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Hello! Welcome to Ruby's Valentine Festival! This festival is all about romantic films and the importance of the genre of Romance in film. In this festival we celebrate the love between two individuals regardless of sexual preference,ethnicity or color of their skin. Love is Love and it should be shared when felt. I personally am a sucker for romantic films. I think its amazing that there are many ways to share love with one another. Film is a way to transmit love and romance. When watching a romance film it can make one feel a type of way. It can make us think about that someone who we really care about and how much they mean to us and it can show us the way we care for someone. Romantic films can be seen to be out of reality and will usually be critiqued with comments like "this only happens in the movies" or "this will never happen to you." But one shouldn't listen to those comments, if a romantic film gives you a type of emotion then one should transmit it. Especially now with everything going on in the world, with all the hate being transmitted, love and romance should be practiced frequently to remind us that love can still be found. These eight films will definitely make you feel certain emotions.

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SCREENING #1: Happy Valentine's Day by Neymarc Brothers (5 MIN)

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SCREENING #1: Happy Valentine's Day by Neymarc Brothers (5 MIN)

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Just how the title reads, this film is about Valentines Day, even though it's not a typical valentines day. I chose this film because I feel that it shows the both good and bad side of the celebration of Valentine’s day. The film is short but the storytelling was done so well! The film itself is in rewind. Its a story about the beginning of a romance that happened due to a tragic event happening. There’s no dialogue, yet with the visuals one can figure out a lot from what's happening. The color of the film also helps tone out the mood of the film. I think this film was great because we start with the ending of a story and throughout the film we figure out the reasons for the ending. I think the choice of style was great because in one film we learn about two different love stories that although had different circumstances both had romance involved.

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It's hard not be impressed by a film like Happy Valentine's Day. A visual fx showpiece from commercial directors (and brothers), Andrew and Remy Neymarc, it's a sumptuous feast for the eyes-a sweeping single take "oner" told in slow-motion...backwards. In fact, it's so stunning that it was able to get the directing duo representation from WME. And, now they are currently writing their first feature.

Happy Valentine's Day is the kind of short that could only exist now, a product of the computer generated age. As the camera moves from set-piece to set-piece, rotating around city streets and soaring into the sky, it's, undoubtedly, striking to watch. But, is its brilliance the result of great storytelling or just mind blowing CGI wizardry?

Honestly, I don't really have an answer to that question. The cynic in me wants to rage against its CG glossiness. It's beautifully crafted, no doubt, but that veneer also prevents it from feeling truly tangible. But, my optimistic side wants to champion its visual ingenuity and creative use of timing and structure to payoff its various reveals. Although the story is relatively thin with broad character tropes, it does manages to sweep you up emotionally.

At Short of the Week, our unofficial curatorial motto has always been "narrative first." But, occasionally, we give into our lizard brain's need for some much needed eye candy. Happy Valentine's Day may not be deep. But, it's the best cinematic frosting you could ask for. That might be a recipe for disaster if it were, say, a feature film. But, at five minutes, the sugar high of beautifully rendered wordless wonder lasts just long enough before a stomach ache has time to creep in.

Beyond that, though, the Neymarc brothers and their talented cast and crew should be commended for putting together such a technically difficult film using somewhat moderate resources. The entire film was shot in a small green screen studio space!

One of the film's producer, Sarah Verstraete, relates to Short of the Week more about the technical process:

"Months of pre-production were spent calculating where the camera would start and end for each sequence to maximize the space and time we had on set so that the transitions would be seamless. Our transitions were made thanks to the completely virtual CG New York City street we modeled, textured and animated from scratch. We killed ourselves building that CG intersection over the course of six months, with only three artists. To properly integrate our real actors into this virtual environment, we custom-built a 360-degree green-screen 'arena' (see our 'making-off' video), which enabled us to control many aspects of the lighting and background. We knew it was going to be a tremendous technical challenge so we established all of the details down to the millimeter at the animatic stage during our pre-production."

Happy Valentine's Day went on to screen at Siggraph in LA and Amarcort in Italy. And, of course, it definitely turned the heads of more than a few Hollywood execs. We're excited to see how the Neymarc brothers can translate their polished technical craft into bigger studio fare.

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Happy Valentine's Day by Neymarc Brothers | Drama Short Film

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It's hard not be impressed by a film like Happy Valentine's Day. A visual fx showpiece from commercial directors (and brothers), Andrew and Remy Neymarc, it's a sumptuous feast for the eyes-a sweeping single take "oner" told in slow-motion...backwards. In fact, it's so stunning that it was able to get the directing duo representation from WME.

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SCREENING #2: I Love You, I Love You BY GIANNI BAHA (3 MIN)

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SCREENING #2: I Love You, I Love You BY GIANNI BAHA (3 MIN)

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This is another very short film. But it is one that with such little duration, the storytelling is well done and shares a beautiful message. In this film, there is also no dialogue between characters involved but it does have voice over narration and this narrative is told by a man we never see on screen yet we find out a lot about him and what his intentions are in relation to the person we do see on screen. Its a love story told differently in regards to style but it is one that still relates to love and romance between two individuals. Not only does this short film relate to love and romance but it also touches on important issues like a disability in an individual. This film portrays a character with a disability that has a supportive partner. Stories like this one aren’t really shared a lot and this one really nailed it in sharing these characteristics to an audience. It sure will make you feel emotional.

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I'll admit it...on the surface, Gianni Baha's I Love You, I Love You doesn't seem like a typical Short of the Week "kind" of short. After all, it's more of a teaser-a set-up for a movie we don't get to see. But, across it's very brief run-time, it cleverly messes with expectations, toying with different genres until its big reveal. On principle, I tend to scoff at "punchline shorts" citing their lack of depth and reliance on manipulation to be interesting. But, even a curmudgeon like me has to admit that this short-short is predicated on a very good twist that not only surprises, but also hints at a larger premise that I would love to see fleshed out. In other words, as a teaser, it achieves exactly what it sets out to do.

All this to say, I think it's worth noting that pulling off a twist like this takes a fair amount of craft- an understanding of genre and tone that allows one to set up an audience for one thing, and then, slowly contort it into something else. That seems simple in concept, but it's actually quite tricky in execution, as it's a balancing act between not revealing too much, yet also not relying on shock value or cheap tricks.

Of course, discussing this piece becomes difficult without venturing into spoiler territory, so without further adieu...
SPOILERS
Horror and sci-fi pitches are somewhat ubiquitous in the short form space, and it's for a good reason: in the low budget world of independent features, it's easier to get financing for something genre and "sellable." But, conversely, this means there are lots of horror teasers being made, most of them formulaic and forgettable. What I love about Baha's concept is how it takes a familiar horror trope (the possession/exorcism narrative), but finds a very unique, yet relatable, entry point into the subject via our own "unconscious tics." It manages to achieve the impossible task of giving the audience something familiar, yet also different. Baha cleverly subverts the poetic voiceover driven romantic montage format (quite common in shorts) and then totally pulls the rug out from under you. The result is that when the twist hits-you're blindsided, hair instantly standing up on the back of your neck.

As Baha relates to Short of the Week:

"I've always been fascinated by tics, having struggled with them my whole life. Having no control over what I say or do is an inherently scary notion that I felt was worth exploring. However, I didn't want to scare the viewer from the get-go, but rather create an intimate relationship drama that then sours. The bait-and-switch set-up of Rosemary's Baby inspired the tone while the intimate and threatening close-ups of Silence of the Lambs inspired the aesthetic."

Obviously, this film is a proof-of-concept for a feature length project, so Baha is hoping this teaser sparks interest as a creative an unexpected entry point into the horror genre. He also recently has completed two short films. Find out more by checking out his website at the link below.

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I Love You, I Love You by Gianni Baha | Romance Short Film

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I'll admit it...on the surface, Gianni Baha's I Love You, I Love You doesn't seem like a typical Short of the Week "kind" of short. After all, it's more of a teaser-a set-up for a movie we don't get to see.

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SCREENING #3: Baby BY JESSIE LEVANDOV (8 MIN)

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SCREENING #3: Baby BY JESSIE LEVANDOV (8 MIN)

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“Baby” is such a great short film. The issues it brings up in the story and what the plot is about are way opposite yet the way the story is told throughout the first act and second act you would never expect the outcome that occurs in the third act. This short film is also a great one because it touches on multiple important issues in today’s society. One is on the LGTBQ community and secondly is the one of acceptance of the LGTBQ community in hispanic/latino households. The film focuses on stereotypes of young men raised in the hoods of major cities like the Bronx New York and how they should act on one behavior and anything different from what they’re known for, is just out of this world and can’t be accepted. What this film does is that it escalates the “quiet moments” (secrets) that a noisy place like New York can have present within its locals. This film does a good job in juggling the toxic masculinity present in hispanic households and the delicatness of a love story between two individuals of the same sex.

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Opening with a seemingly innocuous scene, where a group of teens hang out on benches smoking and listen to music, the early imagery in Jessie Levandov's coming-of-age short immediately conjure assumptions about how these individuals must be somehow "tougher" than your average American. It's stereotypes and preconceived notions like these that Levandov is counting on. A tale of queer first love and the hurdles that young adults must overcome, Levandov's eight-minute short is a surprisingly touching film that amplifies the quiet moments in an otherwise noisy urban jungle. More than just an ode to budding romance, Baby is a love letter to New York City and poetically confronts themes of LGBTQ identity and toxic masculinity with a delicate hand.

Capturing the youth culture in the city and drawing attention to the little details that make her characters so specific to it, Baby introduces us to the world of Ali, a Dominican-American teenager from the Bronx. Spending his Saturday afternoon focused on his romantic goals, as we follow our besotted protagonist Levandov's cinéma vérité style makes his journey that much more compelling, crafting a believable portrait of a young person coming into their queerness for the first time. Of course, this is a realization that the viewer won't have until the very end of the film, as Levandov works to build up our preconceptions as we observe how Ali is expected to behave first.

"Baby engages themes of toxic masculinity from my perspective as a queer femme"

While the interactions that Ali has with his barber and a deli clerk seem harmless on the surface, their repercussions become apparent nonetheless. As we begin to realize that Ali has been portraying a more masculine version of himself to meet the status quo, his fearlessness to seek out love feels even more empowering. Frankly, it was hard not to break into a toothy smile from the sheer joy of Ali's reciprocated love on the basketball court. Call me a romantic, but I very nearly swooned!

" Baby engages themes of toxic masculinity from my perspective as a queer femme," Levandov explains as we discuss the aims of her film. "It is an ode to the youth I've taught. It is an ode to how queer folks have to navigate shame while coming into our queerness and desire, clawing our way out of harmful narratives that prevent us from being our most authentic selves".

"It is an ode to all queer youth, past, present and future, who seek joy in a world that tells us in so many ways that we don't belong", Levandov adds. "Our stories don't always end in a cinematic triumph - it's often the quiet victory of holding a hand, or playing a game of basketball, that carves out the space for intimacy, tenderness and joy in our lives. I wanted to convey a quiet, personal victory - and show through this quiet story, how powerful one moment can be, when we are able to choose ourselves and connection with people we love."

"I wanted to tell a tender, queer coming-of-age love story that brings you into the world of this particular group of young folks"

Levandov taught filmmaking in New York City public high schools for almost a decade. Baby was therefore inspired by, and produced in collaboration with Levandov's high school students during her final months as a teacher. "I adore teenagers, I think they're brilliant", she declares as we discuss the influences behind her filmmaking. "They have so much to say, and it's such a specific and tender time in one's life where you're really trying to figure out how to carve out space for yourself in order to be who you are. I wanted to tell a tender, queer coming-of-age love story that brings you into the world of this particular group of young folks in New York City".

Performed by a cast of non-actors, Levandov got former students, and friends of former students, to play the characters in Baby. To ensure her story felt genuine, the filmmaker wrote a script with action, beats and loose dialogue, so her actors could improvise and inject a bit of themselves into their roles. The effect is a low key, extremely authentic story that feels believable in a truly tangible way. This level of realism, coupled with her aforementioned use of cinéma vérité, also helps to bring gravity to some of the heavy subject matter in Baby.

Produced by radical feminist film studio Mala Forever, to which Levandov is a co-founder and director, Baby was awarded the Grand Jury Prize for Best Narrative Short Film at Outfest and we are very excited to have it on Short of the Week!

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Baby by Jessie Levandov | A Queer Coming-of-Age Short Film

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Opening with a seemingly innocuous scene, where a group of teens hang out on benches smoking and listen to music, the early imagery in Jessie Levandov's coming-of-age short immediately conjure assumptions about how these individuals must be somehow "tougher" than your average American. It's stereotypes and preconceived notions like these that Levandov is counting on.

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This Q & A will be held with the filmmaker and the main characters of the film. The moderator in this Q & A will be a well known activist in the field of the LGTBQ community and the representation it has in films. This group of panelists would be invited because it'd be great to sit down with them and ask them about how this film came to be and how each member might have had a personal connection to the character they played or wrote about.
Before opening it up the audience I would ask them these questions:

1) What inspired you the filmmaker to write this story?

2) Have you received any backlash for writing on such taboo topics like the one shared in this film.?

3) Do you the filmmaker believe that after watching a film like this one, this topic on toxic masculinity can open up discussion between individuals especially that of males?

4) Is this topic relatable to you or do you simply just believe it is an issue that should be addressed more often?

5) As for the characters, what were some challenges you faced with playing characters like these in the film?

6) Did you guys have any knowledge on the topic/issue before ?

7) How did y'all personally feel when playing these characters?

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SCREENING #4: Reception BY JOE GILLETE (22 MIN)

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SCREENING #4: Reception BY JOE GILLETE (22 MIN)

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Reception is more of a rom-com film. It shares both stylistic choices from a comedy and a romance genre film.  Unlike the other films, where little to no dialogue is present, in this film dialogue is the most important and the dialogue adds a lot to the story of this film. What’s particular about this film is that it takes place in one setting throughout the whole twenty-two minutes it lasts. I think the dialogue shared between the only characters we see on screen was written well for the audience to know what was happening without showing a lot of action. The two characters literally sat in one place the whole time while conversing with each other and we still got a full plot on what this film was about. I find this film to be similar to that of Valentine’s Day in the sense that we get a new romance out of a tragedy involving love as well. This film is a great example of a rom-com short film.

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Admittedly, a 20 minute dialogue-driven dramedy where two people literally sit in one place for the film's entire duration isn't exactly the easiest sell for an online audience. But, seriously: challenge your smartphone-impaired attention span with this one. Joe Gillette's sweet and expertly performed little slice of life is the type of two-hander bound to appeal to lovers of subtle meet-cutes and good dialogue.

Gillette really captures a moment here. That may seem like a broad statement, but Reception just so effortlessly relates a certain vibe. A crisp evening. The quiet melancholy of the best man in a wedding staring at the reception that we, the audience, aren't privy to see (a brilliant low budget choice, btw). It's just an engaging little conversation between two people who form an unexpected connection. It's funny, it's sweet...but never sugary. The kind of a thing that will embolden the romantic sap inside of everyone, without being so cloying that it feels forced.

"Dare to be boring."

As director, writer, and star, Joe Gillette relates to Short of the Week:

"I wanted to watch two people meet and talk for 20 minutes without cutting away and see if we could care about them and relate to them and want good things for them. Typical meet-cutes are fast and effortlessly charming, and I wanted to try for slow and insecure. Dare to be boring."

Funny enough, Reception isn't boring because the performances and writing are too strong to let it be. It may be an oddly specific thing to note, but both actors have such terrific voices. Gillette and his co-star Devin Kelley (who is an auditory doppelganger for Emma Stone ) sound harmonious together...the slow cadence of their ping-ponging quips and comebacks a lulling and transfixing soundtrack (backed, of course, by diegetic DJ pop-music playing the background).

Reception was created by small crew of 8 one chilly night in January. In order to capture the natural progression of the real time conversation, most takes were over 20 minutes long, with the actors running through the entire screenplay. That verisimilitude really comes through. By the end of the runtime, you're just happy these two people found each other.

More to the point, we're happy Gillette, who is currently in development on future projects, was able to make this film and share it with the world.

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Reception by Joe Gillette | Dramedy Short Film

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Admittedly, a 20 minute dialogue-driven dramedy where two people literally sit in one place for the film's entire duration isn't exactly the easiest sell for an online audience. But, seriously: challenge your smartphone-impaired attention span with this one.

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SCREENING #5: Our Kind of Love BY ELHAM EHSAS & AZEEM BHATI (15 MIN)

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SCREENING #5: Our Kind of Love BY ELHAM EHSAS & AZEEM BHATI (15 MIN)

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“Our kind of Love” tells a great story of possible love in arranged marriages. This film takes upon the topic of dating in the 21st century and the cultural traditions of arranged marriages in other countries. The writer does a good job in bringing up these topics and merging them into a story plot where true romance can come in. It generally explores cultural differences of the west and east through romance. The setting of this film also takes place in one setting although there is a little more action, dialogue between the two main characters is what is focused on. Another great quality of this film is the use of analogies shared in the dialogue. These analogies relate to the story plot and help the audience understand what the film is about. I also find this film to be relatable to many individuals dating whose culture is very different from the customs of where they actually grow up. This is an issue that many first generation Americans who were born and raised in more “modern” countries like the U.S or the U.K. but still want to continue practicing their traditions, might have conflict. Although it talks upon the social cultural issues, Love is still present and although there is a lot of conflict involved, we still get a love story from these two different individuals.

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t's easy to underestimate a chamber piece staged over a table for two. Yet, despite the limited set and visuals, Elham Ehsas and Azeem Bhati's short two-hander, Our Kind of Love, is an unassuming hit for its performances and melancholic take on dating in the 21st century, for those whose customs still dictate the most. When an Afghani man can't seem to find love the Western way, he turns toward his culture's traditional methods in a thought provoking tale of East meets West.

Our Kind of Love is a refreshing alternative to the refugee narrative in how it explores cultural differences through romance, with a bit of hope. Set cheekily against the backdrop of a Japanese sushi restaurant, an Afgani bride-to-be is quite literally a fish out of water in London, and the metaphorical comedic candor is not lost on us. While the production isn't exactly impressive, the dialogue has quite a magnetic effect upon the film, disguising its 15-minute runtime.

When Afghan refugee, Samira ( Afsaneh Dehrouyeh), goes on her first date in London with second generation British Afghan, Harun ( Elham Ehsas), the conversation artfully explores the cultural divide despite their shared heritage. Our Kind of Love is therefore a lesson in how to reveal the nuance of characters who have grown up 4,000 miles apart, creating a truly captivating contrast of worlds on screen without being overt. There's a certain poetic nature to their conversations which is made stronger by such genuine performances by the two actors.

Ehsas, who co-wrote and co-directed with Bhati, also plays Samira's husband-to-be and explains their inspiration for the film: "The idea for Our Kind Of Love stemmed from our own upbringing of growing up in the West, but also being loyal to cultures, languages and traditions of the East; our motherlands." Ehsas and Bhati believe themselves to be hybrids, having one foot in both worlds, that only too often collide.

While many would argue that arranged marriages are an archaic practice, Westerners will no doubt sympathize with Harun's plight. For there are a number of ways to find a partner, yet somehow it has become that much harder to find love in a sea of dating apps. It is with hope and wonder that our two characters might find happiness and a much needed friend in each other after all.

Our Kind of Love was screened at the London Short Film Festival and the Underwire Short Film Festival among others. Ehsas and Bhati hope to make their feature debut under their production title Azana Films.

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Our Kind of Love by Elham Ehsas & Azeem Bhati - Drama

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t's easy to underestimate a chamber piece staged over a table for two. Yet, despite the limited set and visuals, Elham Ehsas and Azeem Bhati's short two-hander, Our Kind of Love, is an unassuming hit for its performances and melancholic take on dating in the 21st century, for those whose customs still dictate the most.

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SCREENING #6: See You Soon BY TYLER RABINOWITZ (16 MIN)

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SCREENING #6: See You Soon BY TYLER RABINOWITZ (16 MIN)

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This film is another great LGBTQ love story. The main topic in this film is long distance romantic relationships. With today’s technology it is easy to fall in love with someone over the internet while being thousands of miles apart from one another. Individuals fall in love so much that they’re willing to fly across the country or sometimes even across the world. The decision of whether one is willing to move out to their partner’s place of living is something often couples can argue about. This film does a good job in laying out this topic as well as other important topics like being with your partner sexually for the first time as well as the issue of quick attachment that some individuals might struggle with .Unlike the other films where love comes after, this film starts with a good love story and towards the end we get conflict. Overall it is a great film that touches on modern topics in relation to dating in these modern times that individuals in today’s society can relate to.

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Can you remember that perfect first date? When every cell of your body, drunk on a cocktail of love and lust, tingled with anticipation and blissful happiness? Well, chances are you are no longer with that person, as these perfect dates tend to come with an expiry date, marking the difference between fleeting infatuation and lifelong passion. Written and directed by Tyler Rabinowitz, See You Soon observes a tender romance which blooms between two young men, as they carve out their own private space of intimacy. Capturing the magical moments shared between the long distance lovers, their heartbreaking fragility shapes this sixteen minute drama into an enthralling and intelligent study of love.

With a whole country separating them, Vincent (James Cusati-Moyer) and Anthony (Jonny Beauchamp)have been chatting online for months. Now they have one precious weekend to finally spend together and find out if the spark is still there. Rabinowitz invites us along, as an unobtrusive observer, to witness the first blush of infatuation appear between the awkward cracks and nervous laughter. See You Soon soothes with its extended cinematic vignettes, masterfully crafted by DP Oren Soffer, and gently tightens the emotional screws as the narrative unravels, making the film an all-consuming and all too fleeting joy to behold.

"I discovered not only my capacity to love, but also my capacity to receive love."

The short was inspired by Rabinowitz's own romantic experience, when he met a man he matched with on a dating app. "When we were finally able to have a weekend together in person, I found myself able to let my guard down in a way I never had before", he reveals as we discuss the real-life events behind his story. "As the weekend came to an end, I had to grapple with the double-edged swords of attachment, vulnerability, and a long distance relationship. It was a pivotal moment in my coming of age, as I discovered not only my capacity to love, but also my capacity to receive love.".

There's plenty to love about this tale of boy meets boy. As we eavesdrop on the intimate experience they share, we are also invited to feel what they feel - the exhilaration of making a connection with another kindred spirit, and the instant conversational and physical intimacy between two people. The sense that life holds infinite possibilities for the characters who are still toddlers in love years. As Vincent and Anthony talk about nothing and everything, and slowly recognise each other as soul mates, our yearning for their relationship to survive against the odds bubbles up. All until we sense time slipping away, and with it our hope for their future together. It's impossible not to be moved.

"The tension doesn't hinge upon a gay character's tense relationship with unaccepting family members"

See You Soon is so captivating and compelling, the fact that it's a love story about a gay couple takes second stage. Rabinowitz has achieved this by purposely avoiding any narrative twists we have come to expect from LGBTQ+ films. "The tension doesn't hinge upon a gay character's tense relationship with unaccepting family members, or their rejection of their own queerness", the director explains as we discuss the aims of his film. "There is nothing taboo about their relationship, and they're not afraid their sexual identity will damage their social standing in any way". By committing to an ordinary story between two ordinary people, Rabinowitz has achieved something extraordinary - he has created a sharp, sexy and heartwarming piece of cinematic magic and with it he's caught the fever and fleetingness of love.

See You Soon is Tyler's first appearance on S/W as a director, but not the first time his work has been featured on our platform. Also a talented producer, if you follow our coverage you've probably already seen a couple of shorts he was involved in - Matthew Puccini's The Mess He Made and (acquired by Fox Searchlight at Sundance 2019). His next project however sees him back in the director seat, as he's currently developing his first feature YOU CANNOT ERASE ME, which is set in Toronto and centres on the romance between an up-and-coming drag queen and a queer refugee who has recently fled the state-supported persecution of LGBTQ+ lives in his homeland.

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See You Soon by Tyler Rabinowitz | Short Film

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Can you remember that perfect first date? When every cell of your body, drunk on a cocktail of love and lust, tingled with anticipation and blissful happiness? Well, chances are you are no longer with that person, as these perfect dates tend to come with an expiry date, marking the difference between fleeting infatuation and lifelong passion.

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SCREENING #7: Date Night BY JJ SHPALL (16 MIN)

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SCREENING #7: Date Night BY JJ SHPALL (16 MIN)

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Date Night is a modern type of a rom-com short film. Dating in this century is way different than what it was a couple years ago. Technology has made it easy for people to connect. Unlike some of the previous films where the setting was a more realistic type of setting, the world of this film story is more on the fictional side. The characters are real but the world they live is different from the world we know. In this type of world, dating for individuals is considered to have a consequence. Yet, since the characters are real humans, they also share certain needs. This creates conflict for the two characters in the film. The main topic relating to this short film is the importance of fulfillment in an individual’s love life. As much as we try to avoid it, humans need love in their life and that could mean showing it in different ways like accompanying someone and listening to them or being sexually active with someone. Whatever it is that one desires, love is something we can’t avoid and not having can start affecting us individuals physically, mentally and emotionally. This film does a good job in bringing that idea to life.

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Like many a modern romantic comedy, JJ Shpall's Date Nite starts with a young man looking for a match on a dating app and finding no luck. Jon works in a dead-end cubicle work-environment, a call-center that, ironically, provides comfort for lonely people by selling them a dubious technological solution. Unlike the characters that inhabit most modern romantic comedies though, Jon lives in a world where desire and human contact are prohibited due to a mysterious, unexplained sickness that produces hilariously gruesome outcomes. That certainly ups the stakes! When Jon finally matches Maya, he has to ask himself if a shot at intimacy is worth defying the law and endangering himself-to say nothing of jeopardizing his prospective date.

The film is a tightrope of tone. It evokes dystopian visions past, yet, in keeping with its whimsical, romantic yearnings, also never takes itself too seriously. Grittier precedents are evoked via sterile office environments and the monochromatic palette of green and blue, but are softened by a fashionable retro-kitsch. A dash of color is inserted into Jon's life wth Maya, both literally and figuratively, and that also helps the film from becoming too somber, as do the contributions of the film's cast, which is populated by semi-known faces from TV sitcoms, and who infuse this dark comedy with their subtly awkward comedic mannerisms.

Josh Brener ( Silicon Valley, Maron) plays the lovelorn schmuck Jon, a loser you root for even as things turn grotesquely sour. His counterpart, Lauren Lapkus ( The Big Bang Theory, Orange Is the New Black) gives the role of the slightly out-of-his-league love interest the necessary depth as a three-dimensional character in her own right. The film is personably cast right up to the supporting actors, with Cleo King ( Mike & Molly) and Larry Hankin (who I'll always remember as Monica and Rachel's weird downstairs neighbor Mr. Heckles from the first two seasons of Friends) rounding out the ensemble.

"You are not alone in your aloneness."

As much as connections to our current reality are unavoidable, it is worth noting that Date Nite was conceived, made, and even selected for S/W long before COVID-19 emerged. Rather than an attempt at topicality, the premise of the story has more to do with one of the most ancient motivations for artists to create-heartbreak. Writer/director JJ Shpall elaborates on the personal inspirations for his film:

"Hypothetically, let's say I was heartbroken last year. Let's say, for argument's sake, that I vowed to never hurt so much again. I began asking rhetorical questions like, "Wouldn't it be nice to live in a world where love didn't exist?" And when that wasn't enough, I wondered what it'd be like to make that question literal."

Of course, as the film makes its online debut today, it isn't sensible to ignore the parallels that Date Nite 's narrative has to the larger context of the world. As filmmaker Shpall himself explains:

"What I could not have seen coming was how the real world would so suddenly mirror the film's dating apocalypse. When we shot it, we wanted to create a sense of physical and emotional distance to reflect the challenges of forging relationships in a digital age. A few months later, there's now a term for that: social distancing."

In the midst of fear and suffering, it feels banal to talk about love and dating in the age of coronavirus, but, just for argument's sake, let us imagine what it will mean for people looking for a partner, to go on a date while constantly dealing with the lingering suspicion that the moment you bring yourself closer to someone, it might actually be dangerous. What will flirting or a first kiss look like if you're forced to wear a face mask in public at all times?

"How much of yourself are you willing to sacrifice to find your better half?"

To pull back from the topical angle however, one recognizes the timelessness of the film's message. On an emotional level, you always risk getting hurt when you entrust yourself to somebody. This train of thought is where Date Nite gains its universal power and message, apart from its connection to the current crisis. At the risk of sounding like every love song ever written, it is true that falling in love can eventually break your heart. But it can also elevate us to higher places impossible without it. That's the tradeoff inherent giving yourself over to another person: high risk, high reward. Naturally, you can always choose to stay alone, but billions of humans throughout history have decided the gamble is worth it.

Although Date Nite takes this conventional wisdom quite literally, it doesn't diminish the truth that there is always something you have to give up in a relationship. Is it worth it? That is something for every individual to decide, but I side with Jon-sometimes Love might even cost you a leg, but it beats eating dinner alone for the rest of your life.

Whatever the outcome of our present situation, whether or not we return to "normalcy" after a period of time, Date Nite has clearly struck a nerve. In fact, JJ Shapll and his team are currently developing a feature version, with the short serving as a proof-of-concept: "My writing partner Eric Brewster and I were touching up the feature script when life started imitating art. For better or worse, we think the dystopian rom-com's time has come."

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Date Nite by JJ Shpall | Dark Comedy Short Film

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Like many a modern romantic comedy, JJ Shpall's Date Nite starts with a young man looking for a match on a dating app and finding no luck. Jon works in a dead-end cubicle work-environment, a call-center that, ironically, provides comfort for lonely people by selling them a dubious technological solution.

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SCREENING #8: DIRTY BY MATHEW PUCCINI (10 MIN)

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SCREENING #8: DIRTY BY MATHEW PUCCINI (10 MIN)

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The title “Dirty” doesn’t really make one think about a romance. But this film plays on both the romantic side of a relationship as well as the sexual part of a relationship between two individuals. The style of this film is also based on a LGTBQ couple struggling to be a “normal” couple in today’s society. This film is more based on the sexuality aspect in a gay relationship and the awkardness one goes through in their first time being with someone sexually. Although this is a film about love, conflict arises which tests the characters and their commitment to their relationship. Something interesting about this film is the age these characters are playing. These characters are in high school and usually films like these are played by older adults yet this short film really took upon sharing this important moment in an individual’s life. Through the action more than dialogue we get a sense of the emotion of love shared between these two characters and its adds on to the credibility of the film.

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Matthew Puccini has a superpower and it is making the banal cinematic. In his third featured short on Short of the Week (following The Mess He Made, and the filmmakercontinues toshow an exquisite ability to transform the charged, messy, but ultimately mundane moments of his gay protagonists' lives into scenes of sublime beauty.

Queer shorts tend to require capitalization, and while Puccini's films are unabashedly gay stories that would be lesser without that essential context, they are also human stories that are resolute in avoiding the usual tropes that we're used to seeing. In Dirty, his latest short to premiere at Sundance, awkwardness, and kindness, mix in equal measure as he updates the classic "losing your virginity" genre by centering it around two queer teenagers and depicting it in an emotionally frank manner.

"I was thinking a lot about what I wish I'd known and seen growing up."

Marco ( Morgan Sullivan) and Graham ( Manny Dunn) are two high schoolers who skip class one day. Heading back to his house, Marco's inexperience takes center stage as he is shy and reticent about what is to be his first sexual encounter. While ultimately traumatic in a way, Puccini's script, and the delicate performances of his actors, don't allow the conflict to be overdramatized-Marco is not neurotic or self-loathing, Graham is tender rather than impatient. Dirty's power is not driven by plot contrivances, but by a clear-eyed depiction of a maelstrom of emotions, as themes of growth, inexperience, and trust are explored.

Similar to Lavender, Puccini's aims are to depict the young, queer New York that he is part of in an unsensationalized way, and in doing so expand the horizons of what constitutes a "queer" story. Drawing upon his personal experiences, Puccini relates that, "I was thinking a lot about what I wish I'd known and seen growing up, and how naive I was going into my first few sexual experiences as a gay man, largely because queer sex just wasn't ever talked about."

With cinematography from Matt Mitchell, the film is frequently shot handheld, often from behind the characters, with occluding elements in the foreground which all help to develop a sense of intimacy and furtiveness to the audience's gaze. It is fly-on-the-wall filmmaking in a narrative capacity, treating the audience as though we're uninvited guests peeking around the corner or across the train at these two young lovers and their solipsistic world. It is unshowy work-Puccini, collaborating with several artists from his previous films, consciously wanted to prevent the choices made from overpowering or distracting from what was happening in what is, ultimately, a very simple story.

But simplicity does not imply a lack of impact, and the astonishing humanism of Puccini's approach, married to raw and unflinching performances, has established a signature quality to his work. It is one of inimitable empathy, a trait that is rare across all mediums. This quality is increasingly being recognized as accolades pour in- Dirty is his second short in a row to premiere at Sundance, played SXSW, and will be featured on the Criterion Channel later this month. As Puccini's star grows brighter, we're confident that a feature film is forthcoming, but, in the meantime, we're pleased to highlight Puccini once again on this site.

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Dirty by Matthew Puccini | Romance Short Film

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Matthew Puccini has a superpower and it is making the banal cinematic. In his third featured short on Short of the Week (following The Mess He Made, and the filmmakercontinues toshow an exquisite ability to transform the charged, messy, but ultimately mundane moments of his gay protagonists' lives into scenes of sublime beauty.

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The Best Short Film Romance of the Year Award goes to....
"SEE YOU SOON" BY: TYLER RABINOWITZ
They are the winners of the award because it shares an emotional and powerful message to an audience. It is relatable in today's society. It touches on a lot of important topics like first time awkwardness, long distance romance, and easy attachment. The cinematography also really adds to the tone of the film. Not only does it touch on important topics but it includes a gay couple instead of a straight couple. It also does well by representing the gay couple in the film in a positive way. It felt like a normal love story film between two individuals who are in love with one another.  The ending ends with a powerful real life scene.

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In general this festival will have one feel like they're on a roller coaster of emotions. These films are in relation to Romance but are also connected with other genres that help communicate the message of the film story. I believe each film had a story that needed to be told and that is why I chose these films. Like mentioned before, Romance films are not only about the lonely girl finding her prince charming and vice versa but about how love/romance in relation to other topics can help to create a new movement or belief. I chose to include films with characters in the LGBTQ community because I think good representation of them is needed in films in order to create awareness on these topics. To add on I also included disability and films with people of color to make sure that their perspectives are also being shared and for individuals that identify like these characters can feel like they're also being represented and not just the typical characters and stories that not all individuals can relate to. In conclusion, I believe these films can open up discussion to new learning of important topics.