Tag Archives: short film

Dance Like Somebody’s Watching: Director Juanjo Giménez on His Short Film Timecode

mv5bodvkymrjm2qtnmy1os00zda1lthmzgety2u1mti0n2vhzde3xkeyxkfqcgdeqxvynti5njiymw-_v1_sy1000_cr007031000_al_With the 89th Academy Awards coming in just a few short days I’m grateful for the opportunity to interview director Juanjo Giménez and pick his brain about Timecode, which has been nominated for Best Short Film.

This comes roughly two weeks after my review, and I made the most of the occasion by trying to unpack so much of what I enjoyed about this particular piece of work. While I was only able to ask so many questions, I hope that Giménez’s answers help shine a little light on why Timecode was considered for this great honour, as well as why it might deserve it.


To start with, it’s almost no surprise that Timecode was nominated for both an Academy Award and a Goya Award given your impressive filmography. Has having written, directed, and produced so much award-winning work changed your approach with each new project?

I don’t think so. I think that no filmmaker thinks about awards or recognition when making a new film. In our case, financing every new project has always been difficult, even if the previous film has been a successful one. The only thing that is essential for approaching a new project is the need to make it.

 It’s notable that much of the work you’ve received the most attention for are your short films. What is it that appeals to you about that particular format?

Timecode is my ninth short film as director. I learned that short films usually fit the way I approach filmmaking better. And what’s more important, there’s nothing wrong with that! That doesn’t mean I won’t make a feature film again, but shorts provide a great platform for experimenting without the financial struggles that usually constrain a fiction feature. Even if I speak as a producer, in terms of financial results, my shorts have always been more profitable than my features.  Continue reading

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Devil Town: Our Infernal Interview with Nick Barrett

piuyfvbsjhgs1z4ixkmww8zfz7-hfyxado1tt5eisqc6npa2j5_o1xdezck5h3p4rdblj2gwwhfzjmupgctijf3hkwoowaut34jih51s0uy_hymq_cg5ivjyjx4gs8mrlscold2fgz5dat-j5fnkscyik2zbtd-2vf_adftpmbd54esgp0jtlfdranfhnlem5niid4ocLast week, CWR was given a chance to review Devil Town, a short film in the spirit of classic 60s horror.While Devil Town’s protagonist may have been unwittingly cornered, the fiendish flick’s creator was more than happy to speak with us about his inspiration. Here’s our interview with director Nick Barrett.


Could you tell us a bit about what inspired the story behind Devil Town?

As with most film ideas it’s usually a collision of different thoughts and influences. In Devil Town’s case I was given an old fashioned whistle as a present and just had it lying around my room, I kept picking it up and thinking why someone would pull it out of their pocket. I’m also a huge fan of the old fifties Twilight Zone as well and always loved their ‘containment’ episodes, ones that were set entirely in say a train station waiting room, a roadside café or, infamously enough, a plane journey at  20,000 feet. These kinds of shows were known as ‘bottle’ episodes (episodes designed to save money by using limited props, actors and locations) but they’re some of my favourites as well – and the concept lends itself perfectly to low budget shorts. When done well the viewer won’t even be aware of the contained environment, or it just becomes so integral to the narrative that it isn’t an issue – you can see it working brilliantly in recent films like The Invitation or Green Room or a TV show like Inside No 9.

Harold Pinter was a big inspiration too – the concept of a stranger invading another’s space, the power struggle between two characters, conflicting class systems, you see all that in things like The Homecoming, The Servant, The Birthday Party and The Caretaker – and I’m sure the concept of a rather sinister tramp was subliminally lifted from the great man’s work. Continue reading

Devil Town: A Short Film Review

piuyfvbsjhgs1z4ixkmww8zfz7-hfyxado1tt5eisqc6npa2j5_o1xdezck5h3p4rdblj2gwwhfzjmupgctijf3hkwoowaut34jih51s0uy_hymq_cg5ivjyjx4gs8mrlscold2fgz5dat-j5fnkscyik2zbtd-2vf_adftpmbd54esgp0jtlfdranfhnlem5niid4ocWe open on a late afternoon as a ragged street preacher prophesies impending death and doom to disinterested passers-by. Among their number is Patrick Creedle (Matthew Hebden of Cartwheels and The Basil Brush Show), a character as fantastically despicable as his phone conversations are loud and abusive.

Which, for the record, is very.

Creedle steps into a local cafe for a coffee, unaware that the street preacher has followed him inside. Cornering Creedle at his table, Rime of the Ancient Mariner-style, the street preacher demands a few minutes of his captive’s time to relay a tale of creeping horror.

Hebden’s performance is definitely the highlight of the film, appearing instantly despicable without being cartoonish. He’s very much the self-absorbed ***hole that we know to well, and in his more sympathetic moments, Creedle could very much be us if we were caught on a bad day.

Our street preacher (Johnny Vivash of The Creature Below and The Collaborators) does a decent job of portraying a schizotypal vagrant who might not be quite as crazy as he first sounds. His insistence that a dark conspiracy is afoot grows increasingly eerie with every desperate whisper. Continue reading

Timecode: A Short Film Review

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“Actions speak louder than words.”

That’s a difficult motto to live by on a blog, but a crucial one in regards to short films given their limited run time. Considering the fact that you could fit the dialogue in Juanjo Giménez’s Timecode on a single sheet of paper only elevates its importance.

With a handful of award-winning short films [including Rodilla and Maximum Penalty]
already to his name the Spanish director’s latest features two security guards who work in an underground parking garage, one taking the day shift and the other the night. Playing Luna and Diego are Lali Ayguadé and Nicolas Ricchini, respectively, and although their shared acting experience is limited there’s no question of their being talented performers.

Both Ayguadé and Ricchini have impressive careers as dancers and choreographers, and their remarkable control over their bodies causes them to imbue every movement with purpose, whether it’s stiffly brushing past each other or jogging back up a hallway to clock-in to work. This even extends to raising the corner of a mouth being raised ever so slightly. This largely wordless short film might collapse in on itself with different talent, but the duo make it look effortless. Continue reading

Animus: Our Soul Searching Interview With Johnny Sachon

mv5bowrioda2ngmtntvjns00nzizlwjkzgqtmwe1yjhmmdlly2qzxkeyxkfqcgdeqxvymju5otazmzi-_v1_sy1000_cr006581000_al_Last week, CWR published our review of Animus, a short but powerful film directed by Mark J. Blackman. This writer had an opportunity to put a few questions to Animus actor/producer Johnny Sachon, who was nice enough to take the time to respond.

What inspired the story behind Animus?

It all came about quite organically. I’d worked with Katie [Goldfinch] a few times before. We both felt that we brought the best out in each other and wanted to challenge each other. As we’ve both produced films as well we made the decision to develop something together.

I met Mark [J. Blackman] in Cannes 2012 and had been following his work since. Out of the blue Mark contacted me regarding another project which sadly didn’t come work out for me. However, Mark asked me if I had anything else I was working on… and it just so happened I did. I guess everything happens for a reason.

2016 was a strange year for a lot of people and from my point of view I felt a lot happened in my own life as well that I wanted to explore and even exorcise in some way. The three of us met, and again, quite organically began discussing all of this and found a mutual subjects and ground to build upon. We spoke about absolutes – we wanted to produce a drama set in one location that focused on the performances.  Having recently worked on projects that were bold and intensive when it came to their scale of production  Animus was quite a refreshing challenge we all looked forward to. Out of these meetings Mark wrote Animus. The first draft was remarkably close to what you see on screen. Continue reading

Animus: A Short Film Review

mv5bowrioda2ngmtntvjns00nzizlwjkzgqtmwe1yjhmmdlly2qzxkeyxkfqcgdeqxvymju5otazmzi-_v1_sy1000_cr006581000_al_An earnest, plaintive piano melody opens as desperate figures stare out into the middle distance. A woman drops in on an old flame, using some flimsy pretext neither of them believe for a moment. What follows is a terse, tense, and incredibly human exchange as our two protagonists verbally fence over decaf and destiny.

And it’s good.

It’s really, really good.

Two individuals of differing (but equally compelling) perspectives clash over tea. It’s as simple a set-up as you can imagine, but director Mark J. Blackman manages to wring both depth and emotion from it. Sienna (Katie Goldfinch of Crucible of the Vampire, Genie in the House) and Elliot (Johnny Sachon of Cloud 9, Late Shift) examine each others’ lives, what they themselves have become in their time apart, and what they could have become. It’s a beautifully ****ed-up My Dinner With Andre, keeping in mind that I’ve never seen My Dinner With Andre and all I have to go on is Wallace Shawn’s showdown in The Princess Bride. Continue reading

Graffiti: A Short Film Review

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Seven years after an unnamed apocalypse, lone survivor Edgar (along with his beloved puppy, K.O) wander a urban wasteland. Edgar spends his days scouring local buildings for supplies and marking contaminated zones with spray paint warnings and signals for help.

From the first frame the audience is taken on a brutal journey of brutal isolation as we follow Edgar (Orial Pla) through the cold and decaying cityscape, both depressing and still strangely beautiful. And that, right there, is perhaps the greatest charm of the film.

Director Lluís Quílez does a masterful job at creating a stark, bitter, but still utterly believable world. Quílez captures not only the grand sense of loss but the simple, even monotonous existence of his protagonist. Throughout I was constantly reminded of the feel of first half of I Am Legend (in the best possible way). Special kudos to Quílez for his research, as Edgar’s own warning symbols bear an uncomfortable resemblance to the FEMA marking system used during actual disasters.

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A fantastic job is done of showing the mundane, day-to-day “chores” of living in a post-apocalyptic wasteland. Which is something I’ve ironically always found to be one of the most interesting parts of the genre, but I’m weird like that.

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Seriously- just look at this…

Continue reading