Scott Leberecht

Life After Pi Short Film

Why Watch? As movies become more and more reliant on visual effects, the cracks of a problematic industry model have started to tear the fabric of how CGI artists can continue to do what they do best. If you kept an eye on the Oscar protest yesterday, or remember Rhythm & Hues winning last year for Life of Pi a week-and-a-half after going bankrupt, you know how dire the situation is. With a full, fascinating picture (and some magical CGI transformations), Life After Pi offers the fundamental problems in a startling fashion. It’s a matter of passionate people being asked to do impossible things. And yet, think of what might happen if VFX workers were united in a refusal to work. To take back the power calculated directly from the major studios’ reliance. If you can’t make billions without the team that creates your cape/tiger/talking raccoon/disaster sequence, shouldn’t that team be worth more? Shouldn’t their workers be treated fairly, not have to live out of hotels, and not be forced to work 100-hour weeks? If altering your production means adding more construction money and acting fees, shouldn’t it mean adding to your VFX budget? It’s one-sided, certainly, but Life After Pi is a vital half-hour for all movie fans to watch.

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Midnight Son – directed by Scott Leberecht Festival screening times – 3/4 @ 930pm, 3/6 @ 645pm, 3/11 @ 1230pm WORLD PREMIERE If there’s one film genre that’s been done to death in recent years it’s the whole ‘sexy ballerinas engaging in lesbian shenanigans’ storyline. Hollywood needs to give that one a rest already. But close behind it are movies about vampires. From Twilight to True Blood vampires are a character type well past the point of over saturation as filmmakers seem content on milking the same weak conventions time and again. For every Let Me In we seem to get five more like Suck or Transylmania. The need for a more nuanced and interesting take on these blood-suckers is long overdue. Which makes the arrival of Scott Leberecht‘s Midnight Son such a goddamn relief. Part urban horror, part loneliness drama, and part late-night romance, Leberecht’s film takes a low-key approach that avoids most of the cliches while reveling in the only one that matters… the unquenchable desire to drink blood out of Styrofoam cups.

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