Sunday, 25 January 2015
Legitimate (2013) and Picket (2014). Both of those films contained a strong sociopolitical message and earmarked Izzy as a director to content with in the future. With her latest short, Postpartum she points the lens at another important issue, but yet again, given a macabre and sinister twist.
Diana (Diana Porter) hasn't seen her friend Holly (Kasey Lansdale) for months; with calls unanswered and deeply worried, she heads over to her apartment to see what's wrong. An eviction notice is taped to the front door. Even more concerned now, she hammers on the door, until Holly opens up. She’s angry at all the noise, and is looking incredibly dishevelled; it’s as though she hasn’t slept in a while. It transpires that her baby is sick; “Baby?” Diana clearly didn’t know her friend was expecting. She’s even more concerned when Holly winces – holding her head as if attempting to block out some agonising noise – then looks up, with maniacally glazed eyes, “He’s stopped”. Diana sees the room has been ransacked, and there’s a putrid smell which has her gagging. She’s clearly concerned for the welfare of the baby as well as her friend, who is obviously very unwell too.
As it’s only a seven minute film, it’s not really fair to divulge much more of the story. You could probably guess certain elements anyway, particularly given the title. What you won’t guess is how twisted it gets, and there’s more than a few shocks in store along the way within the brief running time.
With an remarkably immersive sound design (thanks to all-rounder Bryan McKay – who also handles the fluid and natural cinematography), and complementary score by Shayne Gryn, which is never overpowering or obvious, it’s a joy to watch no matter how grim and disturbing the subject and visuals are.
Izzy Lee is part of a new breed of horror directors (who, I’ve no doubt, could also turn their hands to other genres too) coming up at the moment. What’s brilliant, and purely co-incidental, is this young blood are mainly female. Alongside now-established talent such as the Soska Sisters, we have directors such as Izzy, Maude Michaud (Dys-), Jill Sixx Gevargizian (Call Girl), Jennifer Kent (The Babadook), among many others who form this new breed of director who are making this genre exciting again. Gender is irrelevant, as it should be, and these filmmakers are pulling no punches with what they are depicting on screen.
If there’s any sense and justice in the world (yeah, I know there isn’t, but I can hope) film festivals the globe over will pick up Postpartum to add to their roster. With many more projects in the pipeline for release later this year, and after being fundamental in the fundraising for the bronze bust of Edgar Allan Poe that now proudly sits in the Boston Public Library, Izzy Lee is going to be a name you will be hearing more of, and for all the right reasons. In the meantime, sales of clingfilm will be going through the roof...
8 out of 10
Thursday, 1 January 2015
Now it’s not often you are given a script to review, but that’s what has happened here, so forgive me if it’s a kind of vague essay as I really don’t want to be revealing too much about the content, or the secrets. Half Chance comes from David McCool, who wrote, directed, and starred in the recent short A Bloodstained Butterfly, which I really enjoyed. Although this wasn’t the final shooting script, I managed to get a good idea of where it was coming from and what to expect, and was easily visualised.
It tells the story Matt, who has just moved to a small town and when visiting a small café meets a beautiful waitress, Alison, who he has an instant attraction to, and with whom they have so much in common, as well as an uneasy feeling that they’ve met before. Their initial meeting is disrupted by an uncouth idiot, Edward, barging in drunk and demanding a drink. Despite threatening Alison (and Matt, who attempts to stick up for her) with a chainsaw chain, he is sent on his way, and the pair hook up and begin a relationship. Unfortunately, a particularly romantic date turns sour when the bully Edward once again comes on the scene.
Now, from that description, you may well be thinking, ‘So what?’ Well, what it would be unfair for me to reveal is how the narrative takes a drastic turn for the strange, culminating in what could well be an amazing Twilight Zone-esq tale which would bend minds as well as tug at the heartstrings.
This is certainly a story which needs to be made, and I look forward to being on the front line of the reviews once it is!
For more information on David McCool, check out his website. You can view his first short – an incredibly inventive and effective diversion entitled Sparks below.