Mostly Shorts 2

The return of an occasional series in which Mostly Film looks at the best short films on the web

shorts

MostlyFilm likes big. MostlyFilm likes small. And given that we’re rather small ourselves, we like to see the things we champion get big: whether that be an individual film or a niche film festival. This feature is basically a one-stop window for the best – or at least the prettiest – of what’s going on in the world of short films and web series: a new artistic world that’s grown extraordinarily fast in the last ten years.

If you’ve made a short film yourself, or have just seen one you particularly like, please email editor@mostlyfilm.com, point us to it, and we’ll see what we can put together. If we get enough responses, we’re planning to put on an event in a central London cinema for outstanding respondents. So if you’re struggling to finish that short film, now might be the time to push it over the line.

What follows after the jump isn’t at all indicative of what we’re looking for; it’s just what’s turned up in our trawls over the past few weeks. More live action stuff this time, though.

First up is We Danced In Narrow Spaces, directed by Asheq Akhtar and written by occasional MostlyFilm associate Matt Poacher (by which we principally mean we like him and he likes us). This is a tremendously striking piece of work, like Bowie’s ‘Ashes To Ashes’ video as reshot by Chris Petit. To say any more would spoil it, so please do just click play.

Luke Monaghan is a tremendously prolific documentary filmmaker with a terrific eye, and an uncanny sense of when to use slow motion without it seeming tricksy. Ezekiel is an impressionistic account of a Baltimore revivalist church with its eponymous teenage pastor. It’s actually one of Monaghan’s earliest things, but it’s only showed up on the web in the last month.

On the subject of slow motion, this is Louise Ma and Chris Parker’s What Love Looks Like (Parts 1-6). I’m not sure that love looks like any of these things, but it’s a striking and hypnotic use of digital photography.

More fun, perhaps, is this video for ‘Moped’ by Danish band Punkunoizu. The music is raggedy post-punk psychedelia, not a million miles removed from what Tame Impala do, but the visuals are … well, a bunch of stuff happening in an office, to surprisingly vivid effect. It works.

Finally for now, a pleasingly Lynchian vision of the apocalypse by Mark Szumski and Gina Niespodziani. It seems to be a thing in short filmmaking that with minimal running time as a given, you might as well push the boat out and destroy the world. It also seems to be a given that all apocalyptic animation will look at least a bit like MTV’s semi-legendary ‘Aeon Flux’. This wins on both accounts, but does rather more with its short running time than you might expect.

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