olsonco
Joined Feb 2015
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Dystopian science fiction is rarely the go-to genre for short filmmakers, whose limitations in terms of budget and scope would render any detailed world-building fruitless. Only the bold may go, and boldly does Philip Stainsby go in this visually arresting short film Day of the People. With some large parallels to Stainsby's indie film Rivalries, which also used a gorgeous urban landscape and a mysterious plot, the craftsmanship at hand here is undeniable, delivering one of the best short films this year.
Awakening into a seemingly deserted city, our protagonist (Conor Lowson), wanders the streets in the hope of finding fellow citizens and, subsequently, answers. His journey looks to be mostly futile though, finding only a lonely Pepsi can, until he spots a figure (Dennis Hewitt) evading him through the buildings.
From the outset, Stainsby's cinematography is utterly stunning. Pitched somewhere between Blade Runner and I Am Legend, Day of the People easily has all of the trappings of a feature condensed into a taught ten minute running time. The mysterious plot is eaked out with a good pace, whilst the skeleton script delivers some really punchy moments which capitalise on the brilliant mood created by the short film. The atmosphere is then perfectly complemented by the original score from Renan Franzen, that seems like it was lifted straight out of the 80s, and works so well!
Lowson is compelling as the bewildered protagonist, adding pathos to the strange surroundings and being the perfect entryway for the audience. Very often with these types of films, such as the aforementioned I Am Legend, the weight of the narrative is placed singularly on the shoulders of one actor. And without the use of a cute dog, Lowson does really well to traverse the urban landscape whilst keeping the viewer attached to his situation without getting lost in the visuals.
One of the most striking aspects of Stainsby as a director is his framing choices. Day of the People is littered with fantastic shots utilising a range of angles, all of which contribute to the audience's growing feelings of anxiety and intrigue. There was a particular low-angle shot of Lowson picking up a book, and then revealing him against the backdrop of this immense structure behind him towering into the sky which was simply sublime. It was slightly spoiled later on by a scene between Lowson and Hewitt on a typically British high street which seemed to immediately detract from the sumptuous world which had been built using these fantastic locations, however that scene was one of the most narratively driven and therefore the setting was less crucial.
Overall, this is a masterclass in short filmmaking; Day of the People is a fierce story told with breathtaking visuals that is unrelenting in its atmosphere and rock solid when it comes to gripping its audience.
Awakening into a seemingly deserted city, our protagonist (Conor Lowson), wanders the streets in the hope of finding fellow citizens and, subsequently, answers. His journey looks to be mostly futile though, finding only a lonely Pepsi can, until he spots a figure (Dennis Hewitt) evading him through the buildings.
From the outset, Stainsby's cinematography is utterly stunning. Pitched somewhere between Blade Runner and I Am Legend, Day of the People easily has all of the trappings of a feature condensed into a taught ten minute running time. The mysterious plot is eaked out with a good pace, whilst the skeleton script delivers some really punchy moments which capitalise on the brilliant mood created by the short film. The atmosphere is then perfectly complemented by the original score from Renan Franzen, that seems like it was lifted straight out of the 80s, and works so well!
Lowson is compelling as the bewildered protagonist, adding pathos to the strange surroundings and being the perfect entryway for the audience. Very often with these types of films, such as the aforementioned I Am Legend, the weight of the narrative is placed singularly on the shoulders of one actor. And without the use of a cute dog, Lowson does really well to traverse the urban landscape whilst keeping the viewer attached to his situation without getting lost in the visuals.
One of the most striking aspects of Stainsby as a director is his framing choices. Day of the People is littered with fantastic shots utilising a range of angles, all of which contribute to the audience's growing feelings of anxiety and intrigue. There was a particular low-angle shot of Lowson picking up a book, and then revealing him against the backdrop of this immense structure behind him towering into the sky which was simply sublime. It was slightly spoiled later on by a scene between Lowson and Hewitt on a typically British high street which seemed to immediately detract from the sumptuous world which had been built using these fantastic locations, however that scene was one of the most narratively driven and therefore the setting was less crucial.
Overall, this is a masterclass in short filmmaking; Day of the People is a fierce story told with breathtaking visuals that is unrelenting in its atmosphere and rock solid when it comes to gripping its audience.
A quirky British comedy with about two carpet fitters, Colin (Darren Sean Enright) and Dean (Richard Lee O'Donnell) who
ahem
have the rug pulled from under them when one of their customers, a sweet old lady (Jenny Stokes), turns out to be hiding a ghastly secret beneath the floorboards of her Downton-Abbey-style abode.
Set in a picturesque stately home, Cannibals & Carpet Fitters has a wonderful combination of quintessential British charm and comedy - it is witty and weird in perfect unison. Some of the one-liners are bust-a-gut funny - for example when Dean confuses Josef Friztl with a pretzel.
There is an eeriness about this short film from Bushe that captures the darkness and wackiness of something like The League of Gentlemen. Bushe's filmmaking skills are a true talent to observe, with a superb dedication to using a variety of framing methods, and the result is a film which looks utterly top standard.
This is a vibrant and show-stopping comedy that would make a fantastic horror-comedy feature, which may well be the plan. It has excellent characters, a brilliant blend of guts and gags, and two lead performers who spark well off each other.The music is well chosen, adding to the light heartedness of the atmosphere, and it adds a great sense of joviality to the two main characters bouncing along in their van - reminiscent of Peter Kay's Pheonix Nights.
Some may find the barmy buffoonery of Colin and Dean far below their reach, and others may dislike the way the film blends genres, however, refined taste is all well and good, but whether laying carpet or making a film the same ethos is always true - always check your customer is not a psychotic maniac looking to feed you to her underground monster! And have fun doing it.
Set in a picturesque stately home, Cannibals & Carpet Fitters has a wonderful combination of quintessential British charm and comedy - it is witty and weird in perfect unison. Some of the one-liners are bust-a-gut funny - for example when Dean confuses Josef Friztl with a pretzel.
There is an eeriness about this short film from Bushe that captures the darkness and wackiness of something like The League of Gentlemen. Bushe's filmmaking skills are a true talent to observe, with a superb dedication to using a variety of framing methods, and the result is a film which looks utterly top standard.
This is a vibrant and show-stopping comedy that would make a fantastic horror-comedy feature, which may well be the plan. It has excellent characters, a brilliant blend of guts and gags, and two lead performers who spark well off each other.The music is well chosen, adding to the light heartedness of the atmosphere, and it adds a great sense of joviality to the two main characters bouncing along in their van - reminiscent of Peter Kay's Pheonix Nights.
Some may find the barmy buffoonery of Colin and Dean far below their reach, and others may dislike the way the film blends genres, however, refined taste is all well and good, but whether laying carpet or making a film the same ethos is always true - always check your customer is not a psychotic maniac looking to feed you to her underground monster! And have fun doing it.