Writer/director Martin Saulnier’s (co-written with Jean Boileau) THE LINE is, for my money, the perfect way to do science fiction—long form or short, but this being short form the impact is all the more concentrated and profound.  The immersion is full, the terms straddling the razor line between concrete and ephemeral—the

It is impossible to watch writer/director Marsibil Saemundardottir’s short film FREYJA without thinking of the early films of Roman Polanski—the syrup thick atmosphere (syrup and glass shards, to be more directly evocative) the unnerving, claustrophobic tension, and the sense of alien-ness to every object of familiarity, banal reality turned grotesque

So, how does one go about making a short crime film that pops, seems original, non-derivative—actually seems like a piece of cinema to be genuinely experienced, not just a jaunt through tropes and empty stylization?  Don’t get me wrong—even the trope-iest crime short (or feature) can be fine and dandy

WAR. WHAT IS IT GOD FOR? There exists a great tradition in cinema of political satires that highlight current and future issues ironically through their use of dark comedy; whilst not actually featuring factual characters or events (i.e. The Manchurian Candidate)