To All the Love in the World and Then Some: Queer Short Films at SCAD Film Fest
Written by Laura Sands. Photo by Laura Sands.
Big blockbuster films and hugely anticipated releases always sell out fast at SCAD’s Film Fest, yet the two-and-a-half-hour short film blocks rarely get any traction. This year “To All the Love in the World and Then Some” was an extreme exception, selling out tickets. This short film block centered around professional queer short films, something that is so important to be seen today.
“The Late in Life Guide to Modern Day Lesbianism” directed by Emelie Claxton and Molly Rangel
“The Late in Life Guide to Modern Day Lesbianism” opened this short film block with unforgettable moments. Check out the full article review of this short film, with an exclusive interview from Ashley Gianni, writer, producer, and star of this short film!
“Kiloran Bay” directed by Michael Bruce
“Kiloran Bay” was not only the standout short film of this block, but a contender for my favorite film of the week. Starring Alan Cumming, and Jack Wolfe, Cumming’s character attends a traditional Irish wedding where he is thrown into his memories of his first lover and the consequences that came with that love. This film was so unique because of its usage of music. Cumming’s character is thrown into his memory during a traditional Irish dance, where he then begins singing a ballad about his time in Kiloran Bay with his first boyfriend. Through this beautifully written ballad, an original song by the director, the film jumps through the two time periods. At the climax, it becomes just instrumental, when Cumming meets the younger version of himself played by Wolfe; the two intertwine in a dance fight with elegant choreography. The music was so strong and such a beautiful way to convey a story through two different times, two different love stories, and one man. This was my absolute favorite short of the entire film fest, and I hope it will come to streaming soon!
“Perfect Love” directed by Kelly McCready
“Perfect Love” asks a very interesting question, “How do you know if you like it?” This film follows a young woman, played by Devlin Stark, as she fights to overcome her fear and social anxiety at a beachside amusement park. She meets another young girl who makes her question her confidence, and this begins a spark to explore new things. “Perfect Love” was unique in this block because although it was implied that the main character is queer, it is not the center of the story. Audiences notice that women catch her eye, but the story doesn’t follow her being queer, but rather discovering herself. McCready was also on the panel after the showing, and she explained to the audience how the film also explored the male gaze vs. lack of gaze: the male gaze present during close-ups at the beginning and the lack of gaze at the end when the main character discovers herself.
“Cheers Camden” directed by Joshua Black
Joshua Black told a story that was small and innocent, yet it connected with far more audiences than many would think. “Cheers Camden” connects with people who feel like they are big fish in too-small ponds. This film follows the main character, Theo, as he prepares for drinks with his teammates and debates whether to show his true self. Theo battles with masculine ideals such as soccer and having beer with his rugby teammates, but these ideals conflict with his feminine side. Interestingly enough, Black chooses to hide if Theo is gay or straight, even though his silk pink blouse and hot pink skirt might make many assume. “Cheers Camden” is not about if someone has a label slapped on them or what they identify with, it is simply about acceptance and friendship.
“The Last Day of Byron Bray” directed by Michael Borrelli
I hadn’t cried as much as I did watching “The Last Day of Byron Bray” since I I first saw “Dead Poets Society.” Then, when the director and star, Borrelli, came out for the Film Fest Q & A, and revealed it was based on a true story with his close friend, Byron, my heart somehow shattered more. “The Last Day of Byron Bray” follows an old man named Byron, played by William Sadler, during his last few days alive. The audiences see his life, lover, and family through dreams, and experience the connection between two gay men, one as a mentor, and one still exploring life. The acting was truly special in this film, and Borrelli even explained how Sadler truly felt like he wasn’t playing a role and simply stepping into Byron’s life.
“Callback” directed by Matthew Puccini
“Callback” follows a couple, Max and his boyfriend, who are both actors. After coming home from a stressful shift, Max isn’t enthusiastic enough when his boyfriend reveals he got a callback, which leads to an argument about lying, control, class difference, and jealousy. There’s a significant plot twist in the end, yet the whole film felt so real. It was unashamedly queer, yet this argument could happen to any couple, making it resonate universally. This film did so much within the boundaries of a short film, one location, and three characters, which felt realistic and made me fall in love with each character even more.
“Never Never Never” directed by John Sheedy
An aspiring drag queen named Henrick, played by Ché, is stuck in a small Welsh town where he is limited to being his true self. This film is a true testament to queer culture because Henrick struggles with homophobia and a tense relationship with his father, while also experiencing immense love with his mother and his lover. Queer films often focus on either the hardships of being queer or the joys–rarely both, but “Never, Never, Never” is an exception. In the end, Henrick is encouraged by his mother to leave the city to be free and pursue drag in the city. The audience waits on bated breath to see if his father and his lover will accept this decision, or if Henrick will leave for a new world with only his mother’s support.
