Fashion Film Showcase: February 2023

'95-99', Max Maslov, Katerina Konoyko and Igor Tarasov. A sinister (and poetic) undertone laces itself throughout this film which is inspired by the very time period it cites in its title, referencing visuals that belong to ‘post-soviet cinematography’. Whether it’s the pale grainy nature of the film, its eerie background music or the whisper narrating its visuals that acts as a voice for murder, violence, suicide and depression… 95-99 certainly makes for a disturbing arthouse watch equally paired with a novel yet beautiful visual language.

'10th APRIL 2022', Xi Zhou. Filmed through the lens of multiple surveillance cameras installed in a cabin, the idea behind this short is create a narrative-less film; letting the models do whatever they want instead of following staged movements. Beauty is there, it's just not emphasised through an 'absent-minded' plot. In short, this film leaves beauty to chance, and the result is a happy-go-lucky grainy aesthetic following friends having fun.

'COCOON', Daniel Stricker. 'There's so much trash out there in the AI world and on the internet. I see Cocoon as a kind of dumpster dive to find gold and make the AI feel my own aggression and energy... I just want to thrash around'. - Daniel Stricker. Say no more Daniel, say no more.

'INFINITI', Alton Phillips. Above all else this post-apocalyptic style of film is highly referential. Part of a new visual language that posits itself between 2D AND 3D, a sense of futurism underpins its captivating visuals. The film’s use of abstract cubes and reverse classical music also aids the filmmaker’s language in conveying themes of identity and self-expression.

'JULIET', Jodie Mann. Bearing a youthful feel that is, to say the least, both exquisitely delicate and refined, this one's a heart melter and puller all in one, with the latter culminating from the film’s inspiration taken from the story of Shakespeare’s Romeo & Juliet. It’s uncomplicated and elegant; what more could you want?

'JUXTAPOSE', Eresha Sale. Brilliantly stylised, Sale's film is a lesson in surrealism done well and despite its lacking in fashion, has been included for its mastery nonetheless. Appearing out of a story book, 'Juxtapose' will make sure your eyes are pinned to the screen throughout.

'RARE REALITY', Eugene Leung. Inspired by the sci-fi works of writer Philip K Dick, this trippy watch touches upon life in the metaverse. Posing as an escape from reality, one could interpret Leung’s film as an extended olive branch of fantasy to run away from a world that is seemingly becoming increasingly vicious.

'TO TRUDGE IN ZUNDON', Talia Beale. Cutting between a fantastical surrealist fantasy and a brick and mortar reality reflecting on Britain’s concrete castles (otherwise known as council estates), ‘To Trudge in Zundon’ is a whacky - almost giddy - watch.

'UNIFORM', Francesca Lake. 'Are you a rich man? Do you have a lot of possessions or money in the bank?' Asks a voice at the beginning. 'I don't have that kind of richness; my richness is life', answers another voice - setting the tone for the rest of the film. As narration is placed over the top, the viewer is asked to relate the series of stills shown to the narrator's viewpoint, encouraging you to question what you deem necessary in life. What is your richness?

'WHITHER', Emily Fry. This mysterious film plays on the idea of pathetic fallacy to build a character portrayal of the short's protagonist, who is seen wandering along the seafront on a cold, windy night. Fry's choppy edit also reflects the crashing waves featured in the video to build a tempestuous feeling as the viewer wonders what will happen next.