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REVIEW: Family and the future loom over short films ‘Three A.M.’ and ‘Pumpkin Pie’

Posted on January 15, 2025 by The Sleepless Critic

Whether it is at 3 am or all day long, it is a gnawing feeling that will not go away.

Both directed by Karin Trachtenberg, worry and anxiety take a front seat in short films Three A.M. and Pumpkin Pie where characters in two vastly different situations reach out for support in a time of crisis. Both films are approximately 11 minutes. Pumpkin Pie will makes its world premiere at the East Village New York Film Festival on Sunday, January 26th at Under St Marks Theatre. Click here for more information and for tickets. For further details about these two shorts, click here for Three A.M. and here for Pumpkin Pie.

Bobby Raps delivers a foreboding music score infused with chirping crickets on a night that is all too still at Three A.M. in a residential neighborhood. However, two mothers’ minds are reeling. This short drama tackles some harrowing troubles in contemporary society as these characters attempt to cope in various ways. One of the film’s best features is the apprehensive tone at the beginning that seemingly leads in one direction yet reveals another. Julia Trueblood as Tish and Sara Burd as Gwen admit why they can’t sleep in a snapshot that leave enough questions for a longer film. Barbara Blumenthal-Ehrlich’s introspective script does not pass judgment on who is handling the situation best, but banks on the emotional weight of this relatable piece.

Julia Trueblood as Tish in short film, ‘Three A.M.’ Photo credit to Karin Trachtenberg

Sara Burd as Gwen in ‘Three A.M.’ Photo credit to Karin Trachtenberg

Pumpkin Pie is a lighthearted, yet distressed look at life’s pressures drawing parallels to Three A.M. where two characters are dealing with their circumstances in different ways. Written by Jessica Moss with zany direction by Karin Trachtenberg, Jimmy Jackson’s peppy piano infuses Pumpkin Pie with a brighter but no less relatable tone as a holiday emergency threatens to ruin Thanksgiving according to Hilary Dennis as frantic and over the top Adelaide.

Hilary Dennis’s wild depiction of Adelaide is a scene stealer as Adelaide audaciously attempts to navigate entry into a closed bakery on Thanksgiving Day where pies are scarce. Trueblood is an impressive foil as sensible Margot, a baker who is counting on some peace and quiet which should be on every family holiday menu. However, Thanksgiving family dread is baked into every pumpkin pie and these two characters develop an interesting rapport as they discover that they may have more in common than they think. Nothing half baked about Pumpkin Pie and the final scene is invaluable to conclude this initially outlandish scenario.

Hilary Dennis as Adelaide in short film ‘Pumpkin Pie’ Photo credit to Karin Trachtenberg

Julie Trueblood in short film ‘Pumpkin Pie’ Photo credit to Karin Trachtenberg

Pumpkin Pie will makes its world premiere at the East Village New York Film Festival on Sunday, January 26th at Under St Marks Theatre. Click here for more information and for tickets. For further details about these two shorts, click here for Three A.M. and here for Pumpkin Pie.

REVIEW: New York City Indie Theatre Film Festival Short Films: Reilly Anspaugh and Daniel Rashid’s ‘Chauncey,’ Michael Quinn’s ‘Brooding,’ Rachel Handler’s ‘Unlucky in Love’ and more

Posted on February 23, 2024 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival returned this year and ran from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and to see the winners of the festival.

Lindsey Hope Pearlman in ‘Placemat’ Photo by Lindsey Hope Pearlman

Lindsey Hope Pearlman and Sean Welski’s Placemat

Sometimes life can become a mundane daily grind.

Fueled by an upbeat and ultramodern score by Andrew Lynch, Lindsey Hope Pearlman as Lindsey fantasizes about a rich and exciting existence. Wearing glasses and a blue and yellow floral blouse by Elizabeth May, Placemat takes a humorous look at finding excitement in the little things with an effective twist.

Reilly Anspaugh and Daniel Rashid’s Chauncey

Zoe has a new boyfriend, but is also hiding a secret.

A different take on a coming of age tale blended with rom-com energy fueled by Daniel Rashid’s vintage, playful and catchy soundtrack, Chauncey is a charming story featuring Reilly Anspaugh, Daniel Rashid, Miya Kodama and Doug Tompos about what it is to reveal the real you and some things one does not have to outgrow.

Overdue

Two people facing a tough time encounter each other in a bar. Louis Robert King’s bluesy soundtrack and Jeanine Bartel and Howard Hendrix Powell’s playful chemistry make this production shine. Directed insightfully by Melissa Skirboll, Overdue boasts a myriad of meanings for two people searching for hope.

Anna Capunay’s Your Silent Face

Sometimes music can create change. Your Silent Face focuses on a Peruvian mother, depicted by Anna Capunay, who is struggling with the decisions happening within her family. Though the production addresses trauma, mental illness and depicts some family turmoil, Your Silent Face expresses each character’s point of view in a balanced manner. The production is lightened by the upbeat and retro rhythms of the Bootblacks.

Michael Quinn’s Brooding

Brooding is a searing drama and horror story about a talented nature photographer named Tara who is struggling. Her boyfriend Matthew, portrayed with a mix of stoicism and concern by Joseph Basquill, wants to get to the bottom of it. With an eerie sound design by Bailee Herrera, music by Griffin Robillard, and sound mixing by Devin Greenwood, Brooding has squeamish and haunting moments boasted by the cold stare, exhaustive mood swings and explosive temper notably portrayed by Hadley Durkee as Tara with an ending difficult to see coming.

Kwame Berry’s Ursula

Presented at first as a True Hollywood Story, Ursula is a drama about grief and trauma as a family fights over what to do with the family house.

Tiffany Adams depicts tough and driven screen star Ursula with finesse and LaVeda Davis makes a brief but lasting impression as Ms. Tate. Based on Kwame Berry’s Ursula: A Dysfunction in Two Acts, Kwame Berry’s complex portrayal as quiet, sympathetic, and mysterious Dominic make the character easy to root for as the production progresses. With an eerie and foreboding score by Vin Scialla and Darius James, Ursula is presented with originality, intrigue and a thought provoking revelation.

Rachel Handler’s Unlucky in Love

With upbeat direction by Catriona Rubenis-Stevens, Unlucky in Love is a lighthearted musical foray into one small town flash mob planner’s search for love with engaging narration by Imani Barbarin as Lucy Loveless. Rachel Handler as sensible Lisa Edmunds and Lashi as Wendy Lindell share breezy chemistry with a meaningful conclusion.

REVIEW: New York City Indie Theatre Film Festival Short Films: Matthew Modine’s ‘I Am What You Imagine’, Ryan Spahn’s ‘Router,’ Don Castro’s ‘Your Blue Heart’ and more

Posted on February 18, 2024 by The Sleepless Critic

The eighth annual New York City Indie Theatre Film Festival is back this year and runs from February 15 through February 18 at the Jeffrey and Paula Gural Theatre at the A.R.T/New York Theatres at 502 West 53^rd Street in Manhattan. Here are some reviews of a portion of the shorts. There are 34 films in all. Click here for more information and for tickets.

Intermission

Ryan, portrayed by Michael Barringer, is smoking. In a white fur, a bun on top of her head, and large earrings, chatty Laura, portrayed with finesse by Laura Butler Rivera, has something to say about it.

In fitting black and white cinematography, Intermission is an unpredictable and seeming tongue in cheek foray into smoking. It is also a humorous and fascinating film featuring Rivera and Barringer who have peculiar chemistry. Rivera is mysterious, quirky and shrewd in a conversation with unexpected results.

Ryan Spahn’s Router

Hearing strange noises?

Being alone in the house can be creepy. A creak, shadows on the walls, and was that a scream? With intriguing cinematography by Thomas Brunot, just the glow of a cell phone to light the way and a cryptic message drives this twisty tale for a wifi signal. The wide eyes of Britt Vicars and a spooky and original score by Pablo Signori build the tension and reeling suspicion as Vicars inches her way in this battle through the dark.

Don Castro is LITO by the window in ‘Your Blue Heart’ Photo credit to NYCITFF and Don Castro

Don Castro’s Your Blue Heart

With expressive black glasses and red flip flops, Don Castro as Lito is making breakfast alone in the kitchen. Your Blue Heart is a moving journey into memory. Spoken in Filipino and shot in Woodside, Queens, Castro and Ron Flores as Rey have a sweet rapport featuring stirring and original music by Paul Aranus.

Kate Szekely in Still Photo credit to NYITFF and Kate Szekely

Ash Singer’s Still

The battle to be still with the jarring feeling of anxiety is overwhelming. Heart racing and breathing can be deafening. Still delves into the life of Kate Szekely who is arduously trying to shake that terrible feeling through various methods including the meditative phrase ‘I am surrounded by abundance.’ Composer Shira Bouskila and Somer Bingham’s haunting and unique sound composition ebbs and flows throughout the film in relatable unease, dread, and calm.

Matthew Modine’s ‘I am What You Imagine’ Photo by Adam Rackoff

Matthew Modine’ I Am What You Imagine

I am what you Imagine is a vivid, kaleidoscopic and visceral journey that explores the true meaning of life from the very beginning. With mesmerizing editing and visual effects by Terence Ziegler as well as surreal photography by Matthew Modine and Kevin Joseph Grossman, I am What You Imagine is a powerful film that should be experienced rather than explained and boasts a surprise ending.

Jeff Hathcoat and Ellen McQueen in ‘Late Sleeper’ Photo credit to NYITFF and Peter Hardy

Peter Hardy’s Late Sleeper

What happens to a late sleeper? A shadow sits at the window.

Filmed in black and white, Peter Hardy’s Late Sleeper delves into this concept with creepy creativity and intriguing results featuring Jeff Hathcoat and Ellen McQueen.

REVIEW: ‘Chabe,’ ‘Conversations with Female Clowns,’ ‘Dictionary’ and ‘Por Mi Hija’ explore various aspects of love and connection at The New York City Indie Film Festival

Posted on June 24, 2022 by The Sleepless Critic

The New York City Indie Film Festival concluded on June 19 after approximately a week of screenings at the Producers Club in New York City. It featured a variety of films from shorts to narratives to documentaries curated with common themes. At this festival, Sleepless Critic had the opportunity to see screenings on music, small businesses, love and connection, and much more which will be explored in future articles. Co-founded by Executive Director Dennis Cieri and Director Bonnie Rush, this renowned festival has screened thousands of films since it first launched in 2010. Click here for more information.

Curated by Lucie Guillemot, this narrative film collection explored different aspects of love and connection. Directed by John Tsiavis, Chabe is a vivid short film about Isabel Gomez, a woman who assists in a cataracts surgery project for a Mexican indigenous tribe. Rich in unique color and told through Isabel’s eyes, the film evokes Isabel’s sheer joy in helping others and the complex process of this tribe’s journey from dark to light. Chabe made me long to see more on it all.

Isabel Gomez in ‘Chabe’ Photo credit to NYC Indie Film Festival

Directed insightfully by Clare Redden and Joseph Pulitzer, Conversations with Female Clowns is a surprising look at connection through laughter from a unique perspective. Reflected through a group of female clowns, it explores not only the incentive for a woman to become a clown, but the societal and personal norms as a female that seem to relate all too well to this profession. It sheds light on the idea of clowning from a new angle with an opportunity to see these female clowns in action. From a hospital clown to a member of the Big Apple Circus, Conversations with Female Clowns is an eye opening and humbling experience about what it truly means to be funny.

Director and writer Clare Redden of ‘Conversations with Female Clowns’ Photo credit to NYC Indie Film Festival

Dictionary explores the ODU concept of the seven stages of love in vignettes. A tribute to the Indian culture, Aishwarya Sonar has a great deal to convey in the screening’s brief time frame and writer, director, and producer Elena Viklova aptly evokes the fleeting and sacred power of love in each frame. From the warm bloom of attraction to the stillness of grief, Sonar elevates each stage in dynamic subtleties.

‘Dictionary’ by Elena Viklova Photo credit to NYC Indie Film Festival

Por Mi Hija (For My Daughter) is an immersive Spanish language film that addresses familial love and the dream of what is thought to be a better life. Written, directed, and produced by Fernando Rodriguez who dedicated this film to his wife and kids and based on two true stories, Por Mi Hija is a stirring account that examines what creates a fulfilling life in an unconventional way.

Christopher Bustos as Leo and Daniela Vidaurre as Emma are young newlyweds living a happy life surrounded by family in Mexico when they receive life changing news that prompts Leo to seek success in California. Bustos and Vidaurre depict a strong and relatable couple with endearing chemistry as they face moving and realistic trials and tribulations while Luciana Elisa Quiñonez shines as imaginative and sweet Luciana.

Christopher Bustos, Daniela Viduarre, and Luciana Elisa Quinonez in ‘Por Mi Hija’ Photo credit to NYC Indie Film Festival

The real strength in this film lies in its unconventional timeline and how it manages expectations and reality. The various parallel scenes between Leo and Emma including having a meal or riding in a car are gripping as it is weaved into the film’s progression and there is a dreamlike quality looking into the past as well as a hazy, ethereal ambiance of the future. This particular style enhances the film’s poignant message while achieving a balance between the lighthearted and tense moments. It also embodies what the characters cannot quite see at the time until the film’s stunning revelation.

Chabe, Conversations with Female Clowns, Dictionary and Por Mi Hija were all part of Narrative 14 at the New York City Indie Film Festival which continued through June 19. Click here for more information on this annual festival and its winners.

REVIEW: Boston Film Festival’s US Premiere of ‘The Girl Who Wore Freedom’ a moving tribute through generations

Posted on October 15, 2020 by The Sleepless Critic

The 36^th annual Boston Film Festival featured the debut of shorts, feature films, and some fascinating documentaries such as the world premiere of This Hits Home, Me The People, Beyond Zero, and ‘25’ Tony Conigliaro The Documentary, the US Premiere of Memory of Water, as well as the East Coast premieres of Knots: A Forced Marriage Story, Stro: The Michael D’Saro Story, and After the Rain on September 24 through September 27. The festival offered virtual options and live screen opportunities at the Showcase Icon Boston at the Seaport in Boston, MA. Q and A panels were held with actors, directors, and foremost experts. Click here for the full schedule.

Showplace Icon Theatre, located at Boston Seaport. Photo courtesy of Jeanne Denizard

Director, executive producer, writer, and narrator Christian Taylor explores the complicated road to forgiveness in her moving D-Day documentary, The Girl Who Wore Freedom which made its US Premiere at the Boston Film Festival. This extraordinary film provides a unique perspective on D-Day on June 6, 1944 through the eyes of a variety of groups associated with D-Day including citizens of Normandy who were children when the bombs dropped. 20,000 French civilians were killed on D-Day. Taylor narrates this film as an awed spectator and tourist as she invites D-Day survivors to recall their experiences while she demonstrates the paradoxical ways veterans are treated in Normandy than they are in the United States.

Flo Boucherie, pictured, co-producer of ‘The Girl Who Wore Freedom’ Photo credit to ‘The Girl Who Wore Freedom’

The Girl Who Wore Freedom’s co-producer Flo Boucherie is the symbolic Normandy girl that inspired the film’s title. She has a particular tie to D-Day partly because her parents were D-Day survivors when they were children. Her mother worked with the veterans, made Flo’s dress, and participated in the D-Day ceremonies.

Citizens of Normandy, historical representatives, medics, and veterans describe the impact and the dynamic experiences they had from a Normand child’s encounter with an American veteran who inspired him to never start smoking to trading shoes for eggs to harrowing stories of a civilian who got shot and the museum that resulted from it. It also recalls some of the significant and surprising events that occurred after D-Day and how perspective changes over the years as generations look back.

Photo credit to ‘The Girl Who Wore Freedom’

Despite its serious material, the film is not without its lighthearted moments. It is about trauma, heartache, and harrowing loss, but also about liberation, love, friendship, and compassion. What unfolds is a testament to the power of healing and forgiveness, not lost on anyone who has been at war.

Watching this film is an eye-opening experience of one of the most harrowing events in world history. Its emotional complexity may leave some conflicted of what should come out of the atrocities of war.

Tom Rice, an American veteran who was in the March on Carentan Photo credit to ‘The Girl Who Wore Freedom’

The Girl Who Wore Freedom has been released at a pivotal time in the United States and the world with a sorely needed, universal, and thought-provoking message. It encourages you to reflect inwardly and empathize with one another’s struggles. The Girl Who Wore Freedom will unexpectedly move you to tears and make you grateful for the experience.

D-Day Parade Photo courtesy of ‘The Girl Who Wore Freedom’

The Girl Who Wore Freedom is currently touring the film festival circuit nationwide. Click here to see where The Girl Who Wore Freedom will be shown next and here for more about this year’s Boston Film Festival and future updates.

REVIEW: Compassion and tension drive compelling feature film ‘Paper Spiders’ at the Boston Film Festival

Posted on October 12, 2020 by The Sleepless Critic

Sponsored in part by NBC Universal, Boston Magazine, and Maydaze Films, The 36^th annual Boston Film Festival took place virtually this year due to Covid-19 with the option to attend live screenings in Boston, Massachusetts from Thursday, September 24 through Sunday, September 27.

Boston Film Festival offered live and virtual films during the 4-day festival Photo courtesy of the Boston Film Festival

Featuring the award-winning documentary, Jay Leno’s Garage, the four-day festival included the US premiere of feature films Small Town Wisconsin and Paper Spiders, a wide variety of short films, and powerful documentaries such as the world premiere of This Hits Home, Me The People, Beyond Zero, and ‘25’ Tony Conigliaro The Documentary, the US Premiere of The Memory of Water, and The Girl Who Wore Freedom, as well as the East Coast premieres of Stro: The Michael D’Saro Story, Knots: A Forced Marriage Story and After the Rain. Q and A sessions were held with actors, directors, and foremost experts. Click here for the full schedule.

Your Virtual film selection the Boston Film Festival website Photo courtesy of the Boston Film Festival

The Boston Film Festival offered an option to see scheduled screenings of select films at the stellar Showplace Icon Theatre. Located at the Boston Seaport and conveniently located at the Courthouse stop on the Silver Line, The Showplace Icon Theatre features state-of-the-art stadium seating with plush reclining chairs, a beverage holder, and a place for your popcorn. Click here for a closer look at this amazing theatre and here for more information and tickets.

Showplace Icon Theatre, located at Boston Seaport. Photo courtesy of Jeanne Denizard

No matter what the circumstances, it is not easy dealing with mental illness, especially if it is a parent. However, that is not the crux of the US Premiere of Paper Spiders, a coming-of-age tale about a teenager named Melanie portrayed with endearing maturity by Stefania LeVie Owen, and her relationship with her widowed mother Dawn, portrayed masterfully by Lili Taylor. They are a fractured but seemingly happy family coming to terms with loss and attempting a new beginning.

Set in Syracuse, NY, The film picks right up with relatable mother-daughter chatter at a pivotal time in Melanie’s life as they tour a college Melanie is interested in attending. Their sweet conversation makes it easy to see their close relationship, but later when their neighbor hits a tree in their front yard, what ensues is nothing Melanie could have ever imagined.

‘Paper Spiders’ made its US premiere at the Boston Film Festival Photo courtesy of the Boston Film Festival

Each member of this compelling cast becomes more complex as the tale progresses, led by Lili Taylor as Melanie’s widowed and troubled mother, Dawn. Taylor is no stranger to quirky characters and her usual odd charm shines through as Melanie’s talkative and anxious mother. With a particular talent for exuding fear in her eyes, Taylor evokes sympathy and dismay as Dawn transforms from a concerned mother to living her life with one eye open, her vulnerability palpable as she struggles to see things clearly.

Stefania LeVie Owen is wonderful as responsible, cautious, and practical Melanie as she struggles to achieve a nearly impossible balance between being a teenager and handling her mother’s increasingly concerning episodes. What makes this struggle more poignant is the natural chemistry between Owen and Taylor who exude as much ease as they do strain. This escalating tension mounts in quick paces as viewed through Owen’s innocent and alarmed perspective.

Peyton List, seen more recently as Tory in Netflix’s popular Cobra Kai series, is a welcome addition as Lacy, Melanie’s fun-loving and promiscuous best friend. Serious and quiet, Melanie and Lacy’s contrasting personalities offer a break from the film’s serious nature. Ian Nelson is charismatic as Melanie’s good humored, persistent, and wealthy classmate Daniel. Nelson and Owen are charming together and also contribute to some of the film’s lighter moments until life inevitably gets more complicated.

Lili Taylor as Dawn in ‘Paper Spiders’ Photo courtesy of the Boston Film Festival

Director and writer Inon Shampanier and his wife and writer Natalie Shampanier create a beautiful blend of funny moments and engaging montages with a deeper look at Dawn and Melanie’s daunting reality.

After all, mental illness can become a roller coaster of emotions such as grief, anger, paranoia, loneliness, and anxiety, but the crux of Paper Spiders isn’t any of these things. It’s about the struggle through this unpredictable journey with those you love with understanding, ever holding on to hope. Paper Spiders never loses sight of that.

Paper Spiders is currently touring the film festival circuit nationwide. Click here to see where Paper Spiders will be shown next and here for more about this year’s Boston Film Festival and future updates.

REVIEW: The 35th Boston Film Festival brought comic wit and moving narratives to Shorts Program I

Posted on October 3, 2019 by The Sleepless Critic

Sponsored in part by Starz and supported by The Hollywood Reporter, The 35th Boston Film Festival had a lot to offer on this landmark year. Though it took place on a gorgeous fall weekend, audiences gathered to attend the four-day festival that included world premiere shows and films (Whaling, American Tragedy and She’s in Portland), a wide variety of short films, and clever independent films from Thursday, September 19 through Sunday, September 22.

Some of the highlights included the US Premiere of JoJo Rabbit, the East coast premiere of Once Upon A River and A Hidden Life, and special event screenings such as NBC’s Bluff City Law and The Dog Doc. The festival also featured powerful documentaries such as The Last Harvest: You Can’t Grow Without Change and The Wild. Click here for a closer look at the full schedule.

The Boston Film Festival presented US Premiere of indie film, ‘JoJo Rabbit’ Photo credit to Fox Serachlight Pictures

The Boston Film Festival took place for the most part at the stellar Showplace Icon Theatre. Located at the Boston Seaport and conveniently located at the Courthouse stop on the Silver Line, The Showplace Icon Theatre features state-of-the-art stadium seating with plush reclining chairs, a beverage holder, and a place for your popcorn. Click here for a closer look at this amazing theatre and here for more information and tickets.

Showplace Icon Theatre, located at Boston Seaport. Photo courtesy of Jeanne Denizard

The Shorts Program I took place on day three of the festival on Saturday, September 21 and featured a dynamic group of films that ranged from heartrending to hilarious to the macabre. It was a selection likely to appeal to everyone.

Alex Salsburg as Mom and Harley Harrison as Mike Photo credit to the Boston Film Festival and Class of 84

Directed by Alex Salsburg and Joe Andrade, Class of 84 is a narrated animated short film that offers an amusing and clever angle on helicopter parenting. Dr. Katz’s Jonathan Katz is involved in the project. Through clean, colorful, and two dimensional animation, Class of 84 delves into the life of a teenager living with his constantly hovering, overprotective mother. From eating raw cookie dough to crossing the street, Class of 84 has its share of silly moments, but overall a fun and interesting look at the virtues of listening to your mother.

Directed by Jon Bloch, Waiting Game takes a darker turn exploring a tough and complicated relationship between constantly worried and well meaning Kenny, portrayed by John Patrick Amedori and his ailing, frustrated father, portrayed by Bruce McGill as Mel. It doesn’t take long for this meaningful short film to cause a lump in one’s throat.

‘Waiting Game’ Photo credit to Boston Film Festival and ‘Waiting Game’

Waiting Game is a relatable tale about how family can have the best of intentions and those intentions can end up getting misconstrued in the worst way. John Patrick Amedori Bruce McGill deliver powerful and moving performances that can sometimes be painful to watch as they build a fragile, tension-filled chasm between them. Waiting Game balances a few lighter moments between Kenny and sweet waitress Alyssa, portrayed by Dilshad Vadsaria.

On a lighter note, director Barbara Elbinger directs You Need Help, a heartfelt look at a retired married couple. Featuring a fitting soundtrack, Fred, portrayed by Edmund Dehn, is a depressed husband who longs to put vitality and fun back into his life with his all too practical wife, Doreen, portrayed by Eileen Nicholas. These two have a wonderful chemistry even when they do not see eye to eye and there is much more to these two than they seem. To witness Fred’s unconventional antics in recapturing the joy in their marriage is worth the price of the ticket.

Shahana Goswami as Sheetal in ‘The Seal’ Photo credit to Boston Film Festival and The Seal

Directed by Richa Rudola, The Seal takes a look at Shahana Goswami as Sheetal, a woman haunted by her past when she receives a mysterious, sealed package. Though the story is fictional, Director Richa Rudola was inspired to create this tale based on events she witnessed and experienced as a woman growing up in India.

The Seal delves into the struggles that keep people stuck in their pain, unable to move on with their lives. As the haunting phrase, ‘Remember what Mama used to Say’ permeates Sheetal’s thoughts, she seeks comfort in caring, but shady Daquane Cherry as Ruben. However, some of The Seal’s best scenes are in the unspoken moments, allowing the audience to draw their own conclusions.

Boston Film Festival 'Boy Eats Girl: A Zombie Love Story'

Photo credit to the Boston Film Festival and ‘Boy Eats Girl: A Zombie Love Story’

Director Sarah Gurfield puts a little love in a zombie’s heart in Boy Eats Girl: A Zombie Love Story. Zombies seem to be all the rage and a love struck zombie picking flowers can be humorous, but found these seven short minutes all too dark and grisly to muster adoration.

The Bigonia Garden, directed by Ron Goldin and based on Goldin’s own experiences, is a foreign short film that explores an unexpected connection between neighbors in war torn Ashdod in Tel Aviv. As missiles are launched over their heads, Sound Producer Adam and neighbor Bar retreat to the stairwell in their building, the safest place during a crisis. It is a snapshot into the lives of people who have no choice but live in the moment during a tumultuous time.

It is a beautiful, personal film and loner Adam, portrayed by Adam Hirsch and Bar, portrayed by Bar Ackerman, have compelling chemistry with an unpredictable conclusion.

Directed by Joel Marsh, A Valley explores a couple of adventure-seeking risk takers as they go on a camping excursion together. It is based on a short story called The Marsh. They make each other laugh, wax philosophical, and the film gives the impression that all they have is each other. The film was a bit ambiguous and would have liked to have delved more into their relationship to give the film more emotional weight.

Boston Film Festival’s Shorts Program I also featured American Life and Heirloom, but were not reviewed. Click here for more about this year’s festival and future updates.