Amelia and Michael (2007) User Reviews

The Masks of the Wasted Relationships

[claudio_carvalho · 8/10 · 2 October 2007]

In London, the executive Michael (Anthony Head) and his wife Amelia (Natasha Powell) have successful upper class lifestyle, living in a comfortable house, having a fancy car with driver and showing a great respect and affection to each other. However, Amelia has a lover in coma in the hospital, and she frequently visits him and pays the expenses of his treatment. While traveling to Milan in a business trip, Michael has one night stand with an escort girl. Amelia receives a phone call, and when she arrives in the hospital, she realizes that her lover has died. When Michael returns from Milan, their lives return to their hypocrite routine.

"Amelia and Michael" has only 10 minutes running time, but director Daniel Cormack is able to perfectly compile and disclose the masks of the wasted relationships in his short. The tight and sharp screenplay uses ellipsis to unravel the hypocrite and accommodated relationship of a middle-aged couple, but unfortunately it is not possible to develop how their affective lives have become so shallow. I know the actor Anthony Head from Buffy series, and I really liked his performance in a dramatic role. Natasha Powell is unknown for me, but has also a great performance. The stylish cinematography and lighting are impressive for a low-budget short, and I liked the last scene with the reference of the motorcycle passing by Amelia's car indicating that their lives will remain the same. My vote is eight.

Title (Brazil): Not Available

Reminds me of Ingmar Bergman.

[F Gwynplaine MacIntyre · 8/10 · 16 March 2009]

'Amelia and Michael' is a short film that gets in, tells its story with a punch, then gets out again with minimal frippery. The opening shot is a tight close-up of Amelia's eye as she applies her mascara; actress Natasha Powell apparently did this while looking directly into the camera, without the aid of a mirror to guide her mascara wand.

Amelia and Michael are a young attractive London couple; Michael is evidently some sort of high-powered executive, about to depart on a business trip to Milan. We ultimately learn very little about this couple and their marriage; the film's 10-minute running time doesn't enable much development.

While Michael is away in Milan, Amelia visits a young man in hospital who appears to be in a coma. Actress Powell expertly conveys Amerlia's devotion to this man, yet we learn nothing at all about their connexion. Is he related to her in some fashion? Is he perhaps a former lover? Or is he merely a friend? I wanted to know more about this undeveloped subplot, and I wish that the film could have devoted more running time to this.

SPOILERS COMING. It develops that Michael's business trip to 'Milan' is actually an overnight tryst (much closer to home) with another woman. Again, we learn nothing about her: is she a prostitute, or are she and Michael having an ongoing affair? Amelia is a very attractive blonde who apparently loves her husband deeply, so I was curious about Michael's reason for cheating on her. (And the film never explains this.) After Michael returns home, Amelia checks his passport and discovers that there's no visa for the visit to Milan. (She made a point of checking, which implies some suspicion on Amelia's part.) Actor Anthony Head portrays Michael as a man of intelligence, so I wonder why Michael would spin a porky that his wife could rumble so easily.

The climax of this brief film is powerful ... but less powerful than it might have been, due to an unfortunate editing decision. I've seen several films by director Daniel Cormack; in general, he shows a strong instinct for putting his camera in exactly the right place. Here, though, his instinct fails him. As Amelia charges down a corridor towards the final confrontation, Cormack repeatedly intercuts between close-ups of Amelia rushing towards the camera (which recedes ahead of her in a travelling shot) and close-ups of the back of a blonde woman's head as she rushes AWAY from the camera. I couldn't tell if this woman was meant to be Amelia seen from the rear, or whether this was another woman entirely (possibly one of Michael's totties) trying to flee from Amelia. In the event, it turned out that both intercuts were Amelia. I can't see any reason at all for shooting this sequence from both in front of and behind the same actress; this gimmick added nothing to the film, and it created confusion that weakened the film's climax for me.

Apart from that one odd decision, 'Amelia and Michael' is extremely well made by all parties concerned; the cast are excellent, the authentic locations are note-perfect throughout, and the background music by Nick Loe is effective without ever being intrusive. Portions of 'Amelia and Michael' reminded me of various films by Ingmar Bergman, and I make the comparison as a compliment. My rating for this film: 8 out of 10, and I look forward to more films by director Dan Cormack.

Well Made Short

[Theo Robertson · 7/10 · 22 October 2007]

Sometimes the problem with a short film that has two separate individuals as writer and director is that the two people involved are at odds with each other artistically . One instinctively feels that neither understands what the other is trying to do which means the short suffers

With AMELIA AND MICHAEL Stephen Betts has written a relatively low concept story about two human beings who have been in a relationship where the love is burning less brightly than it was several years ago . Director Daniel Cormack has resisted any temptation by " livening " the story up by fancy camera moves that often blights many a short by an inexperienced director and shoots the story so that the audience can feel the emotions the eponymous characters are feeling with guilt and forgiveness being the main emotions felt

A story that is short , simple , without a clever plot but one that is essentially human . You may not recognise yourself in the characters but they'll certainly remind you of someone you know

While the story itself is a bit vague, the professionalism to this short is obvious.

[planktonrules · 9/10 · 23 October 2011]

Occasionally, young filmmakers contact me and ask me to watch their short films. I am nobody that important--just a nutty guy who has done a bazillion reviews on IMDb. I always give the films a viewing, though if I don't like the film I usually don't review them. It's because I don't want to harm a struggling young artist--and a few negative reviews can do that for a short. However, in the case of "Amelia and Michael", I was glad to post a review because it was a thoroughly professional looking piece--and one that shows that Daniel Cormack is extremely talented. It also shows that he must know somebody, as the film looks quite expensive and stars Anthony Head--an actor who is often in great demand and must not have been easy to get for such an independent film.

The story is one that actually might be best seen AFTER you read the IMDb summary. This is because what, exactly, is happening isn't readily apparent. This is NOT a criticism--just a comment about the subtlety of the film. I won't completely explain the plot--as I said, just read it yourself. The film is about a couple who SHOULD be quite happy--at least according to society's standards. They are quite wealthy--so well to do that the husband (Head) has a private car pick him up and drive him about and he can jet over to Milan for business. In fact, the pair go through the motions of being happy--while both have their affairs and live separate lives in the same household. It's a life of quiet desperation...and it's profoundly sad.

The film is striking when you watch the camera-work and hear the very evocative music. While the story is depressing and slow, the amazing professionalism of the project is what struck me. I am surprised that after making this film and "Nightwalking" that Cormack has not been in huge demand. You'd think such professional looking films would create a ton of folks pressing him to work on other projects. His work deserves to be seen and appreciated.

Realistic/ Down to Earth/ What Life is All About

[whpratt1 · 10/10 · 12 September 2007]

Outstanding film which maybe rather short in length but it tells more in ten (10) minutes than a two hour film. There is unhappy men and women who are desperate for a different kind of experience with a male or female and feel trapped in their marriage or relationships. This story will always be successful because people like to view people who do things they would like to do or have done against their husband and wives. The Director and Producer have contributed great talent to the entertainment industry and desire complete praise. I sincerely hope that these talented people all produce many more great films that will entertain us in the up and coming years into the future.

Quiet And Enigmatic

[Lechuguilla · 9/10 · 26 October 2011]

A husband and wife in upscale London embark on separate covert liaisons that may or may not break up their marriage. Amelia (Natasha Powell) and Michael (Anthony Head) appear civil toward each other, with nary a hint of outward strife. But something is wrong between them. What motivates their secretive behavior? What else are they hiding from each other and from us? The viewer must fill in the missing pieces of the puzzle.

To the script's credit, characters connect with the audience largely through facial expressions, and through body language in general. Dialogue is wonderfully minimal. Peripheral characters add depth to the drama, and do so without intruding on the story's central focus. What we seem to have here is a story that explores the clash that can occur when commitment to a spouse interferes with, or contradicts, one's commitment to self, when the marriage has become stale.

Production values are terrific. Location shooting imparts a sense of realism. Lighting and framing enhance visuals. Cinematography features lots of close-ups, which accent the focus on characters. Casting gives us a photogenic group of people. And the performances of Natasha Powell and Anthony Head help lift the film to a high level of professionalism.

My only complaint is the story's slow pace. A number of scenes seem unnecessarily long, given the film's runtime. I could have wished for tighter editing to speed up the action. But that's just me. Other viewers may be happy with a leisurely pace.

"Amelia and Michael" is a quiet, low-key character drama that seems deliberately enigmatic. I can envision a feature-length film that uses this short as the basis for a Middle Act. In an expanded version the first part of the script would explore back-stories, ancillary characters, motivations and conflicts. The ending would convey the outcome of these forces on Amelia and Michael and related effects on those around them.

I love a good mystery. This short film certainly qualifies, and presumably so too would an expanded version.

Accommodation

[bkoganbing · 6/10 · 24 October 2011]

Amelia And Michael tells a story of a married couple who might have been hurting each other in the past with infidelities, but have decided to stay married and lead separate lives. It's all a part of a great accommodation they've reached.

They look to have all the material needs you could possibly ask for in 21st Century London. Yet Natasha Powell seems to be wrapped up in the care of a comatose man and Anthony Head best known to American viewers from Buffy The Vampire Slayer series likes to have his nooners with working girls. As it is very British it's all quite civilized.

It was nicely portrayed, but this is certainly not the kind of film to create any excitement with the viewer. The director's a talented fellow, he should have spiced this one up a bit.

Subtlety

[TBJCSKCNRRQTreviews · 8/10 · 29 October 2011]

The married couple Amelia and Michael enjoy an expensive, comfortable, upper-class life-style. They have a new car with their own driver and a large house. On the surface, everything is fine between them. However, she secretly goes to the hospital to spend time with someone in a coma, who may be her lover. And her husband ditches a trip to Milan to spend the night with an escort. This is about the things hidden, particularly between people who appear to have happy relationships with each other. It is also an exercise in suggestion; notice how little is actually directly shown, much less told. Not only does it utilize film being a mainly visual medium, it respects our intelligence and deductive skills. This is 10 minutes long not counting the credits, and 11 with them. It's immensely professionally done, with strong production values as far as the the camera-work, the editing and the sound goes. Very smooth. The pace is great. It keeps your attention well throughout. This is currently available for free, legal viewing online. There is implied sexuality and mature themes in this. I recommend this to fans of expertly done shorts and well-written character drama. 8/10

Conjugal Mysteries.

[rmax304823 · 29 October 2011]

A nicely written and well-executed tale of a mature married couple who maintain what sociologists call "informational preserves." There are some things they don't tell each other. One of the most important things held back is that each is having an affair. The affairs don't seem to be much fun -- they don't seem to threaten the marriage, which appears fundamentally sound -- but they're affairs nonetheless.

It's a somber film made for adults and, at about ten minutes of running time, some of the events and their impact are attenuated. The husband is supposed to be off to Milan, not spending time with a blond in a comfortable hotel. When he returns, his wife quickly glances through his passport. Did she not find a stamp for Italy? Probably not, but we're not sure.

If it had been a full-length feature I could imagine its being something along the lines of Bergman's "Scenes From A Marriage" or Saville's "Secrets", though probably better than either. As it is, it's sensible, ambiguous, and quite sad.

The indifference inherent in lust...and the reality of death which alters one's perspective

[moonspinner55 · 6/10 · 1 December 2011]

A British businessman sees his wife off to work, but she removes her wedding band as soon as she's out of the car and he makes arrangements for a rendezvous with another woman once he arrives at his office. Short film from director Daniel Cormack (who also co-produced) and writer Stephen Betts is a smoothly-orchestrated character study which manages to say a lot (mostly in visual terms) within a 10-minute span. The clear, precise cinematography from Merritt Gold, Gareth Davies' editing, and Nick Loe's portentous score are each commendable, and the finale is an interesting bluff that keeps us wondering. Does the man or his wife suspect the other of infidelity...and does it really matter in the scheme of things, in the context of harsh reality? An intriguing piece of work.

A relationship we do not know is saved

[Polaris_DiB · 4/10 · 22 March 2009]

Amelia and Michael are a married couple that are cheating on each other. Amelia has a long-time lover in the hospital and Michael hires a prostitute that doesn't satisfy him. The two smolder with their infidelity but manage to connect to each other in the end.

There's not a whole lot to this particular short. The direction is straight-forward and dramatic, which is good, the acting is sincere, but the story leaves a little bit to be desired. Why, exactly, do we care about these two people? It's a little hard to see how this story sticks out from any other infidelity story except that it's much more pared down and doesn't search for meaning in it (a welcoming change of pace if anything).

I don't know, it's possible I don't connect to these stories because I've never experienced them. But I have noticed that the blocking in these narratives are typically the same, i.e., a couple talking together while avoiding eye-contact by pretending to be immersed in magazines, etc. The nice things about short films is that they provide a bit more room for trying something different, and I'd like to see a different take.

--PolarisDiB

Excellent short

[preppy-3 · 8/10 · 24 October 2011]

Amelia (Natasha Powell) and Michael (Anthony Head) are an affluent British couple. They seem to have a perfectly ordinary loving lifestyle--but they don't. Amelia visits a young man in the hospital who seems to be suffering from brain damage. Who is he? We're never told. Michael sees another woman who he has sex with. Why and who is she? We're never told.

Still it doesn't matter in the long run. This is a beautifully done short showing how a couple that is seemingly happy and content might have dark secrets from each other. The direction from Daniel Cornmack is great--he tells you through images all you need to know. The acting by Head and and Powell is just great. This 10 minute short tells you more AND packs more power than a typical Hollywood movie about relationships.

Interesting short, very well done.

[Aaron1375 · 7/10 · 20 December 2011]

This is not a film I would normally watch, however, a person asked me to watch it and post a review and seeing as how I have not reviewed a short film in a while I thought I would take them up on their offer. Like I said, this is not a film I would of searched out and watched on my own, I am not really into dramas all that much, but I found this one to be rather interesting. It was also very well done, it is the type of short film that is basically a short movie as it looks like it has a budget, it has a rather good soundtrack and it looks more like a mini movie rather than some of the more amateurish short films and full length movies I have seen over the years. The film is about a husband and wife who do not seem very close, nor do they seem like they despise each other. They both lead their lives with secrets. You see the secrets and how they play out. Very somber indeed and much different than the way a similar scenario would happen in America (this film is somewhere in England). I was impressed by how the film played out, just not really a genre I enjoy all that much otherwise I most likely would have scored it higher. Films like this end up making me depressed and I try to avoid films like this for the most part, but it was well done.

Amelia and Michael

[jboothmillard · 5/10 · 6 November 2011]

I was very surprised to receive an email asking me to review this ten minute short film, not just from the Company Director of the film studio that made it, but from the director himself, Daniel Cormack, so I was very happy to do so. Basically, in London, Amelia (Natasha Powell) and Michael (Buffy the Vampire Slayer and Little Britain's Anthony Head) are a married successful upper class middle aged couple who dress smartly and have great affection for each other. However, Amelia is seen dropped off outside a restaurant, and after the car leaves she removes her wedding ring and gets a taxi to another location. Michael meanwhile in his office is booking an anniversary meal at a restaurant with a hotel room as well for Friday, and on that morning he is supposedly leaving for a business trip to Milan. In fact he is going to the restaurant and hotel room with an escort who he sleeps with, and Amelia is seen in a hospital by the bed of a young man in a coma. The next morning Amelia and Michael exchange pleasantries, and tidying opened letters away she finds her husband's unused passport, but she receives a phone call before she can confront him, it is from the hospital. She is too late and finds out that the young man has died, and she returns home in tears, Michael assumes she has found out about his infidelity, but they hug and comfort each other. The final scene sees them in a car together, waiting for traffic lights and next to a motorbike that passes them, we are unsure how they are feeling towards each other because of the open ending. Also starring Julian Lee as Francis, Justin Stahley as Hospitalised Man, Mac Elsey as Consultant, Rebecca Cooper as Nurse and Naomi Martin as Call Girl. The performances by Head and Powell are not bad, they are suitably monotone, the story is short and simple, but even short it has interesting moments with the couple who obviously love each other but have their desires challenged, a reasonable British drama. Worth watching!

Secrets

[jotix100 · 8/10 · 13 May 2008]

The life style of yuppies is examined with an incisive eye by Director Daniel Cormack working on the intelligent screen play by Stephen Betts. This is a short film that could have been made into a full feature on the basis of the strong writing, acting and the direction given to it by Mr. Cormack, who really surprises with his approach. Like in fashion, less is more. In the case of this short, the axiom proves right in that the viewer gets to know two people in no time at all.

We are taken to meet an attractive couple that seem to be in an ideal situation. The comfort of their lives is clearly apparent; Amelia and Michael seem to have it all. That is why is so surprising the turn of events that come between them. His deception is somewhat hard to accept because Amelia is a beautiful creature. On the other hand, Amelia has perhaps an inner life she shares with no one. We see her at the hospital with what could be a lover, or maybe a brother, or even a good friend who is facing death.

The story has an ironic feel that kept reminding this viewer of some of the stories by O'Henry. "Amelia and Michael" is amazing little film that does justice to the effort Mr. Cormack, cast and crew put into it.

Rich People are Unhappy Too

[boblipton · 23 October 2011]

When is an eleven minute film far too long? When it doesn't go anyplace. This short subject about the masked, empty, unhappy, luxurious lives of two rich people has all of its technical issues sorted away properly -- the cinematography is excellent, although there is one mismatched shot towards the end; check the biker next to the limo -- but all we have is a brief exposition of the state of the their lives. She is having an affair. He goes to hotels and has sex with hookers, so they are even there. However, someone she cares about (a brother?) is in a coma and dies, so she wins.

And that is why this film is essentially a bore. It is not a moving picture. There is no plot, no real change and nothing moves except arms and legs. It is an eleven minute portrait of two uninteresting people.

When I am caught up in a movie, I don't notice the camera-work or the mismatched shots. I am not afflicted with a sense of impatience for the film makers to get on with it, nor wonder who sleeps in a hotel robe. This movie is as uninvolving as the the marriage it depicts. If they can't be bothered to care, why should I?

Wonderfully professional

[TheLittleSongbird · 9/10 · 28 October 2011]

Having been contacted by private message, I agreed to watch Amelia and Michael. From its idea it seemed very interesting and indeed it was. I will admit I was a little worried that Amelia and Michael due to its short running time would not live up to this great idea.

Fortunately, Amelia and Michael did do exactly that. My only real criticism is one or two scenes that felt as though they went on for a tad too long. This aside, I cannot deny the professionalism of Amelia and Michael.

It is very well made, the scenery is striking, the lighting brooding and the photography superb. The music is very evocative and fits very well always with what is going on on screen.

While the dialogue is minimal, the dialogue there is is sharp. Aas for the quietness I found that very effective and it added to the power and poignancy of the story. Speaking of the story, the concept showed a lot of promise and not only does the short raise intriguing questions but it fits a lot in 10 minutes.

The direction is a big part of Amelia and Michael's success, it is very confident, and the acting is strong throughout with Anthony Head standing out. All in all, a wonderfully professional and very interesting short that pushes all the right buttons. 9/10 Bethany Cox

An unsettling mood

[howard.schumann · 9/10 · 6 November 2011]

Daniel Cormack's ten-minute short, Amelia and Michael, has little dialogue but draws us in with its compelling use of gestures, facial expressions, and subtle glances to establish an unsettling mood. Featuring outstanding performances from Natasha Powell and Anthony Head as an estranged couple named Amelia and Michael, the film is a compelling experience of two people who have suppressed their aliveness and ability to connect with others and are simply going through the motions of life.

As the film opens, a seemingly well-to-do, not unattractive middle aged couple, Amelia and her husband Michael sit silently in the back seat of their driven luxury car. Everything seems okay on the surface, but underneath there is a sense that all is not well. The sit far apart and show no visible expression, each barely aware of the others presence.

When Michael kisses Amelia goodbye and he enters his place of business, we can feel the blast of cold air that permeates the atmosphere. The distance is maintained in the evening when they are both at home. Amelia asks her sullen distracted husband, "Are you all right?" To which he gives the standard evasion of people who are uncommunicative about their feelings, "Just tired." Headed off on a flight to Milan, Michael leaves some flowers with his wife, but it is an empty gesture without warmth or genuine feeling. As might be suspected, the next sequence reveals what has been hidden.

Amelia visits a young man in the hospital who is lying in a coma. There is no indication as to who he is or why he is ill, but a picture of the two on the dresser indicates that they were lovers. In Milan, Michael uses the services of a call girl with the same indifference that his relationship with Amelia displays. When he comes home and sees Amelia in tears, he thinks she must somehow know about his affair and apologizes for his one-night fling, unaware that Amelia is most likely crying over the death of her lover.

At the end, they are no further along. Their relationship seems to have petrified. They do not seem to be aware that there is a problem or that they need to do anything about it. It is apparent that, as Albert Einstein pointed out, "No problem can be solved from the same consciousness that created it."

Skilfully made realistic short film.

[Boba_Fett1138 · 8/10 · 25 September 2007]

To put it simply, this is a really well made short film. It's only 10 minutes long, so it's obviously and notably restricted with its story development and characters but the movie does a very good job at telling the story in its limited amount of time in a very effective- and above all also realistic way.

The movie is kept deliberately small, in terms of its dramatic elements and character emotions. It's the reason why the movie feels very real and warm, even despite of its depressing story and overall atmosphere. It's the main reason why I regard this movie as a very well made one.

The editing still feels quite clumsy in parts. For instance the back- and forward cuts from the internal and external shots in a sequence don't always feel consistent. It feels like it's taking place in a totally different time-line and universe so to speak, even though it very well might had been all shot on the same day and on the same location. Some music in those sequences could perhaps had worked miracles. It at least would had made it more consistent. The movie also uses one or two too many fade outs right in the middle of the movie. I never have been a big fan of fade outs. To me it always seems like the cheapest, most lazy and most simple way to make a jump in time and to end a sequence. I prefer a more creative solution, though in this particular case the fade outs are sort of suiting with the film its 'slow' pace.

The cinematography on the other hand was really superb. It gave the movie a totally professional look and feeling. I especially liked the lighting in some of the sequences.

Anthony Head plays a real solid role in this film. Also his presence alone is already good enough to uplift the movie. The other main part is being played by Natasha Powell. She's obviously not too experienced but her performance feels very natural because of that, which is a real positive thing.

I also really liked the ending of the movie, in which nothing has changed, despite of what happened all and everything is just the same as it was before, as if nothing had ever happened. It's a real good and interesting ending of the movie that is also brought very well to the screen; The movie ends basically just in the same way as it started out. No words are spoken but everyone know what the ending means. It makes it very effective but it however also at the same time feels quite abrupt. But I think this is more because of that the movie HAD to be below 10 minutes long. Or perhaps it's just because of it that I don't too often watch these short sort of films.

The film is about as good as you could expect from a 10 minutes short. Good story development, professionally put together, with an overall good sense of realism.

8/10

http://bobafett1138.blogspot.com/

Amelia and Michael

[UnchartedFilms · 8/10 · 17 February 2008]

This short film shows how a good director and a fairly simple idea can tell a dramatic story (with all it's complexities) in ten minutes, that somewhere else could take two hours to unfold. Beautifully shot and great performances by the actors. A marriage is going through a rough patch, whatever the causes, we see the effects. It's a tale about the lack of communication between a man and a woman. Much is told by their silences.

The end will make you want to know what happens next as Micheal says "it was just the once," confessing to what he's done, and Amelia crumbles having reached breaking point for more than just her husband's betrayal.

What do you know about Amelia and Michael?

[not_from_here · 18 February 2008]

How much do you know about those you should know most about? How much should you know? Do you need to know everything? Amelia and Michael should know everything about each other as they are a prosperous, successful, professional married couple. Yet each keeps a secret from each other in Daniel Cormack's debut film.

Amelia has a devotion to a critically injured young man and she visits him whilst he is lying in a hospital bed. He is hooked up to a life support machine and is still and silent. Who he is we never find out, a lover or male relative perhaps? Michael's secret is more straightforward he lies about a business trip and uses a call girl. He suffers from guilt, she from grief. In the end they confess to each other and have no more secrets. Except that he was called by a colleague when in the hotel room he uses and she casts an eye over a young man who passes by on a motorbike. Does this mean that they are serial offenders? As the viewer we think we know all about them but at the end we can't be sure.

Cormack manages to put this story across in a short space in an economic style which nevertheless packs in lots of information and detail. The viewer is never left to watch too long on one aspect of the film but it never feels like being rushed, the pace is superb.

In his first film Cormack has managed to tell a story well and use his star actor (Anthony Head) well. The technical standard is very high and at no time does it feel like a low budget film. He is obviously a talent to watch out for in future.

More Than We Know

[writers_reign · 7 November 2011]

There is, as another poster has pointed out, a very slick, glossy, professional feel to this film as if no expense was spared on obtaining top quality actors and technicians. It's the third film by Daniel Cormack that I've seen and the promise shown by the first two is maintained if not surpassed here. It can only be a matter of time before Cormack is given a budget for a full-length feature and if he continues to display the 'old' values it will be a feature worth seeing. He has mastered the art of compressing plot into one reel albeit a tad enigmatically with the enforced ambiguity being used as a weapon rather than a restraint. The idea of a sterile relationship requiring outside stimuli is not exactly new or riveting but, as I never tire of saying, it's all in the wrist.

Engaging and frustrating in its approach, it is a solid reflection on modern relationships

[bob the moo · 1 October 2007]

Amelia and Michael are a successful couple who outwardly have everything they could want. A good home. A classy car with a driver. High-flying careers. However their marriage is one of discrete politeness where once there would have been intimacy and both harbours secrets about the other.

I was away for work recently and had access to broadband (which believe it or, this particular internet geek does not have in his home) and decided to take up an invitation to watch another film from Daniel Cormack. The first film I had seen from Daniel had not really impressed me much but I was curious to see more from him. This short film was a much better calling card for him as it showed much more style and skill with the camera than "Make Me A Tory" had done. It also shows a much more subtle touch as a story teller (although that would not be hard).

The film has a recognisable couple in the middle. Their wealth and comfort is probably exaggerated a little beyond what I can relate to, but the emotional heart is there – or rather the lack of it. We see both partners together looking slick, being "content" and exchanging kisses on the cheek etc as the routine has had them doing for many years. Individually though they are both seeking something elsewhere. It is here where the film frustrated me a little but not allowing me to understand the "something" that well. I didn't get who the hospitalised man was to Amelia (if anyone) and I didn't get if the conclusion of the film was "more of the same" or "all fixed now"; I choose to take it as the former, as this would be more in keeping with the film I did find the lack of detail to be a bit of an appeal as well because it left the focus on this rather unfulfilling relationship and the way that played out for the two characters. However this effect could still have been achieved with a bit of detail being delivered as well. The cast seem to be suggesting this as well. I thought Head was good but his character seemed easier to understand – not only in terms of what was going on but also in terms of the "why". Powell didn't seem so assured about her character and she was less convincing as the wife in this dead relationship (and unfortunately I do know how one acts). The two did do an OK job of convincing as a couple, but lacked that chemistry that comes when chemistry exists but has just died from lack of trying (didn't describe that very well but you know what I mean). I'm not sure if Cormack failed to deliver this aspect of Betts' script or not but I'm guessing that a lot did fall to the former to draw out given how little dialogue there was. In this area he does OK but generally as director he is impressive, with good shots, good editing and clever use of film stock coming together to make a visually polished and impressive product.

Touching in its own way then and I did like the way that it allows the emotions to be mostly played out in silence in the small things – just as they are in the marriage itself. However the lack of narrative was a bit frustrating and I did think that either the screenplay needed to have more in it for the actors to work off and deliver on screen. Pretty good short film, just left me feeling like it could have gone that extra bit further and been better for it.

Quality short

[jellyneckr · 11 November 2011]

Short films can be tricky. On one hand, shorts are the perfect format for a director to show off a certain set of skills as a way of getting noticed. On the other hand, it's very easy for shorts to seem pretentious and too artsy for their own good with a director trying too hard to impress. Amelia and Michael avoids such problems by having a simple style, one that compliments the quiet and soft-spoken characters. Director Daniel Cormack does a nice job of keeping a steady pace and never allowing the film or its title characters (expertly played by Anthony Head and Natasha Powell) to go into over-the-top territory. The decision to keep the music as minimal as possible in order to have the focus to stay on the emotions is the best part of the film. Without the typical sappy music playing in the background, Cormack allows the story to seem more honest and realistic than what one might expect from a such a dramatic piece. Perhaps there could have been an ending with a bit more of a kick behind it, but for all of its short length, Amelia and Michael is a captivating watch. 9/10

Well-Made and Effective

[Michael_Elliott · 28 October 2011]

Amelia and Michael (2007)

*** 1/2 (out of 4)

Extremely well-made short about an upper class married couple, Michael (Anthony Head) and Amelia (Natasha Powell), who appear to have everything but both are leading a secret life. When he's supposed to be on a business trip, Michael is in a hotel room with a prostitute while his wife is also with a lover except this one is in a hospital in a coma. I probably watch over two or three hundred short films a year and after a while they all pretty much bleed together so it can be hard finding one that's rather original. Back in the 20s, 30s and 40s major studios did a fantastic job with them because they were in high demand but in the past few decades it seems anyone can make a short and release it. The shocking thing about AMELIA AND MICHAEL is how incredibly well-made it is. I'm really not sure what the budget was but this every bit like an expensive studio film because the cinematography really brings everything to life. What really works so well here is the direction by Daniel Cormack because unlike so many young filmmakers he's not trying to make his film feel cool or something you'd catch on MTV but instead he really tries to tell a story and develop a couple characters. You might say big deal to that but it's very rare for so much to happen in just a 10-minute movie and I give the director credit for keeping the film at a slow pace, building up drama and most importantly building up the sadness in these two people's lives. I thought it was this overall sadness of the characters that really exploded out of the film and the slow pacing really helped this. I was very impressed with the two leads who brought a lot to their roles. Both really help bring the characters to life and it's not usual seeing such fine performances in a short like this. There's no question that the director has an eye to building up a story without feeling the need for silly fast cutting or constantly having the camera moving to try and build up some sort of style. The film certainly isn't a masterpiece but it's highly well-made and effective.