The 2024 deadCenter Love, Sex, & Death Shorts Exemplify Emotional Storytelling
We live. We sleep. And sometimes we fuck. In other words, we’re human. And this year’s deadCenter Love, Sex, & Death Shorts hone in on the tragedy and tenderness of our collective experience. Here’s how through seven moving entries.
House in the Clouds
Kaitlyn Shelby’s “House in the Clouds” examines a seemingly ideal couple (Danielle Evon Ploeger, Peter Anthony Seay) who do everything together in bed. They read, cook, wash dishes, and, of course, spoon. Unfortunately, second thoughts about each other’s happiness form a rift in the cozy sanctuary.
Shelby’s metaphor takes us to that ethereal place where nothing seems to matter, save the love for your partner. Despite the magical setting, the filmmaker conveys a poignant realism that’s well supported by her two leads. Its bittersweet ending will linger with you well beyond its 11-minute runtime.
The Eighth Day
In Jonah Weinstein’s “The Eighth Day,” a gay couple — Noah (Yair Ben-Dor) and Jonah (Weinstein) — host a bris to welcome their son into the Jewish faith. However, they unintentionally upset their respective parents by choosing not to circumcise their child.
“The Eighth Day” hilariously examines how even small steps toward progress can disrupt an otherwise open-minded, especially when it comes to religion. A climactic scene involving the brutal death of a penis cake nicely wraps up this thoughtful comedy.
Urpi: Her Last Wish
Sisa Quispe’s “Urpi: Her Last Wish” follows Urpi (Quispe) on a quest to understand herself while keeping a promise to her late grandmother. Urpi travels through Peru with Sayri (Juan Abel Ojeda Llanos), her motorcycle-riding guide.
The short is as contemplative as it is beautiful. Vast shots of the Andes are expertly complimented by moving, Indigenous music. It ultimately lands on a heartfelt and actualizing note about one’s heritage and reminds us to nurture our roots.
Fishtank
The block takes a turn for the weird in Wendi Tang’s “Fishtank.” Despite long-term sobriety, Jules (Tiffany Chu) suffers from a persistent illness: the tendency to throw goldfish. As hundreds of the fish occupy her apartment, Jules begins to realize the source of her predicament has little to do with drinking.
While the premise may seem bizarre, Tang’s writing is grounded in a suffocating reality. She seamlessly ties the phenomenon to the endless stare of the male gaze, and slowly evolves her metaphor as Jules understands and recognizes her needs.
The Fuse
Kevin Haefelin’s “The Fuse” is a harrowing, genre-breaking piece. After losing his job, a garbage man (Jorge Gabino) resolves to end his life in his apartment’s bathtub. However, a blown fuse forces him to the local bodega, and hardware store and back again. As the night goes on, the man notices the persistence of his mortality.
“The Fuse” can be hard to stomach, but this unwavering commitment also gives the short its weight. Gabino’s stellar facial acting single-handedly carries the nearly dialogue-free script. Clever and bold, the piece makes a strong case to keep living.
Jedo’s Dead
In Sara Nimeh’s “Jedo’s Dead,” a little girl discovers her grandpa passed away after she visits his house after school. She and eventually her brother work to understand what happened and wrestle with their grief the only way they know how.
“Jedo’s Dead” stands out among the block as the most tragic and heart-wrenching. Yet it maintains a childish sense of wonder that perfectly captures how most children would probably react in a similar situation. In a few short minutes, we feel like we’ve watched the kids grow closer to their grandfather while simultaneously accepting that he’s passed. Few shorts feel as intimate as this.
Fall Risk
Alex Martini’s “Fall Risk” is a jarring and meditative drama. After Dylan (Victoria Pedretti) is hospitalized for multiple sclerosis, she questions her romance with Emily (Caitlin Stasey). Slowly, Dylan realizes their relationship may only be the symptom of Emily’s dark secret.
“Fall Risk” demonstrates the pain and necessity of vulnerability. Martini’s script is captivating, and her ability to diffuse and materialize a sense of doubt demands a feature-length treatment. Hopefully “Fall Risk” is far from the last work by this exceptionally talented filmmaker.
Find more deadCenter 2024 coverage like this recap of the deadCenter Love, Sex & Death Shorts only at The Cinematropolis.
