The Unspoken (2015)
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The Unspoken (2015)
ICE Leaving a cold year that should have never been. We can all appreciate human connections a bit more after nearly a year of ICEolation . 34 x 23 Acrylic on Wood Preframed. This is how we leave 2020. by @cherylnancyanngordon #intuitivepainter #allaprima #emotionalhealth #theunspoken #justafeeling #dailyart #arttherapy #instaart #void #ice #montanalandscape #rubyresivoir #cold #coolart https://www.instagram.com/p/CJXXePOrCYZ/?igshid=1lwtudjzfqsl6
Hallo Dino Raiders,
wir Organisieren eine ARK Season (vorerst Standartspiel). Sobald wir die Bosse gelegt haben und sich der Großteil einig ist werden wir durch die einzelnen DLCS wandern.
Aber mehr Infos hier:
https://goo.gl/forms/Cf3kPKaIW94q3JCV2
Ich hoffe wir sehen uns in Ark!
Discordserver: https://discord.gg/pRsFSpD
The Unspoken by D. L. Watson: a film review
Dark, steel-grey clouds fill the screen. They move very slowly across the screen as the title the Unspoken quietly fades in at the center of the screen. The dark edges of the clouds just touch the top of the title as it fades away and the camera slowly pans down to the parking lot of a department store. A medium-sized toyota pulls into a parking slot at precisely the right time so that the front of the car fills the screen. We see two people in the front seat: a woman looking out the passenger side window, her face tight and upset. The driver is a young, bearded man with a slight smile on his face. This is the 16 second continuous shot that opens the moody and well-crafted short film, the Unspoken, directed and edited by D.L. Watson. This short, but difficult to create sequence, is a perfect opening to a film about the little ironies of life. I say difficult to create because having worked behind the scenes on many films I know the value of camera/actor timing that is crafted so well you don't even realize how it comes together. The fact that the clouds fore-shadows the difficult and conflicted conversation in the car between the man and the woman, the simple pan down that suggests we are going down into peoples feelings and at the same time sets up the time and location of the scene and the perfectly timed car movement to the center of the screen which reveals the class of the two people and shows their emotional situation visually before any line of dialogue indicates how carefully considered this beautiful opening scene is. It sets the tone and style for the rest of the film which essentially takes place inside the car between the man and the woman. Eventually leading to a uneasy resolution of their problem and a major twist at the end of the film.
Short films have been seriously underestimated and ignored by the general public in the modern era. Once a staple of the film-going experience, it's now rare to see any sort of short film unless it's a puff piece on Hollywood stars or the local pizza place, before a mainstream film shown in the theater. This changed radically with the internet. In fact, distribution and awareness of all kinds of films changed with youtube, vimeo and many other film sites on the net. Now, it's common for general filmgoers to see perhaps a dozen short films in a week, all part of mix of social network sites, blogs, forums and virtual film festivals. This new interest in short films, along with the rise of cheaper easy-to-use film equipment (and widespread availability of tutorials and communities that help you lean film skills) has led to a massive amount of short films being released to the internet every day. This widespread democratization of the filmmaking process has encouraged more creativity and has helped steer more audience members away from the epic bombast that constitutes mainstream films nowadays. And the Unspoken is a perfect example of what is so good about this new film zeitgeist: a beautifully shot, well-acted film that doesn't involve zombies or vampires or severed limbs, but is actually about everyday people who stumble through the problems and conflicts that all of us face every day. Not only is the film beautiful to look at (thank you, DP Michael Sherman), but the colors and mood of the film support the story extremely well. And what a great story. Much like a short story by Chekov or Raymond Carver in which dialogue conceals as much as it reveals, the script by Allie Manasco is beautifully written and is deceptively simple: a couple go to a department store, have a difficult conversation in the car and then eventually go inside. The story is at the center of this film and it's all of the small details that build up the characters and their worlds so well that when the twist occurs at the end, you feel for both characters because you can see their points of view equally.
The acting in the film is very good, which is not always the case with many short films which are often cast from the directors family and friends. Actors need time and experience to build up their belief in themselves as the character. Short films by necessity have a short production process and therefore you often get a particular actors first choices in the role. By “choices” I mean the kinds of things actors have to decide: what does the character mean by that line, what is my objective, does the woman character love the man, etc.. By being able to try something and see that it doesn't work, an actor can often find the right direction in their second or third choices for a scene. Erika Antonsen is especially good as the woman. Her portrayal of a considerate woman who is dealing with very deep feelings and who works at holding them back in favor of being as tactful as she can, is effective and at times moving. Nick Pemble as the man is effective, too, but he has a much more difficult part. It's his characters thoughts/feelings between the lines that set up the irony at the end of the film. In his moment to moment work with Erika and in his enthusiasm to please her, he's convincing and at times a sad picture of a man too eager to love and be loved. His performance misses just a bit of what makes the characters story ironic at the end. He's certainly a capable enough actor, so perhaps this criticism is laid more at the directors feet then. Unfortunately, I can't be more specific without giving away what really pulls you in at the end of the film. And that ending is really something. The writer and director really lift the film up into a higher level with the ending. It's effect is to take your conception of the characters and suddenly reveal something about them that changes them completely. And I think the effect might be gender-specific, too. I'd love to see what women viewers think of the ending as I suspect their feelings for the characters situation change might be quite different than my own.
TheUnspoken deserves a wide audience and could easily be part of a pre-show festival of short film at a mainstream theater or on the editor's choice list at vimeo, it's that good. From the excellent sound design, to the flawless camera work, the film is just a beautifully crafted story that left this reviewer thinking about the characters lives after the film story had finished. And isn't this kind of involvement what good films are about? I highly recommend TheUnspoken and sincerely hope that D.L. Watson, Erika Antonsen and Michael Sherman continue to make films as I would love to see a full-length work by this very talented team of artists. NOTE: TheUnspoken will premiere online this Saturday, May 14th at 2:30PM PST/5:30PM EST at the Indytheater. You can also check out the production company website (leefilm.com) for more info on the film.
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