To say that the relationship between a child and parent is fraught with emotions, most of them far from easy to put into words, is putting it lightly. Yet this is the subject of Mum, a short film that captures a visit from a trans woman to her aging mother. Having already won a handful of accolades, it began screening as part of New Irish Shorts 3 at the Galway Film Fleadh just this past Thursday, July 13th.
Mum is the creation of many talented individuals, chief among them being director Anne-Marie O’Connor and actor and star Kate O’Donnell. In addition to being able to review the short film I was also offered an interview with the two of them that allowed me to gain a better understanding of how this particular work came to be.
First off, congratulations to the both of you on the awards that Mum has won so far, at both the London Independent Film Festival and Global Shorts. To springboard off of that into our first question, as it’s screened as part of “New Irish Shorts 3” at the Galway Film Fleadh, what helps to make this an Irish film outside of the talent involved?
O’Connor: The song that is played and sung throughout the short is Black Velvet Band. It was important to me for this to link the film as it was a song that Kate’s mum used to sing to her and a song that my dad used to sing to me as a child. And although geographically it isn’t set in Ireland, the relationship between Kate and her mum feels very Irish to me and in writing this I felt that Linda was second-generation Irish and that Kate was a product of that upbringing.
I noticed in the credits that Mum was created by the two of you, but that it was only written by Anne-Marie. Could you both go into some detail regarding the creative process?
O’Connor: Kate and I are good friends and have been for years, and as she’s a leading trans actor and activist I’ve always wanted to work with her creatively. We often discuss the way that transgender people are portrayed in film and TV (the fascination with the transition, the no-one-will-ever-love-me storyline, sex workers or outsiders) and wanted to make a short that didn’t fall into those familiar tropes, to have a transgender central character in a universal story.
So I met with Kate and I asked her what story she would tell if she could and it simply came from her saying she’d love to go home and paint her mum’s nails; something she used to do when she was younger but is impossible to do because her stepfather makes life difficult (he’s always been difficult, way before Kate transitioned!). And so we built the story around her own story. It was very important for both of us that Kate was acknowledged in the creative process. So that is why it is created by both of us.
Posted in Europe, film, interview, lgbt, relationships, writing
Tagged actor, Anne-Marie O'Connor, Black Velvet Band, Colm Whelan, director, family, filming, interview, Kate O'Donnell, lgbt, Mum, short film, trans, Transgender, You've Changed
It’s a term that elicits a broad range of emotions, with each of our respective childhoods affecting how we react to it. Who we were, growing up, is a significant factor. But what about instances when who we are now is worlds apart from the person we once were?
Having spent much of her career up to now working in television, Mum is Anne-Marie O’Connor’s first short film, and one that she created with the help of star Kate O’Donnell, a transgender actor. Her debut short focuses on a trans character of the same name whose visit home is derailed by the discovery that her mother is in very poor health.
Much like the director, O’Donnell’s limited experience is also in television, where she starred in an episode of the transgender romcom series Boy Meets Girl. As the character at the centre of this short film she delivers a performance that, while uneven at points, always feels painfully real. Continue reading
Posted in Europe, family, film, lgbt, review
Tagged actor, actress, Anne-Marie O'Connor, Ash Palmisciano, Boy Meets Girl, childhood, family, Galway Film Fleadh, Joseph Pearson, Kate O'Donnell, LGBTQ, Margot Leicester, Mum, short film, trans, Transgender
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
Posted in art, dance, film, interview, media, writing
Tagged Academy Awards, acting, actor, Best Short Film, choreography, cinematographer, composer, dancer, dancing, interview, Iván Céster, Juanjo Giménez, Lali Ayguadé, music, Niccolas Ricchini, nominated, Pere Pueyo, performance, review, score, security guard, short film, Timecode
Last 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
We 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
Posted in film, science fiction
Tagged Devil Town, Elina Alminas, film, horror, horror movies, Invasion of the Body Snatchers, Johnny Vivash, Matthew Hebden, review, short film
“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 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
Posted in art, Europe, film, music, relationships, review
Tagged acting, actor, choreography, cinematographer, composer, dancer, dancing, Iván Céster, Juanjo Giménez, Lali Ayguadé, music, Niccolas Ricchini, Pere Pueyo, performance, review, score, security guard, short film, Timecode