From the Nashville Film Festival
The Ties that Bind Us: Graveyard Shorts
The Graveyard Shifts Shorts Program: The Ties that Bind Us is a block of seven films that engage with the horror genre at different levels. Much of it is derivative, as needs be in a genre, but the best moments create inspired takes on old tropes, improving and altering ideas or engaging with new aesthetic approaches under genre defining formulae. Unfortunately, due to technical difficulties, I was not able to view the first film in the block, Strange Creatures, although it’s preview made it look fabulous!
Second in the collection, Devon Kane’s Obsession, describes a woman’s encounter with a serial killer, the “Hitchfield Killer” but instead of seeking safety, she is attracted to his authenticity and seeks to share in his fame. Is the green door a reference? All of this is framed within the commodified industry of a culture of death. Rachel Deutsch is a wonderfully fetching and terribly confused victim whose presence strengthens the on screen presence Joe Chambrello’s killer. This short is silly and socially critical in important ways, and as such it is most socially active film on the block.
As a short, Be Specific is an autonomous scene that, starring Zach Tinker and Thomas Archer, seems to open as a pair of actors are rehearsing or writing a script. The slow transition of their mundane argument concerning word choice and inspiration, to the reveal, is boldly reminiscent of Vincent and Jules in Pulp Fiction—it is the everyday boredom of characters in non-ordinary situations. The set’s composition, the sunlight, the cats, the crocs, and the teddy bear are nearly as inspired as the reveal itself. Thomas Archer’s subtlety, the power of a single tear, is the polar opposite of Tarentino’s pulp, but just as compelling. This film has the most nuanced on the block.
Peter Klauner’s Stomach It also depends on props for an efficient exposition. Jon Lee Richardson puts in a wonderful performance seemingly inspired by Rick Moranis’ “Tully” from Ghostbusters. The narrative is very Poe, The Telltale Heart Stomach? but the headline is Karthik Mohan and Kevin Khor’s symphonic sound design. From the squelch of the oatmeal to the effervescence of the fizz, the aural sets the scene and Robert Mai’s score heightens the tension. This film has the best sound on the block.
Junsong Ling’s Seeding, Blossoming, Fruiting, is a dark take on the circle of life, and the lengths to which a person will go for a loved one. It too depends on a rich sound design, but here Yinan Gan’s lighting and Meng Gao’s photography are just as beautiful, even if often marked by an obstructed or partial view (compositional choices which support the narrative wonderfully). This is the most beautiful short in the block.
If Ling’s work is most beautiful, David Tappan’s Universe 25 is richest in “Easter Egg” references. The title itself is a reference to a series of rodent experiments designed to measure the amount of personal space needed to prevent social collapse. The idea of protagonist Mel (an intimate and relatable Kelly Tappan) being kept is corroborated by a print of Wyeth’s Christina’s World on the wall, and a speechless Hal 9000 faceplate in every room (both references to a Space Odyssey). When Mel’s narrative arch approaches its apex the soundtrack channels the micropolyphony of Ligeti and she begins to dance in a corporeal mime. It’s a fun watch and a whole lot shorter than Kubrick’s epic essay. This was the most existentially angsty film on the block.
Turner Barrowman and Jack Goldfisher’s Caller 102: A Ballad of Cyberspace is the most fun, if the most derivative, film on the block. Josh Brener’s character is a just-a-little-bit rougher Matthew Broderick from Wargames, with more engaging AI and wonderfully vintage tech. Similar to Universe 25 the narrative ends with a gesture that Agent Smith might understand.
In all the collection provides a wonderful glimpse into the future of horror films, and the future is dark…very dark, but in a fantastic way!
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Joseph E. Morgan is a father of two, husband, teacher and recovering guitarist in Middle Tennessee.
