After getting the wonderful chance to see Maya (2015-also reviewed) on the big screen as part of the Cine-Excess Film Festival,I signed up to view the rest of the screenings online,and began looking forward to the next title being shown, with high spirits.
View on the film:
Revealing in a discussion after the screening/stream that the film was inspired by a discussion he had about the afterlife with Karen Black on her deathbed, director Steve Balderson & cinematographer Hanuman Brown-Eagle unintentionally undermine what should be an intimate, personal atmosphere, with a misguided slide into Magical Realism, represented here in consistently jabbing the audience in the eye with lens flares darting across the over-saturated in red screen, only calming down for drenched in cream soft-focus close-ups, all of which results in leaving the viewer detached from Oliver's mourning.
Despite being caked over with all the distracting screen effects, Xander Berkeley and Sarah Clarke cut through the layers of screen filters, with emotionally raw performances as Oliver & Evelyn, via Clarke expressing in an understated manner Evelyn's deep love in the marriage, which is delicately emphasized by Berkeley in Oliver's drained face when he finds Evelyn dead in their bed, as he paints a canvas with her spirit.
View on the film:
Revealing in a discussion after the screening/stream that the film was inspired by a discussion he had about the afterlife with Karen Black on her deathbed, director Steve Balderson & cinematographer Hanuman Brown-Eagle unintentionally undermine what should be an intimate, personal atmosphere, with a misguided slide into Magical Realism, represented here in consistently jabbing the audience in the eye with lens flares darting across the over-saturated in red screen, only calming down for drenched in cream soft-focus close-ups, all of which results in leaving the viewer detached from Oliver's mourning.
Despite being caked over with all the distracting screen effects, Xander Berkeley and Sarah Clarke cut through the layers of screen filters, with emotionally raw performances as Oliver & Evelyn, via Clarke expressing in an understated manner Evelyn's deep love in the marriage, which is delicately emphasized by Berkeley in Oliver's drained face when he finds Evelyn dead in their bed, as he paints a canvas with her spirit.