In the EbMaster Streaming Room series, Senior Artisans Editor Jazz Tangcay moderated a discussion for six selected short films. The lineup included “Au Revoir Mon Monde” by co-directors Florian Maurice and Astrid Novais, “Bottle George” from director Daisuke Tsutsumi, “Edge of Space” helmed by Jean de Meuron, “I’m Not a Robot”, directed by Victoria Warmerdam with Trent as producer, “The Masterpiece” from Alex Lora, and “The Last Ranger” from Cindy Lee and writer David S. Lee.
Maurice revealed that the concept behind “Au Revoir Mon Monde” originated from personal life events she’s experienced. Hearing a tune about the challenges in relationships, the co-director reminisced on losing her father at six years old and felt compelled to create a story focusing on human sorrow.
Maurice shared that he intended to create a tale centered around grief,” he explained. “As for the theme, the inevitable demise of the world seemed like the most straightforward approach…However, his aim was to craft a humorous piece, something lighthearted and whimsical.
One challenge in creating “Au Revoir Mon Monde” was ensuring it didn’t resemble a typical apocalyptic film. To avoid this, the filmmaker incorporated unique color schemes and humor into the production.
Novais expressed they were aiming for something unusual yet relatable, comical yet authentic. To achieve this, they opted for a straightforward narrative, but one with an unconventional mood – a blend of comedy and drama. The goal was to strike a balance between the two.
Cindy and David Lee mentioned difficult weather in the Eastern Cape and concerns about COVID-19 as a few obstacles they faced during the filming of “The Last Ranger.
To effectively record crucial scenes for our movie’s storyline, it was vital to have a team that could work effortlessly amidst wildlife, as they pointed out.
Despite how tough and heart-wrenching the movie is, it’s crucial we conclude on an optimistic note,” Cindy explained. “We want to make sure our audience knows Thandi the Rhino lived on and even had five calves after her ordeal. That’s why we absolutely needed that final uplifting shot.
David mentioned that they needed to move the filming location to the Kariega Game Reserve (where Thandi currently resides) in order to complete the movie.
He mentioned that we needed to catch up with the light once more for the decisive shot, so we could reach another wildlife reserve before nightfall on our last day. Afterward, it was necessary for us to locate Thandi as well.
Previously, Warmerdam hadn’t worked on a film project before “I’m Not a Robot,” but making that choice opened up an interesting perspective for the narrative itself. She found inspiration for her work in vintage designs and aspects of science fiction.
Warmerdam expressed his belief that returning to the traditional method of shooting on film would add a deeper connection to the story.
Trent acknowledged his director’s thorough planning and emphasized that both of them usually put in a lot of groundwork prior to starting the actual production.
Apart from capturing the footage, Trent mentioned another difficulty they faced was the last scene in the movie. Victoria aimed to pull this off in a single take. Naturally, it needed to be split into multiple shots. We had to incorporate visual effects and even arrange for a stuntwoman to leap from a building.
As a devoted admirer, I’d like to delve into the captivating finale of “Edge of Space.” Architect de Meuron elucidated the poignant last scenes where our hero embarks on their Earthly return following an extraordinary cosmic voyage. To create this breathtaking moment, he employed a sophisticated drone shot that incorporated particle simulations, as well as X-15 visual effects.
We follow [the astronaut], who then approaches his wife for an emotional reunion, followed by a heartfelt moment between them,” de Meuron explained. “I wanted to conclude the scene with the moon because it symbolizes our ultimate destination, doesn’t it? The film begins with the sun and concludes with the moon.
For Tsutsumi, with a background in CG and 2D animation, “Bottle George” represented his debut in stop motion animation. He noted that this shift to a new technique demanded exceptional precision since it doesn’t provide the flexibility for alterations like modifying frames or adding details during post-production.
As a passionate cinephile, I’m excited to share that our team and I have a common goal: we aim to utilize “Bottle George” as a powerful artistic tool to shed light on the often-misunderstood topic of addiction.
Tsutsumi expressed that they aimed to narrate a tale about a family grappling with addiction issues. This topic is incredibly delicate, and it proved challenging to accurately portray the hardships I’ve personally observed using our animated characters.
In “The Masterpiece,” Lora discovered inspiration for his work by delving into the immigration tales that spanned Barcelona, multiple Mediterranean nations, and the United States.
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Inspiration for Lora’s masterwork came from the immigration narratives connecting Barcelona, several Mediterranean countries, and the U.S., as depicted in “The Masterpiece.
As a film critic, I found myself captivated by a unique cinematic endeavor, where the director, known for weaving tales from marginalized communities, including those with disabilities, chose to explore the idea of mutual aid as self-help. This intriguing concept took center stage in the film once it was entrusted to him.
Lora commented that it was fascinating to learn about the story exploring our own biases, drawing a parallel with the lives of scrap dealers in Barcelona. It made her reflect on herself in an intriguing way.
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2025-01-08 21:17