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Chris Witt

Shorts

KAVI

Directed by Gregg Helvey
The story of a young boy who attempts to escape from the brick kiln where he is forced to work as a bonded labor slave in India.
Editing Kavi's psychological journey in escape sequence

“Kavi” is a thought-provoking short film that bravely tackles the pressing issue of modern-day slavery through the eyes of its young protagonist, Kavi, portrayed with depth by Sagar Salunke. Set against the backdrop of a brick kiln in India, the film explores Kavi’s dreams of freedom and his daily realities of bonded labor, capturing a stark contrast between childhood innocence and the harshness of forced labor. Directed by Gregg Helvey as a thesis project, “Kavi” has garnered attention for its earnest storytelling and impactful message, highlighting the enduring spirit of a child amidst adversity.

The Independent Critic appreciated “Kavi” for its commitment to activist cinema and its clear anti-slavery message. Viewers on Letterboxd have commented on the film’s realism and the discomfort it evokes, reflecting its success in drawing attention to the grim realities of child labor. The film’s heartfelt portrayal of a significant global issue has resonated with many, illustrating the power of cinema to illuminate and provoke discussion on matters of human rights and dignity.

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Kavi: "Inspection" | Syncing Pace with Kavi's Escape Journey

My objective in editing this climactic sequence was to align the pace with Kavi’s psychological shifts as he spots a fleeting chance for escape with the arrival of inspectors. The film’s editing transitions from moments of quiet reflection to intense scenes of escape, reflecting Kavi’s journey from hope to action. This pacing not only mirrors Kavi’s emotional and mental states but also draws viewers into his experience, making the escape attempt not just seen, but felt. By carefully balancing the pace, the editing bridges Kavi’s inner world with the audience’s engagement, deepening the impact of his story of resilience and the pursuit of freedom.

LUCY

Directed by Mojean Aria
A lonely electric scooter collector in Los Angeles, James, discovers an abandoned dog that gives him a new outlook on life.

“Lucy” is a poignant short film directed by Mojean Aria that tells the story of James, a lonely electric scooter collector in Los Angeles, whose life changes when he discovers an abandoned dog named Lucy. This narrative explores themes of depression and isolation, portraying the raw, everyday struggles of those suffering from mental health issues without relying on dramatic embellishments. The film stands out for its genuine depiction of a newfound friendship offering a glimmer of hope. Critics have praised “Lucy” for its sensitive storytelling, compelling performances, and the film’s ability to address societal issues with subtlety and depth.

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Lucy: "What's Her Name?" | Unveiling Depth in the Emotional Support Scene

To secure his ability to keep a stray dog in his apartment, James embarks on the process of getting the dog certified as an Emotional Support Animal. This journey leads him to an encounter with psychiatrist Dr. Delpiero, where what starts as routine questioning unveils the profound depth of James’s emotional and psychological reliance on his new companion. The cinematography and editing of this scene are meticulously crafted to mirror the emotional dynamics at play.

Initially, the camera captures James in a series of tight, vulnerable shots, setting a tone of intimacy and exposure, while Dr. Delpiero is framed with more symmetry and portrayed as emotionally and physically removed. This visual contrast deepens the viewer’s understanding of their respective emotional states and the power dynamics of the situation.

A pivotal moment occurs when James, overwhelmed and on the brink of giving up, almost walks out, a sentiment underscored by a wide shot that visually represents his feeling of emotional estrangement. This moment of withdrawal heightens the tension and underscores the stakes involved in the certification process.

However, as James decides to return, the editing strategy shifts significantly. The scene grows more intense with closer shots of Dr. Delpiero, drawing attention to his deeper engagement. Meanwhile, intimate close-ups on James become extended, allowing the audience to fully immerse in his vulnerability and the emotional crescendo as he breaks down, revealing the depth of his attachment to the dog.

This deliberate shot design and rhythmic editing not only enhance the narrative but also draw the audience deeper into the emotional undercurrent of the scene. Through this visual storytelling, viewers are invited to feel every nuance of James’s emotional journey, from defensiveness to breakdown, underscoring the pivotal role his new companion plays in his life.

HEDGEHOG

Directed by D.Mitry

As the war starts in Ukraine, six years old Nina is sent to her grandmother's remote village. In the shack outside, Nina discovers a badly wounded Russian soldier.

D. Mitry’s “Hedgehog” is a poignant short film that has garnered attention for its thematic depth and minimalistic dialogue, which underscores the impact of war on the human spirit. The narrative, characterized by its sparing use of dialogue, employs powerful visual storytelling to explore themes of empathy, resilience, and the universal search for love and understanding amidst conflict. Drawing upon folk sayings and minimal dialogue, the film succeeds in leaving a memorable imprint on its audience, urging them to reflect on the far-reaching effects of war on everyday people and the choices that define our humanity. As the film has been recognized and selected for various film festivals across America, it aims to foster a deeper contemplation on the notion of the “enemy” and the intrinsic capacity for compassion that lies within. Through its cinematic journey, “Hedgehog” aspires to bridge divides and illuminate the shared human experience, marking D. Mitry’s transition from playwriting to filmmaking as a significant contribution to the realm of visual storytelling.

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Hedgehog: “Is He Bad?” | Unveiling Nina's Gentle Encounter Through Subtle Cuts

In crafting the scene where Nina stumbles upon a wounded Russian soldier, my editing philosophy centered on capturing the essence of their unexpected encounter with the utmost subtlety and grace. The challenge was to navigate the delicate dynamics between Nina and the soldier, ensuring their interactions were portrayed with a sense of sweet innocence and emerging trust. By opting for minimal and deliberate edits, I aimed to let their performances breathe and unfold naturally on screen, allowing the audience to immerse themselves fully in the nuanced development of their relationship.

This restrained approach was crucial in guiding the viewer’s perception, ensuring that the soldier was seen not as a looming threat but as a potential ally, perhaps even a friend. It was a fine balance to strike—too aggressive or rapid editing would risk implanting a sense of unease or suspicion, betraying the scene’s true intent and undermining the delicate rapport being built. It is a testament to the power of editing not just to tell a story, but to shape the very heart of a narrative, steering the emotional journey of the audience with precision and intent.

THE SUITCASE

Directed by Abi Damaris Corbin
The ordinary life of a Boston bred baggage handler is turned upside down when he steals a suitcase that contains terrorist plans. Inspired by true events on 9/11.

“The Suitcase” is a short film directed by Abi Damaris Corbin, which has been highly praised by critics. The story revolves around Joe Franek, a baggage handler at Logan Airport in Boston. Franek leads an unfulfilled life, both professionally and personally.

The narrative takes a turn when Franek rifled through a passenger’s bag and discovers something unusual. Just as begins to revel in getting away with it, the airport descends into chaos as the news of the 9/11 attacks breaks.

Franek is then faced with a dilemma. Reporting his discovery could jeopardize his career, but not doing so could endanger countless lives. As he grapples with this predicament, he must also contend with airline staff, superiors, and FBI agents.

Indie Shorts Mag commends the film for its pacing and music, especially after the revelation of the 9/11 attacks. They also appreciate the character development of Joe Franek, the protagonist. A review on Frame.io heralds Abi Damaris Corbin as “the next Kathryn Bigelow” based on the critical success of “The Suitcase”. The review praises the film for its taut action, cool confidence, and organic character realizations.

The film explores Franek’s daily struggles and the significant impact of his decisions on recent history. Despite its short duration, “The Suitcase” leaves a lasting impression, offering a glimpse into a part of history that deserves to be told. 

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The Suitcase: "Bomb!" | Franek's Determination and Turmoil Visualized

The editing of Franek’s journey reflects his intense determination and inner turmoil. The sharp pacing is not merely a stylistic choice, but a narrative tool that mirrors Franek’s mental state. Each quick cut echoes his urgency and the chaotic nature of this moment in American History. Close-ups capture the raw emotion in Franek’s eyes, making his internal struggle palpable to the audience. The use of cross-cutting between Franek’s determined face and the suitcase heightens the suspense and impending decision.

KRIEG

Directed by Jeff Fry
A soldier's remorse for inaction in the face of murder compels him to risk all to protect a wounded enemy airman.
“Krieg,” Jeff Fry’s directorial debut, immerses viewers in the moral complexities of WWII, capturing the essence of human ethics amidst the horrors of war. Set during the Third Reich’s final days, the film meticulously crafts a tactile authenticity, bringing to life the story of Konrad Winter, a German officer who finds himself torn between duty and conscience. Critics have noted the film’s genuine portrayal of war’s cruelty and the compelling exploration of remorse, as Winter risks everything to protect a wounded enemy airman, highlighting the universally accessible themes and the period’s consistent visual representation. “Krieg” was brought to life through remarkable support and cinematic techniques, with Panavision donating the camera package and Kodak offering significant discounts on film stock. The production utilized 5219 and 5207 film, with the compact Aaton 35 III camera being a key tool for capturing scenes within the confined spaces of a B-17 bomber. For general shooting, the team employed Platinum and Gold GII cameras, while high-speed sequences benefited from the capabilities of a Panastar camera, demonstrating the film’s commitment to visual authenticity and cinematic quality.

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Krieg: "The B17" | Crafting Suspense in Winter's B17 Discovery

After witnessing a dramatic B17 crash in the mountains, the character Winter, brought to life by Heiko Obermöller, makes a decisive break from his German military outpost to explore the wreckage. Despite the narrative setting this scene amidst snowy mountainous terrain, it was actually filmed in the contrasting environment of the desert, specifically at the Palm Springs Air Museum. To convincingly transform this location, a platform was constructed around an antique B17 situated on the tarmac, which was then meticulously dressed in artificial snow, crafting a visually convincing snowy crash site.

Editing this particular sequence posed a unique set of challenges, primarily due to the need to conceal the actual conditions under which the scene was shot. The primary goal was to maintain the illusion of a snow-bound mountainous locale, despite the desert setting, requiring a certain editorial finesse to avoid any incongruities that might break the viewer’s immersion. The task demanded a careful balance of visual elements, ensuring that the artificial snow appeared consistent and that each shot seamlessly contributed to the overall illusion.

The suspense in this sequence is gradually ramped up through strategic editing, leading the audience through Winter’s investigation with a growing sense of anticipation. This buildup is crucial, as it sets the stage for the imminent and tense encounter between Winter and the lone American survivor, Jack Collins, portrayed by Scott Bailey. The editing not only had to ensure a smooth and believable transition between the diverse environmental conditions but also had to amplify the narrative tension, guiding the viewer’s emotional and psychological engagement with the unfolding story.

In achieving these objectives, the editing plays a pivotal role in weaving together the disparate elements of the scene— from the artificial snow-covered B17 in a desert, to the intense emotional states of the characters. The result is a seamless narrative flow that successfully transports viewers into the heart of the story, fully invested in the suspenseful buildup to Winter and Collins’ confrontation amidst the wreckage.

FREDERICK

Directed by Traci Hays
How far would you go for your art?

“Frederick” is a compelling short film directed by Traci Hays and produced by Josh Mann. The film delves into the life of a renowned painter and gallery owner plagued by an intense creative block. His life takes a dramatic turn with the inception of a new controversial project, which draws the attention of an inquisitive detective investigating the disappearance of young models. This narrative unfolds in a suspenseful game of cat and mouse, leading to an unsettling exhibition. “Frederick” showcases a unique blend of creativity, mystery, and the complexities of artistic expression.

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Frederick: "Glasgow Smile" | Atmospheric Tension Through Pace

Detective Marks, brought to life by James Morrison known for his role in ’24’, delves into the unsettling possibility that the eccentric and seemingly benign artist Frederick, portrayed by Josh Mann, hides a dark secret as a serial killer, the editing plays a critical role in molding the atmosphere. By employing deliberate pacing, each moment is meticulously crafted to build an air of mystery that envelops the scene, subtly suggesting that each brushstroke by Frederick might conceal more than just artistic expression.

The suspense is not just in the potential for violence but in the anticipation of whether Detective Marks’s instincts are correct. The space between dialogue, the lingering shots on Frederick’s inscrutable expressions, and the slow unraveling of clues all contribute to a tension that is palpable. In crafting these moments, the editing does more than tell a story; it evokes a visceral response, inviting viewers to piece together the puzzle alongside Detective Marks. The pacing ensures that the suspense is not only a narrative element but a tangible presence, making the audience acutely aware of the thin line between perception and reality, artistry and insanity.

Too often, modern editing rushes from one beat to the next, sacrificing suspense and atmosphere for fear of losing audience engagement. This approach can leave viewers caught in thought rather than immersed in feeling. By contrast, this film’s editing respects the viewer’s intelligence and emotional capacity, inviting them into a deeply immersive experience where they are not merely spectators but participants in a thrilling journey of discovery.

DRINK

Directed by Emily Moss Wilson
In this Twilight Zone-inspired thriller, Alice and her two sons flee their home in the middle of the night. At an old desert motel, echoes of the past loom, and a dark, twisted power takes control.

“Drink” captivates audiences with its gripping narrative, blending elements of sci-fi with psychological depth. As Alice and her sons seek refuge in a desert motel, they uncover unsettling truths about their past, setting the stage for a journey fraught with intrigue and emotional resonance. With themes of freedom and the allure of secrets, the film delves into the complexities of human desire, offering a cautionary tale that resonates long after the credits roll. With its evocative storytelling and strong performances, “Drink” promises an unforgettable cinematic experience that challenges perceptions and ignites introspection.

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Drink: "Two Wishes" | Pacing Choices Amplify Tension and Resolution

In Emily Moss’s short film “Drink,” a tense sequence unfolds as the older brother struggles to escape the bathroom, ensnared by a fateful wish made by his younger sibling. The editing rhythm intensifies with rapid-paced cuts, conveying the urgency and desperation of the situation. Moments of heightened tension are juxtaposed with brief pauses, creating a sense of freefall that mirrors the mother’s confusion and fear. However, as the mother makes her own wish upon her children, the editing tempo slows down significantly, marking a poignant contrast to the earlier chaos. Through strategic editing choices, the sequence not only heightens the emotional stakes but also amplifies the narrative tension, drawing viewers deeper into the characters’ psychological turmoil and eventual resolution.

CATCHING FIREFLIES

Directed by Lee Whittaker
A little girl attempts to escape the rigors and misfortunes of the ghetto through the power of her mystical imagination while simultaneously trying to protect the bond with her addict mother.

Lee Whittaker’s “Catching Fireflies” is a short film that has resonated deeply with audiences and critics alike, thanks to its powerful portrayal of a young Latina girl’s struggle to escape the harsh realities of life on Skid Row in Los Angeles through her vibrant imagination. The film is lauded for its emotionally charged narrative, which is skillfully anchored by Gianna Gomez’s performance as Isabella. Her ability to convey a wide range of emotions and maintain a sense of childlike wonder amidst dire circumstances has been a highlight for many viewers.

“Catching Fireflies” has been celebrated on the festival circuit, earning accolades and recognition for its poignant storytelling and impactful message. It premiered at the Phoenix Film Festival in March 2015, marking a significant step for Whittaker in his directorial career and setting the stage for future projects that aim to engage and challenge audiences on social issues.

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Catching Fireflies: "Crossfire" | Creating Emotion through Flow and Eyetrace

The visually and emotionally charged sequence where Isabella dances with “fireflies,” required a nuanced touch in editing to fully capture its essence. As Isabella immerses herself in this act of liberation and enchantment, Elijah (portrayed by Stephen Boss, also known as Twitch), observes through dance from the sidelines, his presence adding a layer of depth and complexity to the scene.

To achieve a dramatic yet seamless flow, I focused intently on the synchronization of motion matches and the pacing that resonates with the scene’s emotional currents. This technique was instrumental in creating a smooth narrative transition that enhances the viewer’s immersion into Isabella’s world, where the boundary between reality and imagination blurs beautifully. The pacing was meticulously calibrated to mirror the crescendo of emotions Isabella experiences, ensuring that each frame contributed to the unfolding narrative.

Equally critical was managing the eye trace, guiding the viewer’s focus precisely through the composition of each shot. This ensured that while the audience was captivated by Isabella’s interaction with the fireflies, they remained acutely aware of Elijah’s observant gaze, which served as a silent yet powerful testament to the scene’s significance. This delicate balance between leading the eye and allowing the audience to absorb the depth of the moment was pivotal in crafting a scene that was not just visually stunning but emotionally resonant.

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