rough article content
This page includes my article content. Having to write about my film in third person was strange yet I feel I capitalised on the opportunity and wrote an article very much in my favour as a director. This was a style I took from my research article of Sight&Sound as it focused on the director as an artist and not so strongly on the narrative of the film.
This week sees the release of director Amy Anderson’s latest short film And Then We’d Be Happy. The latest installment of this groundbreaking director follows Bus Stop and Untouched, two award-winning films at both Cannes and Sundance. Known across the board for her use of cinematography and development of characters pushes Anderson to the front of minds as the festival season comes through. And Then We’d Be Happy is a sharp left turn from Untouched,
Anderson has capitalised on well known her sense of humour and created a hybrid, a mix of comedy and an apocalyptic theme. Not only is the subject matter entirely distinctive from her past works, Anderson has also introduced a brand new daring editing style.
Sticking solely to two camera angles and shots that can last up to a full minute without moving slightly is a breathtaking innovative technique from Andersons mind. Each shot has the potential to hang in the Haywood Gallery as a stand-alone piece of art. The composition creates a fresh way of personal identification towards characters. Once again Anderson uses unknowns as her protagonists. Ellie Evans makes her début as a tested girlfriend, standing out for her incredible reactions and highlighting the subtle humour of that only a slightly annoyed girlfriend can make.
The locations used are also incredibly mundane and non-assuming. However as always Anderson manages to show the beauty in the everyday. Through the use of unremarkable one can be transported to the location and believe the narrative. Along with this the attention to detail is, as always, next to none. When presented with such long, unfaltering shots one can begin to notice certain props and set that would have passed quickly through if it were shot any other way.
Each slight detail, from a tin of baked beans to a obscure French book litters each shot. Only through Anderson keen eye and incredible ability to create a realistic yet stunning location lets each shot become so picturesque.
The introduction to characters is above comedy. The subjectivity that this genre carries with it is soared over, as each audience member will find it beyond difficult to not be charmed by Gabriella Pollards character and instant likeability.
However there is another dimension that Anderson has added to this film. With traces of the ideas behind Bus Stop a political undercurrent seeps through And Then We’d Be Happy. Whilst mastering the comedy apocalypse hybrid there are interjections of an unexplained mime character.
The importance of this character is unclear to the untrained eye but if you are familiar with Anderson past work one can tell that this character is important. Important for the reasons of capitalism, if Anderson is creating a apocalyptic world, something must have put the world in that position.
Virus, war, the devil? All of these are possibilities, some more realistic than others, but the significance of this character in mime make up gives the audience all the hints it needs. German expressionist cartoons used to portray Fat Cats as mime artists, this mime is stuffing his face with McDonalds burger and chips. Anderson has created a deeper layer to what could he a mundane genre.
Something to entice any freethinking mind, once again Anderson gives them a treat. Without creating a difficult confusing storyline, the mime adds a cliffhanger to this short. As always with shorts the audience should be left wanting more and Anderson pulls this off with grace and intelligence.
The questions come into play on whether Anderson has taken too much of a sharp turn from past works as comedy is such a foreign genre. Yet as quoted by taking inspiration from a combination of ‘Edgar Wright and Wes Anderson’ one can see Anderson has cleaned the floor when it comes to comedy.
The narrative itself is incredibly hard to first grasp due to its segregation from reality yet being entertained through the medium of minimal shots and characters means that a relationship is built that would have ben virtually impossible simply through the subject matter.
Any narrative that includes the end of the world instantly alienates it audience, as this concept is so beyond normal understanding. However Andersons use of unknowns and relatable relationship dynamics means that one can see himself or herself in each character, even the mime artist.
It is also worth noting Anderson’s involvement in all aspects of production; she is cinematographer, editor and director. An entirely self-made film, making her complete what most filmmakers would call the impossible. Thus making Anderson one of the most applauded new comers to the short film market.
Anderson is quoted, as saying ‘I just make things that I would like’ and clearly she has hit what the vast majority would also like.
Anderson has capitalised on well known her sense of humour and created a hybrid, a mix of comedy and an apocalyptic theme. Not only is the subject matter entirely distinctive from her past works, Anderson has also introduced a brand new daring editing style.
Sticking solely to two camera angles and shots that can last up to a full minute without moving slightly is a breathtaking innovative technique from Andersons mind. Each shot has the potential to hang in the Haywood Gallery as a stand-alone piece of art. The composition creates a fresh way of personal identification towards characters. Once again Anderson uses unknowns as her protagonists. Ellie Evans makes her début as a tested girlfriend, standing out for her incredible reactions and highlighting the subtle humour of that only a slightly annoyed girlfriend can make.
The locations used are also incredibly mundane and non-assuming. However as always Anderson manages to show the beauty in the everyday. Through the use of unremarkable one can be transported to the location and believe the narrative. Along with this the attention to detail is, as always, next to none. When presented with such long, unfaltering shots one can begin to notice certain props and set that would have passed quickly through if it were shot any other way.
Each slight detail, from a tin of baked beans to a obscure French book litters each shot. Only through Anderson keen eye and incredible ability to create a realistic yet stunning location lets each shot become so picturesque.
The introduction to characters is above comedy. The subjectivity that this genre carries with it is soared over, as each audience member will find it beyond difficult to not be charmed by Gabriella Pollards character and instant likeability.
However there is another dimension that Anderson has added to this film. With traces of the ideas behind Bus Stop a political undercurrent seeps through And Then We’d Be Happy. Whilst mastering the comedy apocalypse hybrid there are interjections of an unexplained mime character.
The importance of this character is unclear to the untrained eye but if you are familiar with Anderson past work one can tell that this character is important. Important for the reasons of capitalism, if Anderson is creating a apocalyptic world, something must have put the world in that position.
Virus, war, the devil? All of these are possibilities, some more realistic than others, but the significance of this character in mime make up gives the audience all the hints it needs. German expressionist cartoons used to portray Fat Cats as mime artists, this mime is stuffing his face with McDonalds burger and chips. Anderson has created a deeper layer to what could he a mundane genre.
Something to entice any freethinking mind, once again Anderson gives them a treat. Without creating a difficult confusing storyline, the mime adds a cliffhanger to this short. As always with shorts the audience should be left wanting more and Anderson pulls this off with grace and intelligence.
The questions come into play on whether Anderson has taken too much of a sharp turn from past works as comedy is such a foreign genre. Yet as quoted by taking inspiration from a combination of ‘Edgar Wright and Wes Anderson’ one can see Anderson has cleaned the floor when it comes to comedy.
The narrative itself is incredibly hard to first grasp due to its segregation from reality yet being entertained through the medium of minimal shots and characters means that a relationship is built that would have ben virtually impossible simply through the subject matter.
Any narrative that includes the end of the world instantly alienates it audience, as this concept is so beyond normal understanding. However Andersons use of unknowns and relatable relationship dynamics means that one can see himself or herself in each character, even the mime artist.
It is also worth noting Anderson’s involvement in all aspects of production; she is cinematographer, editor and director. An entirely self-made film, making her complete what most filmmakers would call the impossible. Thus making Anderson one of the most applauded new comers to the short film market.
Anderson is quoted, as saying ‘I just make things that I would like’ and clearly she has hit what the vast majority would also like.