Nick and Kate

Saw it at UCSB's reel loud festival and was *shocked* that it won the golden reel award. I wasn't the only one, considering the audience had mixed reactions to the piece. I thought there were many other better flicks out there, but then I learned that the judges were heavily rooted within the area of film theory and other artsy crap. While the cinematography and editing are on par with many other shorts out there, the storytelling is nothing more than your average student piece. Seems as though "serious" student films need to include one of these categories: sex, intrapersonal struggle, and eventual suicide -- Nick and Kate cops out and includes all three. Please, be more original!

Oh, and it might be my outsider's opinion, but the guy from montecito sounds a little fake. Does anyone else thing so?

What I found most compelling about this black and white short, which screened at the Reel Loud Film Festival at UCSB, is its ability to convey great emotion with the necessary subtlety. The themes are strong (longing, obsession, self-hatred, guilt), but the combination of delicate photography, an understated lead performance and directing, and evenhanded music prevent it from going over the top. The musical choice of the Kinks' track is appropriate - it hits the right emotional note without disintegrating into cliche. The film is certainly for open-minded audiences, and to its credit, the filmmakers refuse to pass judgment on the protagonist voyeur. Should it ever become available on DVD or online, I would welcome a second viewing.

Alright, in modified form. The old meets the knew in this short - an edgy modern voyeur theme (actually, that is probably true to what was implicit in the original noir movies) captured in skillful black and white and ironically set to the Kinks (used recently in a far lighter movie, Rushmore).

The writing is interesting, the performances angsty enough without disintegrating into student-film-torture-suffering, and the locations impressive (the makers either had a real budget or managed to shoot in subways and over-looking tall buildings without permissions). The only sticking point (slightly jumpy editing - I saw it on 16mm at a student festival) will easily be overcome in the inevitable transfer to video. It's nice to see some of the kids are still shooting on 16...

Something I noticed: What is the protagonist carrying around in that strange package - it isn't a briefcase...

I had the rare displeasure of catching this piece of 'film' whilst passing through the sanguine beach town of Santa Barbara, sadly when I went to the reel loud festival I found that most of the films fit the beautiful setting, until I watched this one.

Nick and Kate is to student film making, what snuff films are to kiddy films. The film has flashes of knowledge in its camera work, but this is all undone, by sloppy directing, and a complete lack of plot. Then there is a scene of a train, which is in color, and blue, why? Who knows, who cares? The maudlin ending reminds me lest of 81/2 and more of 8mm where I just wanted to shove my head in the oven, and let the fumes do their magic.

Honestly, the best part of this film, was the credit sequence and I wished the film had ended there.

Then after the slow torture of this particular abomination, it ended the festival continued and it was wiped away from my thoughts, until the end of the night when some `judges' saw fit to give it their festival award. This film won their single award, the highest praise the festival had to offer, to what in my opinion, and my boyfriend's opinion the worst film of the festival, it was a mind boggling night.

The angsty subject matter of this short has just enough irony to transcend the festival short cliche -- and some catchy 60s post-pop music for layering. The use of The Kinks underscores lighter elements in the flick, with some nice black and white photography to suggest period and emotion. Many knock silents, but the lack of sync sound only enhances enjoyment for this music major. Music seems an often overlooked aspect of filmmaking, with considerable emphasis on top 40 chart hits and soundtrack sales, Scorsese seems to be the last of a dying breed that stresses musical selections.

The Kinks are an underappreciated, influential group, and this track (also used in Wes Anderson's Rushmore) is one of their best -- a mix of smooth acoustic strumming, angsty lyrics, and bitter irony that matches the period.