I found NOSTRADAMUS to be an interesting, challenging work, and one that sometimes requires an almost provocative level of focused attention from the viewer (which is actually to the film's credit--more on that later), yet it's also happily a film that really pays off at the end with the satisfying release of some ENORMOUS plot tension.
(But before getting to all of that: I want to note that Amy Sloan did a wonderful acting job throughout the film of evoking "innocently sweet", "suspiciously serious", and then finally, "almost scary" sentiments without ever having to barely change her facial expressions or the tones of her voice. (I guess it's all in the eyes.) It's the unexpected presence of her character that provides the most immediate tension in the film, yet Austin Nichols' reaction to her sudden appearance -- almost as the "straight man" in a double act -- is a performance that should also be appreciated.)
NOSTRADAMUS has a plot where you need to pay attention as the details subtly increase, so I won't get into any of those specific story details. I'll just say this: with a short film, one expects a stand-alone piece. Something that's complete and finished when it's over. It's done when it's done. It's an ordinary, reliable lunch on a Tuesday you spend at your favorite diner. You eat your burger, you pay your bill -- no surprises in the end.
But what surprised and impressed me in the end about this film is that when it reached its conclusion -- and when everything was resolved and it became satisfying "a stand-alone piece" -- I was found wanting more. Almost as if I'd just watched a pilot to a new television series.
This film may get a lot of favorable TWILIGHT ZONE or ALFRED HITCHCOCK PRESENTS comparisons, but in a lot of ways, this film reminded me most of various excellent episodes from the lovably-frustrating ABC show LOST: of episodes where you can feel in your body the tension rising desperately, and you have to try very hard to keep up with the rapidly surprising details, and it's almost starting to anger you until, BOOM! And then you go, "OHHHHH.... Yeah, that was pretty cool! Um, can we get some more now? I need the next chapter with these people!" It's a fascinating contradiction. Plot-wise, the film is COMPLETELY self-contained and fulfilling as a taut story with a beginning, middle, end. Yet still I'm utterly interested in knowing what happens after the tension release at the end. And I know that I'll never know, which heightens the effect in a positive way. A both closed- and open- ending that -- at least to me -- was very satisfying.
So, anyway: NOSTRADAMUS is very well made, very surprisingly plotted, and VERY WELL SHOT (beautiful, expansive desert views at the beginning, contrasted with a cramped diner that mirrors the tension of the plot. Gorgeously shot work that I'm sure was done on a shoestring budget, which makes it more impressive).
Check it out. It's very much worth your time, attention, and thought.
(But before getting to all of that: I want to note that Amy Sloan did a wonderful acting job throughout the film of evoking "innocently sweet", "suspiciously serious", and then finally, "almost scary" sentiments without ever having to barely change her facial expressions or the tones of her voice. (I guess it's all in the eyes.) It's the unexpected presence of her character that provides the most immediate tension in the film, yet Austin Nichols' reaction to her sudden appearance -- almost as the "straight man" in a double act -- is a performance that should also be appreciated.)
NOSTRADAMUS has a plot where you need to pay attention as the details subtly increase, so I won't get into any of those specific story details. I'll just say this: with a short film, one expects a stand-alone piece. Something that's complete and finished when it's over. It's done when it's done. It's an ordinary, reliable lunch on a Tuesday you spend at your favorite diner. You eat your burger, you pay your bill -- no surprises in the end.
But what surprised and impressed me in the end about this film is that when it reached its conclusion -- and when everything was resolved and it became satisfying "a stand-alone piece" -- I was found wanting more. Almost as if I'd just watched a pilot to a new television series.
This film may get a lot of favorable TWILIGHT ZONE or ALFRED HITCHCOCK PRESENTS comparisons, but in a lot of ways, this film reminded me most of various excellent episodes from the lovably-frustrating ABC show LOST: of episodes where you can feel in your body the tension rising desperately, and you have to try very hard to keep up with the rapidly surprising details, and it's almost starting to anger you until, BOOM! And then you go, "OHHHHH.... Yeah, that was pretty cool! Um, can we get some more now? I need the next chapter with these people!" It's a fascinating contradiction. Plot-wise, the film is COMPLETELY self-contained and fulfilling as a taut story with a beginning, middle, end. Yet still I'm utterly interested in knowing what happens after the tension release at the end. And I know that I'll never know, which heightens the effect in a positive way. A both closed- and open- ending that -- at least to me -- was very satisfying.
So, anyway: NOSTRADAMUS is very well made, very surprisingly plotted, and VERY WELL SHOT (beautiful, expansive desert views at the beginning, contrasted with a cramped diner that mirrors the tension of the plot. Gorgeously shot work that I'm sure was done on a shoestring budget, which makes it more impressive).
Check it out. It's very much worth your time, attention, and thought.