Dark Comedy Short Film

Here’s the Plan, Fernanda Frick’s ambitious 18min short film, is notable for its audacity—the audacity to tell a relationship story about two people who genuinely love each other and work to support each other and their marriage. This is neither a romance about the initial hot and heavy days of the chase and infatuation, nor a heroic adventure about love conquering all. It is instead a remarkably grounded narrative that traverses years of its central couple’s lives and documents the minor sacrifices and changing priorities that cause a shared dream to be deferred. Its originality is in its simple faith that communication and commitment can get partners back on track. No wonder such a fantastical narrative needed to star a dog and a cat instead of humans!

Kidding aside, something about the sweetness of the film and its desire to illustrate a healthy relationship struck me. The film is intimate, centered entirely on the couple as they grow from newlyweds to jaded, detached professionals. When young, they had a passion to start a bakery together, but obstacles presented themselves—the oven broke, their kitchen was too small. The desire for money to ameliorate their situation grew, and as they embarked on professional lives far away from baking, they learned they were good at their new occupations. Work intercedes, and professional growth becomes a larger priority. What was once a means to an end, becomes an end to itself. Despite their fancier clothes and steadily bigger house, their lives are increasingly siloed from one another, and the shared passion they felt is lost. Can they recognize what has happened to them? Can they recover what they once had?

Despite the anthropomorphized leads, the film script could have been live-action, as there is nothing high-concept about the world they inhabit. Live-action would deny us the pleasure of Frick’s art though. The film is pleasingly styled, if somewhat safe. The middlebrow preoccupations of the plot are mirrored in its cute, mainstream design, however to achieve animation on this level, at this length, is quite an accomplishment. Over 32 individuals worked on the project, via a distributed workflow organized online through Slack, and other tools.

Frick and the team are Chilean, yet the voice acting is in English to ensure a larger potential audience. Frick has some knowledge of the potential benefits that can accrue from international recognition, as PunkRobot, a Chilean studio that is prominently credited in the film, is responsible for Historia de un oso, which won the Oscar for best animated short in 2016, becoming the first Latin American winner of the category. The decision to record the dialogue in English has its pluses and a minuses however. While the voice acting is by and large good, it is also cloying, and the saccharine nature of the narrative can be off-putting to audiences at first. We’re used to independent animation being edgy, and so the wholesome sincerity evinced can be obnoxious. Yet the undeniable truth embedded in the character development is refreshing, the unvarnished depiction of a relationship as it could, as it should be, is daring. Frick, via email described her inspiration as a desire to fight against “perpetuating gender stereotypes”, feeling that the majority of onscreen romance “normalizes toxic and bad relationships, making you think ‘maybe that’s how it is’ when it doesn’t have to be.”

The result is a film that I believe will be profoundly moving to audiences that allow themselves to be open to it, especially audiences that are themselves in a committed relationship. The level of recognition they will experience in the trade-offs and compromises that the protagonists engage in is rare in visual entertainment. It is a natural experience when navigating a shared future with a loving partner, and yet it is not a common theme in media of any type, and especially not within animation, which leans heavily towards fantastical narratives.

The film, like Historia de un oso before it, is in the running for an Oscar nomination, and this week will see a flood of high-quality animations seeking to build buzz online during the Academy’s initial voting window, as 70+ qualified films will be narrowed to a 10 film shortlist. Frick has a good partner in this process as Here’s the Plan is the debut film of CB Fest Season 2, an online initiative of the influential animation website Cartoon Brew which will premiere 7 animated shorts over the coming weeks. Short of the Week is partnering with Cartoon Brew to present 3 of those films, but the whole series is worth checking out. Best of luck to Frick with Oscar voting, if you love this work, do your part and share.

If you think heady science fiction topics only belong in super-serious cerebral films, please allow me to introduce you to Jacob Motz’s Doubles—a comedy about two universes that are collapsing on one another. While the pitch could potentially be the logline for some Chris Nolan mind-bender, Motz is after a different type of cinematic experience: think Spike Jonze by way of Apatow.

In viewing Doubles, the audience is greeted by a bizarre science fiction world that is hilariously mundane. And, it’s that banality which makes for the film’s brilliant central joke. The protagonists (and, in effect, the audience) immediately buy into the movie’s surreal doppelgänger world. There are no high-brow intellectual discussions or diagrams made out of straws. Instead of grappling with the larger theoretical implications of this crazy world, the lead characters simply jump headfirst into the boring minutiae of how it will affect their daily lives. Now, they have two bosses…ugh!

Beyond being delightfully light on exposition, the film is making some salient points about human nature. Even when the world is being transformed before our eyes, we still, at the end of the day, want to make sure there is enough soda in the office refrigerator. The short is also touching upon identity—about seeing who we are and who we wish we could be (even if that someone is technically ourselves). Without venturing into spoiler territory for those who haven’t yet watched, the film functions as sort of a loop, both beginning and ending at the same point in time (albeit for different versions of the same person). In the immortal words of George Costanza, worlds be colliding.

Of course, none of this high-concept comedy would work if the performances weren’t so strong. The majority of Motz’s actors come from an improv background, and in turn, they feel effortlessly funny in front of the camera. Mike C. Nelson, who plays the lead—Bookers—steals the film. He’s the lovable schlub everyman—funny, cute, and just a wee bit pathetic. The fact that he isn’t super-famous right now is somewhat baffling to me (I mean, check out that ‘stache!). Nevertheless, I have a feeling that Nelson might break out huge very, very soon.

The film was shot over the course of three days with a budget of $18K. Motz used the goodwill from his previous short, O.T.E, to convince a family friend to invest in Doubles’s production. As for what’s next, Motz is aiming to shoot another short in the spring as well as potentially move into some longer form entertainment. Provided he can keep the same effortless sense of tone and style, consider me excited. You can keep up to date with him on his website. His producing work for digital branded content is also available to view here.

To be completely up front, At Your Convenience doesn’t feel like a short film, but rather a pilot episode for some long lost Comedy Central series. It’s a funny, 22-minute surreal journey through gangs, crack, and crocheting all told in front of a cartoon backdrop (courtesy of designer/animator Christian De Castro). It’s like if South Park and Clerks mated and had biracial children. Hilarious, weird, biracial children.

While At Your Convenience might seem better suited for television than an online “quick watch,” as our esteemed contributor Craig Downing is often fond of saying: “good is good.” And, well, At Your Convenience is pretty darn awesome. It’s absurd and refreshingly original—from both its casting choices to its cell-shaded visual aesthetic. Not to make too big a deal of it, but, in general, it’s great to see a comedically led project that features protagonists other than vaguely, non-threateningly Jewish white guys (and this is coming from a non-threateningly Jewish white guy). Whether it be the rise of Key and Peele or some choice additions to the newest SNL cast, the comedy world has seen a much needed influx of diversity as of late. At Your Convenience seems like a series/short film tailor-made for the modern comedic generation—intent on bucking stereotypes while it simultaneously makes fun of them.

The cast is stellar. Both Randall Park (The Interview, Veep) and Dwayne Perkins (Late Night with Conan O’Brien) have a tremendous knack for delivery and timing. Park plays stupid/innocent without being annoying. Perkins is the straight man of the duo, his performance balancing some of the more “out there” moments (like, say, tiny ponies in crack pouches).

In regards to the tone, co-writer and director Ryamond Lai writes via e-mail: “As we began to write and polish the script, it occurred to me that we might be skirting a fine tonal line that could easily vault into controversy/offense if we weren’t careful.  That’s when I realized that we could buy ourselves a buffer if we delve into the surreal, visually speaking.  This could create a level of detachment for the audience that would allow us to discuss whatever we wanted, and not offend anybody too egregiously.”

It’s like a Benetton ad, but instead of young models, everyone looks like complete sh*t

By why make a comedy television pilot in the first place? Well, Lai created the project for his MFA thesis at USC. Instead of making a long short film and hoping to parlay that into a feature (as so many short filmmakers aim to do), Lai went with a “pilot” television approach. With this line of thinking, if he managed to sell his passion project to a network, he’d be able to keep his diverse cast and creative control (instead of starting from scratch with studio interference). He’d literally have the first episode packaged and ready to go. Just shake some hands and cash the check.

It’s a practical—albeit unconventional—approach to breaking into the “business” and I admire Lai’s efforts. Unfortunately, he never quite landed that easy sell. As Lai relates, “It screened pretty well and there was tepid interest/meetings, but nothing ever materialized…But I still believe in the project, and I know there’s an audience for it out there.”

I agree. While I don’t necessarily think  At Your Convenience “The Series” would appeal to a wide audience, it’s the type of show that could be championed by a passionate, enlightened few, watching at 1am on their laptops in the comfort of their dorm rooms. Regardless of whether or not we’ll ever get to see the project go any further, at the very least, it has found its way online for all to enjoy.

As for what’s next, Lai has a couple feature scripts he’s trying to get made.  One is a coming of age sci-fi dramedy about a teenage DJ who must save the love of his life from the grips of an intergalactic soul sucking android (great pitch). The other is an idea he’s developing with Dwayne Perkins about a stand-up comedian who is kidnapped and locked in a room and needs to figure out why. Finally, he has a short documentary that’s beginning to make the festival rounds about Ken Miura, a USC cinema legend who taught and inspired filmmakers like George Lucas, Walter Murch, Ben Burtt, and Gary Rydstrom.

See You Around is a charming comedy about a guy who may have lost his mind post-breakup with his girlfriend. We’ve certainly all been there, but probably not quite like this poor guy. Unfortunately for Thomas, played by CollegeHumor alum Josh Ruben, he can’t stop seeing his ex-girlfriend—literally, seeing her—all around town. He knows it’s not really her, but whether it’s at the corner deli, on infomercials, or in that porn he was watching, she shows up. The result is a film that cleverly implements a relatable premise visually, then backs it up with witty writing and unusually strong performances.

While the premise attracts the headlines, writer and director, Oren Brimer demonstrates a skilled hand at the nuts and bolts of the comedy contained within. The result is akin to a sophisticated sitcom with an anti-romantic ideology. Brimer’s sharp writing style will induce unattractive snorts and smirks as you watch each character interaction unfold. The success is in how his actors execute joke saturation, rolling one punchline after another in a fast-paced rhythm that’s impressive.

On-screen chameleon, Courtney Pouroso, who plays ex-girlfriend Allison, does a fantastic job of impersonating other characters. So, while Thomas sees his girlfriend in place of his therapist, we, as audience members, don’t miss a beat. All of the actors are pretty laugh out loud funny and include George Basil and Pete Holmes, who are also stars from CollegeHumor Originals.

Still, if the visual conceit of the film were not executed effectively, it would be harder to persuade audiences to stick with the 22min film. Scenes with multitudes of the ex-girlfriend show off Brimer and team’s creativity. He explains the process to us, writing, “DP extraordinaire Smokey Nelson and I employed a system of drawing out odd shaped split-screens on a plexiglass monitor cover that would later be employed in the compositing in post production. What we achieved was a surreal visual device with very minimal visual effects work in post.”

Brimer’s talent is being duly recognized outside of shorts, he is currently a writer/producer on a new HBO show called Crashing, which is executive produced by Judd Apatow and stars Pete Holmes, who played the ‘Therapist’ in See You Around. Premiere dates are not set yet, but we’re positive that it will single-handedly justify your HBO NOW subscription (ok Game of Thrones helps too). Be sure to keep an eye out for it.

“After I was happy with an episode, I took it into the post-production house to grade the live action footage”, says Baker. “Then I had to go back and tweak Desmondo into the newly graded footage, which mostly just consisted of altering his lighting. Then it was back into the post house to add all the effects that I didn’t know how to do – like adding fire and smoke and a million other little things my brilliant vfx artist did…After an episode was visually locked off I would send it to my composer to begin work on the music, followed by the sound design. Then repeat, 5 more times…”

“I’d love to explore this character in a more expansive platform like TV

Now keen to make his first feature, with a script almost ready to start pitching around to gauge interest, Baker is still curious to see if there’s anymore life in the world of Desmondo Ray. “I’d love to explore this character in a more expansive platform like TV” he says, “If there’s a demand to see more”.

I know we’d happily spend a bit more romantic time with cuddly Desmondo


                             

A 4-minute manically paced cinematic non-sequitur, Zach Wechter’s This Table is a tough film to describe. After all, it’s sort of an anti-narrative: a series of quirky, random events that are loosely tied together in service of a flurry of subjects and ideas. Working with longtime writing partner Jack Seidman, S/W alum Wechter (Straight Down Low and Election Day) crafts a quickly paced rumination on death, anxiety, and obsessive compulsion. Oh, and did I mention it’s a comedy? To get down to brass tax, This Table (larger thematic implications aside) works because it’s just damn entertaining. The pace is ferocious. The style is pronounced. Even if you don’t really “get” the film, it’s undeniably engaging. And, for a brief four minute piece, that suits us fine. As we online curators know, hooking an audience early is the biggest hurdle to creating a successful film on the internet. And, Wechter and Seidman get their claws in your from the onset. From there, you’re along for the ride—a rollercoaster with ample air time. The film is a really adept example of kinetic editing, often using cuts to accentuate punchlines and explore its “story within a story” construct. Visually, it also looks great, shot with a distinct visual panache that relies primarily on wide-angled lenses. While the film’s content strays away from Wechter’s previous genre-focused films, his sense of craftsmanship is still very much on display here. But, what’s it all about, really? As Wechter explains via e-mail:

“This Table is an obsessive-compulsive short film starring my best friend and writing partner Jack Seidman. His anxiety about death -and the way it’s affected us both- inspired the project. It was my intimate knowledge of his OCD that gave me the confidence to know I could realize his script the right way. — Jack and I thought that making this project together would exercise his demons and free him of his psychic pathology. It didn’t.“

While the film may not have cured Seidman’s OCD, we’re hoping, at the very least, it gets some more attention for this very talented creative duo. Wechter recently executive-produced and directed a new series for SoulPancake called Love & Longitude, which premiered in the Experimental Storytelling section at this year’s SXSW (it’s set to be released later this year). And, as you might expect, Wechter and Seidman are currently in development of a feature film they wrote together. It takes genre elements (a survival movie) and smashes it with a brand new setting: the iPhone. Needless to say, we’re definitely intrigued.

It’s rare to find films about kids that don’t feel completely false. After all, the Hollywood kid is a hyperliterate, squeaky clean anomaly that seems like some sort of specimen created in a Disney Channel lab rather than a living, breathing hormone-raging adolescent. I guess that’s why Corey Aumiller’s Grill Dog feels so refreshing. Part coming-of-age tale, part comedy of errors, part heavy emotional drama, it’s a film that depicts kids (specifically a brotherly relationship) in a way that is both engaging and honest. And, by honest, I mean lots of profanity and juvenile humor.

The plot is simple enough. A horned-up 12-year-old on vacation with his parents attempts to sneak off resort property to find a mystical “titty waterfall.” His little brother, of course, tags along for the ride. However, what starts as a screwball adventure slowly descends into something much darker. Aumiller masterfully transforms his short from crudeness to serious drama. Tonally, it’s a tricky balancing act that somehow manages to work. Once the dramatic shift happens (no spoilers here), the film packs an emotional wallop.

Grill Dog also really captures the essence of what it’s like to be a kid who wants desperately to be an adult. You know, it’s that weird Bar Mitzvah-ish age where you still like kid things, but understand that there is a bigger, more mature world out there. The transition from adolescence to adulthood is obviously a well-traversed cinematic territory, but there’s a reason for that: it’s universally relatable. Aumiller harnesses that inherent empathy and captures something that is profound because it’s so specific.

As he relates to Short of the Week via e-mail:

“I wanted to tell a good story that hit people on an emotional level! Good storytelling is about finding an incredibly small, specific detail and expanding it into a universally relatable story. At its heart, Grill Dog is about a kid who has to give up on his preconceived notions of adulthood. We all had a moment in our lives where our lens shifted from blissful child to cognizant adult. It sucked. It was hard. It hurt. This movie asks its audience to go through all of those emotions.”

There’s the old adage in filmmaking: never work with children and animals. Well, Aumiller chose to make a film featuring both. Fortunately, his child leads are both excellent with subtle, strong performances that mirror the film’s stylistic shift.

Truth be told, I wish the film’s ending landed a bit more. To me it came off as a somewhat unsatisfying cliffhanger. Nevertheless, the journey getting there is impeccably crafted. Beyond that, on a conceptual level, I understand what Aumiller is after. His main character has gone through an experience. He’s learning that there are consequences to his actions that he has to be mature enough to ultimately face. To put it simply: he’s growing up.

What is your favourite smell? Freshly-baked bread in the morning? Leafing through the pages of a new book? The familiar scent of your lover’s skin? Now imagine you lost your sense of smell?


Directed by Jacob LaMendola and made for The New York Times, Anosmia is a fascinating documentary which shines a light on the rare condition, through the use of ravishing visuals paired with candid interviews. The 9 min short is a rewarding and deeply immersive experience, which will make you think twice about taking your 5th sense for granted.

“There was enormous catharsis in listening and having this connection with strangers”
In Anosmia 10 individuals who have lost the ability to smell share their personal experiences of living with the condition, and explain how it affects their everyday lives. LaMendola does a brilliant job of getting the most personal, honest answers out of them and brings those to life through the clever use of the cutaways. The result is simply quite stunning and a real pleasure to watch..

For Jacob LaMendola, who lost his sense of smell when he was a child, Anosmia was a project close to his heart. Growing up and finally accepting his condition as part of his identity, the director felt it was time to share his story, but he wanted to do so through the voices of others like him. “There was enormous catharsis in listening and having this connection with strangers, especially after growing up thinking I was the only one who couldn’t smell. The film was a way for us to let everything out” – he explains.

There is so much to admire here. The cinematography and the sound effects awaken all your senses at once, the tactile shots cleverly chosen to trigger emotions ranging from pleasure to repulsion and everything in between. The interviewees are at perfect ease in front of the camera, their stories so revealing, fascinating and at times truly heartrending.

What I loved most about Anosmia, however, is the fact that it made me think about something I rarely think about. Smell has the incredible ability to instantly take us back to a specific moment in our past, maybe more so than any of the other senses. It also has the power to connect people in a way we can’t even understand ourselves. Therein lies the real power of the short film – in its ability to make us think, make us appreciate what we have and understand those who don’t have it.

LaMendola is working on his next documentary, 5 years in the making, which will be released this fall. He is thrilled to share it with the world and we cannot wait to see it. Today also happens to be his birthday, so from the whole S/W team, we wish you many happy returns Jacob!