Opening with the suggestion of a rocking horse, this is a dense and delicate short, full of shadow and portent. Surreal movement, beyond the jerkiness of film, segues into stop motion around our protagonist. Bound with wire from an improbable spool Genie (named only in the credits), is held in a small room. Around her allies, a cymbal smashing monkey on a tin tricycle, letter blocks, a kindly bear.
Before her a door, in the dirt and scuff of grime the sense of a forest. Her escape is not the last in these few minutes, but it is the start. Ashley Trawinski has no dialogue, monologue, in a complex and compelling sound design no audible speech. Yet her presence and her absences are the centre of the film. Framed by Marc Katz' cinematography, what feels like the grain of film gives this all a datelessness.
It is some indeterminate late-American era,...
Before her a door, in the dirt and scuff of grime the sense of a forest. Her escape is not the last in these few minutes, but it is the start. Ashley Trawinski has no dialogue, monologue, in a complex and compelling sound design no audible speech. Yet her presence and her absences are the centre of the film. Framed by Marc Katz' cinematography, what feels like the grain of film gives this all a datelessness.
It is some indeterminate late-American era,...
- 4/8/2021
- by Andrew Robertson
- eyeforfilm.co.uk
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