![[INSERT SHORT FILM TITLE]](/_selections/fd077389-a42e-4ee5-8cce-39d1880b10d7/landscape/landscape_poster_url_202493214526.jpg "[INSERT SHORT FILM TITLE]")
[INSERT SHORT FILM TITLE]
In the mind of every filmmaker, there are two wolves locked in an epic, eternal, and fierce battle for control and influence.
The combatants? The analytical left brain and the whimsical right. [INSERT SHORT FILM TITLE] personifies these cerebral hemispheres in the monumentally (or at least marginally) comedic performances of Chrissy Mozylisky and Matthew MacCaull, evoking the cinematic manifestation of that cerebrum arm wrestle in the form of a meta-troll of the short film genre.
Delicately straddling the line between homage and parody, ISFT stands on the shoulders of giants, taking filmic inspiration from sources as varied as classical German Expressionism, adrenaline fueled American action movies, the daring Danish Dogme95 independent movement, literal internet memes, and many, many more.
ISFT accomplishes all of this while constraining itself to a tight 12-ish minute run time and while taking on the herculean, virtually-impossible task of getting an audience to be genuinely excited to watch other people’s short films.
Box office smash? Maybe. Oscar-bait? Cha-duh. Good enough to be accepted into semi-reputable film festivals? Oh God, please, God.
The combatants? The analytical left brain and the whimsical right. [INSERT SHORT FILM TITLE] personifies these cerebral hemispheres in the monumentally (or at least marginally) comedic performances of Chrissy Mozylisky and Matthew MacCaull, evoking the cinematic manifestation of that cerebrum arm wrestle in the form of a meta-troll of the short film genre.
Delicately straddling the line between homage and parody, ISFT stands on the shoulders of giants, taking filmic inspiration from sources as varied as classical German Expressionism, adrenaline fueled American action movies, the daring Danish Dogme95 independent movement, literal internet memes, and many, many more.
ISFT accomplishes all of this while constraining itself to a tight 12-ish minute run time and while taking on the herculean, virtually-impossible task of getting an audience to be genuinely excited to watch other people’s short films.
Box office smash? Maybe. Oscar-bait? Cha-duh. Good enough to be accepted into semi-reputable film festivals? Oh God, please, God.
