bert are both imaginative and disturbing, but Bert is driven out of his “good guy” shell as he attempts to fight back.

Visually, GET OFF MY PORCH has a very digital look to the film, shot on the Panasonic HVX-200, but cinematographer Hanuman Brown-Eagle does a marvelous job of keeping the shadows prominent and the colors rich and saturated without taking over the composition of each shot. One of the highlights of the film is Henry Manfredini’s score. A true veteran of horror composers, Manfredini has scored the likes of FRIDAY THE 13TH, SWAMP THING, HOUSE, WISHMASTER, and a personal favorite of mine, CAMERON’S CLOSET.

GET OFF MY PORCH starts out as something you may expect to see on the Disney Channel or Nickelodeon, but quickly warps into a playfully nightmarish experience. I am reminded of films such as 976-EVIL… creepy, but cheeky. GET OFF MY PORCH is, in some respects, a horror film that parents can appreciate… if not fear.

Learn more about GET OFF MY PORCH at the film’s website.

Mike Pecci’s Grindhouse Shorts DVD Available for Pre-Order

Director & photographer Mike Pecci is self releasing all of his violent short films on one loaded DVD.

Mike Pecci’s Grindhouse Shorts!

This is the definitive collection of what Filmthreat magazine called “Grindhouse done right”. It includes the director’s cut of Cold Hard Cash, a re-mastered Capture Device, Stray Bullet, and a new short featuring a chainsaw wielding Evalena Marie (from the upcoming film based on the “Remains” comic written by Steve Niles). Each film is uncensored and loaded with sex, violence, and Suicide Girls! The DVD is jammed to the limit with interactive menus, behind the scenes clips, brand new recorded director’s commentaries and the infamous “Mom-mentaries” (where the director watches the films with his highly opinionated mother) and loads of hidden “Easter eggs.” The disks will be released with 3 limited edition variant covers with artwork from comic book and poster artists as well photography from Pecci.

Mike Pecci’s Grindhouse Shorts Censored from Mike Pecci on Vimeo.

Pre-orders go on sale Monday here.

The first printing of this series will contain a “fan membership card” that will give the owner exclusive access to content and events for the upcoming films.

We love our fans and believe in rewarding their help and loyalty. For a limited time during the pre-sale of the DVD we are running a Promotional Rewards Program.

For every two DVD sales that are made with your name as the referral we will upgrade your DVD to a rare variant cover reserved for this promotional only. Each variant DVD will also come guaranteed with a “fan membership card.” Every 10 DVD’s sold with your name as the referral you will be eligible for a free hoodie! Awesome right?!

The success of independent film depends on word of mouth and we need your support! Thanks guys!

BOILING POINT – Short Film Review

BOILING POINT is not a film with high production value, pretty faces or showy effects. BOILING POINT is at the heart of what the future of great filmmaking is to be, which is exactly the place it has been for some time now… in the hands of passionate indie filmmakers, not held back by a lack of budget or resources. BOILING POINT is an indie film, not without it’s flaws, but rich with unrefined morsels of creative talent just waiting to be polished out from within rigid exterior.

Metronome Productions, a student film company based around Edge Hill University, may not be on the average movie watchers’ map, but the drive with which they are attempting to expose their films to the public is what convinced me to have a look at the film, and ultimately to write this review.

Written by Jack Leigh, who also co-directed the film with Sam Bewick, BOILING POINT is a suspenseful character study that draws on the creepiness of Owen Davis the Private Investigator, played by Christopher Lee Power, a brooding, pushy man with a pale complexion and stress in his face. The younger man being questioned, Paul Connors, is played by Gavin Hodson. The choice of wardrobe, even the casting based on appearances, detract slightly from this characters’ believability. I found the accent, the style of speech and mannerisms intriguing, but had difficulty accepting them as part of the character I saw on screen. I wanted the Paul Connors to appear rougher, or in some way appear potentially dangerous.

The Private Investigator applies his questions slowly, methodically, as we watch the man being questioned slowly unravel. The emphasis on contrast, with the heavy shadows and nearly overblown highlights is standard fair for this sort of story, but what caught my attention in BOILING POINT was the intricate, while not yet perfected, use of the camera. Curious, but understated angles — whereas many students go ridiculously hog wild like a kid with $20 in a candy store — is what keeps the viewer visually connected to the film. There are fluid moving shots and opportune moments, gently revealing character reactions in ways that enhance the characters’ emotions.

As the title suggests, BOILING POINT is interwoven with cutaways of a coffee pot and the like, which not only gives the characters something to do with their hands, but also offers an additional layer of indirect storytelling. In all fairness, the inclusion of the coffee pot element is just slightly heavy-handed, but the edits are well executed and add to the visual dynamics of the film. In fact, the only element of BOILING POINT that distinctly bothers me is a stylistic choice. The flashback scenes are a bit too jarring with the strobe effect, offering nothing to enhance their presence.

About halfway through BOILING POINT, we begin to realize what’s really happening, as the tension increases and the tables begin to turn out of kilter. The film evolves into a revenge story, at moments feeling the slightest bit rushed. We’ve seen this story told before, the suspenseful investigation of a crime that leads down an unexpected path, but BOILING POINT adds a fresh twist to the twist, one that adds merit to the filmmakers choice of popular genre.

If I may indulge myself, I found myself picturing a simmered down Vinnie Jones as the P.I. during a second viewing of BOILING POINT. This is a positive image, but I found myself picturing Seann William Scott as Paul Connors. This, if I were to make assumptions, was not the intent, but that’s merely my impression. In any case, the film works on a fundamental level, it entertains and holds the viewer’s attention, so long as the viewer has an open mind to the truth that all films need not be glamorous Hollywood productions and most worthwhile films are not.

Check out Metronome Productions’ website for more information and other projects.

FAMILIAR Poster – A New Short Film from Fatal Pictures

FAMILIAR is the newest horror short film from writer/director Richard Powell and producer Zach Green. Michael Jari Davidson serves as cinematographer and co-producer. Presented by Fatal Pictures, FAMILIAR stars Robert Nolan, Astrida Auza and Cathryn Hostick as the seemingly idyllic yet ultimately doomed Dodd Family. FAMILIAR is currently in post-production and I’m looking forward to seeing the finished film, from the same team that brought us WORM. It’s difficult to predict what we’ll get from Fatal Pictures, but one thing’s for sure… it’s bound to be dark, disturbing and enjoyable.

Plot Synopsis: Through a series of tragic events a middle aged man grows to suspect the negative impulses plaguing his mind may not be his own.

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TERRI – The Review

I believe the only people who truly enjoyed high school are those who breezed through the experience. For the rest of us, those four (or more) years of high school falls somewhere on a sliding scale of misery ranging from an annoying itch to a torturous punishment inflicted by the worst kind of mad scientist.

Stereotypes are common in films about teenagers, especially when set against the backdrop of high school. The truth is, teenagers and stereotypes go hand-in-hand. Without teenagers, there would be no stereotypes, but the burnouts, jocks and preppies of the ‘80s no longer apply in the new millennium. No, the typical characters of the John Hughes era have evolved along a parallel plane into some not better or worse, but different.

Director Azazel Jacobs (MOMMA’S MAN, THE GOOD TIMES KIDS) delves into the strange world of the high school outsider with TERRI, written by first-timer Patrick Dewitt. TERRI is a film that captures the beautiful agony that is so often the syllabus of secondary education. Those who say whatever doesn’t kill you only makes you stronger is probably either delusional or a high school counselor, but there is actually some ironic truth to the statement, despite its overuse.

Jacob Wysocki (of the TV Series “HUGE”) plays Terri, an overweight teenager struggling to understand the world around him, while mistakenly accepting himself as the “monster” others perceive him to be. Terri is lonely, bored and picked on in school, but when Principal Fitzgerald (played by John C. Reilly) takes a special interest in Terri, his life slowly begins to turn around.

Terri lives with and cares for his Uncle James, played by Creed Bratton (THE OFFICE), a man suffering from some form of unnamed illness resembling dementia. It is clear that Terri feels burdened by his uncle, but that burden is overshadowed by his admiration for the man, who falls in and out of clarity. Creed’s performance is surprisingly textured and sincere, portraying a man who must have led a well-read, wise and musically inspired life prior to his illness. There are touching moments of veiled philosophy when Terri and his uncle are together, an epiphany Terri does not acquire without the help of a girl named Heather Miles, played by Olivia Crocicchia (of the TV series RESCUE ME).

John C. Reilly, an actor who has proven his comedic chops, opens up and delivers a quirky but caring role model for Terri. Reilly maintains his trademark humor on a subdued scale; developing a vulnerable adult who can relate with Terri and does his best to befriend the young man he fears is on the precipice of falling victim to a troubled life. Wysocki is engaging, often reflecting Reilly’s charisma as he navigates a series of ambiguous revelations, most vividly characterized when his uncle tasks him his trapping mice in the attic and the events that follow.

With TERRI, Azazel Jacobs has created The Breakfast Club for a new generation. In place of the burnout, the jock and the preppie princess we have Terri the fat, misunderstood loner and Heather, the insecure hot girl with low self-esteem. The weird and eclectic Ally Sheedy character is replaced by the equally weird and eclectic Chad, played by Bridger Zadina. The three outcasts form a bond through Terri’s metamorphosis of self-image that culminates in an open-ended but satisfyingly quirky friendship.

Azazel Jacobs employs mostly hand-held camerawork, giving TERRI a sense of spontaneity. A rich amber aura runs through the film, courtesy of cinematographer Tobias Datum (PEEP WORLD). The underlying warmth of color allows the audience to remain hopeful about the otherwise cold and harsh reality of Terri’s daily life.

The strongest element of TERRI is in the screenplay, carefully written and then respected by the producers of BLUE VALENTINE and HALF NELSON, clearly proving they have keen eyes for great stories. TERRI is a film with heart and low-key humor, but is daring enough to make the audience uncomfortable when necessary without losing integrity.

TERRI opens in St. Louis on Friday, July 29th, 2011 at Landmark’s Tivoli Theatre.

Overall Rating: 4 out of 5 stars

XTRMNTR – Short Film Review

The golden age of the revenge film has passed, but since the 70’s there’s been a steady resurging trend for more. It’s a popular subgenre, I believe because just about everyone can relate. Who hasn’t, at some point, had something occur in their life when they didn’t secretly desire some form of revenge?

XTRMNTR (2010) joins this growing list of revenge films, a 6½-minute short from writer Phil Jeng Kane, producer Annabelle Fouchard and director Andrew Millner. Shot with a Red One camera over three days in Perth, Australia, the highlight of the film is the production value.

Karl (Vito de Francesco) and Simon (Kazimir Sas) are professional exterminators, on a job setting poisoned gas bombs for a rat infestation. The two characters appear to be average, working-class blokes, but there’s something unspoken between the two men that’s about to reveal itself with devastating consequences. This is where the underlying story begins to develop.

Let’s begin with the end. I won’t ruin the money shot, but I will say that the “big-budget” ending is courtesy of the well-planned use of a house already scheduled for demolition. XTRMNTR is an impressive example of how independent filmmakers can create believably expensive-looking shots and effects without a million-dollar budget.

Cinematographer Rob Castiglione adds to the pleasing production value with his yellow-tinged color palette. There’s a gritty essence woven into the interior shots as Karl and Simon settle an unexpected score. XTRMNTR begins harmless enough, then turns on a dime, revealing the first of two major twists in the otherwise simple story. The depth of story in the film remains rather shallow, but the concise way in which the filmmakers construct the premise makes up for the lack of character development.

XTRMNTR shows potential for high-octane suspenseful cinema. As a feature film, character development could take hold and result in a stronger, longer-lasting impact on the viewer that simply isn’t achieved in 6½ minutes. Regardless, it’s a film that leaves an impression as a calling card for films.

XTRMNTR had its world premiere screening during the Future Shorts One Film Festival in Perth on February 16th, 2011.

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