LONDON: The Horse Hospital

Thursday 12th April, 2012

7:30pm

Event information

DOORS 7:30 £6 ADVANCE / £8 ON THE DOOR
FUTURE SHORTS SPRING PROGRAMME
Launched in November 2011, the Future Shorts Festival became the first ever global pop up festival, showcasing the most exciting short films from around the world. Anyone, anywhere can set up a screening and be part of a massive screening network and a powerful global community.

“BEAR” – NASH EDGERTON, 2011, AUSTRALIA – 11 MINUTES
Edgerton, who wrote, directed and starred in “Bear”, the sequel to “Spider” (2007), centers around the main character Jack to unfold his tangled relationship and examines whether he’s learned his lesson or not. Described as a black comedy without social commentary, “Bear” is a follow up but also stands alone as it’s own piece. “Because I tend to play things fairly straight and never set things up like it’s a drama or a comedy, the audience doesn’t know what it’s going to be, and something about that really works,” said Edgerton.

“QUADRANGLE” – AMY GRAPPELL, 2010, USA – 20 MINUTES
An examination of a four-way affair, this documentary explores the story of two “conventional” couples who swap partners and live in a group marriage in the early 1970s. Set in Long Island, New York, this domestic living experiment unravels and challenges and boundaries of social convention, marriage, monogamy and desire. “Inspired by the discovery of my father’s photographs, taken at the height of the poly-amorous affair, and in an effort to come to terms with my own past, I decided to interview my parents. The film does not propose answers and strives to remain objective. It explores two people in a certain time. It tells a story,” said Grappell.

“VENUS” – TOR FRUERGAARD, 2012, DEMARK – 8 MINUTES
‘Venus’, a 7-minute claymation, is an erotic comedy about rediscovering one another and finding the spark where you least expect it An official selection at the Los Angeles and Annecy Animation Festival, among others; Venus tells the story of Caroline and Rasmus, a confused couple who’ve not had sex in for four months. To solve this, they decide to visit a swingers club and see if it will salvage their relationship, or not.

“MOURIR AUPRÈS DE TOI (TO DIE BY YOUR SIDE)” – SPIKE JONZE AND SIMON CAHN, 2011, FRANCE – 6 MINUTES
Created from 3,000 hand-cut pieces of felt, Jonze’s tragicomic stop-motion animation takes place in an old, Parisian bookshop where at night the covers come to life. It’s the story of a felt skeleton who falls in love with a beautiful and sassy vixen. Co-directed by filmmaker Simon Cahn with designs by Olympia Le-Tan, this Cannes selected short is sweet, sad, spooky and a bit whimsical. Jonze said, “A short is like a sketch. You can have an idea or a feeling and just go and do it.”

“THE ARM” – DIR: BRIE LARSON, SARAH RAMOS, JESSIE ENNIS, 2012, USA – 9 MINUTES
Directed and written by a female trio, “The Arm” tells an up-to-the minute social commentary on teen love in a time of technology. Written over the course of 3 hours on a Greyhound bus from Dallas to Austin, this short centers upon two main characters, Chance and Genevieve, who start a texting relationship only to realise they were never in a relationship at all. At Sundance this year, “The Arm” was acknowledged with a Special Jury Award for Comedic Storytelling.

“LOVE YOU MORE” – SAM TAYLOR WOOD, 2007, UNITED KINGDOM – 15 MINUTES
Inspired by the hit song ‘Love You More’ by the Buzzcocks, this short is the tale of two punk lovers, Georgia and Peter, in London, 1978. Tender and explorative, this short film directorial debut by Taylor-Wood was written by Oscar nominee Patrick Marber and produced by Oscar winner Anthony Minghella.

“L’HOMME SANS TETE (THE MAN WITHOUT A HEAD)” – JUAN SOLANAS, 2003, FRANCE – 18 MINUTES
Created over 4 years, Solanas’ short debut is the story of a man who lives alone, head-less, in a room overlooking a vast industrial space. Visually astounding and technically accomplished, this animated short reveals love and happiness and one man’s pursuit for romance amidst life without a head. “We’re living in a period where cinema is a product; movies are becoming more and more commercialized. Short films are one of the last real places for artistic freedom – they’re important to celebrate just for that,” said Solanas