Duration: 8 minutes
Release Date: 5th March 2020
Written by Abdinasir Hussein.
Two friends try to figure out what to do after one of them has killed a robber in their home.
Carmen said, “I found ‘We Make Films’ while I was looking for a screenwriters’ group to join. WMF turned out to be far better than writing in a group. It was a great opportunity to direct narrative fiction for a change. The cast and crew of WMF productions are incredibly resourceful, and I love how they can make magic happen so quickly.
Everyone gets a chance to shine, both in front of the camera and behind it.”
By day, Carmen produces and directs musicians for corporate, commercial, and educational content; by night, she writes for screen and print.
This film presented a challenge, in filming, as well as in post-production. We had to shoot at the clay pigeon shoot the weekend before the main shoot. Unfortunately, Florence Fox was not available that day so we had to use a standing with a fake ponytail. Thanks, Marta Talmacs, for standing in.
The continuity team did a great job in delivering across the 3 days.
Having a shotgun on set was even more of a nightmare, as even replicas are difficult to come by.
In post-production matching the different shoot locations was a real challenge for the editor who had to patch it all together. Well done Julie Childs.
|1st Assistant Director||Jack Sindely|
For full cast and crew list, see our IMDB page
Two (2020) – Review
In Carmen Windsor’s own words, she aims to make her audience feel. She will go to any length to make the viewers feel every single emotion there is, be it sadness or joy, grief or disgust, shame or repulsion, awe or discomfort; she has the ability to truly reel her viewers in. Her short-thriller “Two” does the same.
To develop a story revolving around deceit and broken trust, Windsor expertly directs a thriller that has us hooked till the very last scene. With a script written by Abdinasir Hussein who gives us tightly written storyline, allowing characters to come alive. Hussein’s writing is astonishingly plausible, penning down events with exceptional clarity. Adjoined with Windsor’s direction, the transformation from paper to screen needs to be appreciated.
The plot build-up is intriguing with a fragmented narrative that breaks down scenes before bringing them all together to answer the arousing curiosities.
The story unfolds in Kira’s home, our protagonist and a controversial hero, after she receives a highly valued necklace from her father as a gift. The necklace holds more of an emotional value for her rather than monetary as it belonged to her late mother. The story reaches its climax when a robbery at her place to steal the necklace goes wrong, ending in the death of the thief. The hysterically crying Kira and a masked dead body create a rather distressing mood until the ultimate plot twist.
The short-film has a total runtime of only 8 minutes and it’s a remarkable feat in how much Windsor is able to portray to the audience in this short time.
Windsor aims to achieve the shock and stun effect with the way events unfold in the story. Although the scene leading up to the climax reveals the thievery plan but it is the way the incidents occur that changes the drama.
The whole film has been shot under bright lights to give daytime effect, making the circumstances even more jarring. The cinematography by Frank Hammond must also be acknowledged with the way he tried to convey more with less. The frequent camera close-ups and panning out frequently reveal where the action is about to take place. The brief shots have us experience the whole story in manner similar to flashbacks and the frequent close-ups of the characters bring in an intimate feel to an already emotionally charged scene.
It is especially apparent as the scene opens up with a focus on Kira’s crying, mascara streaked eyes and a haunted look on her face before panning out to reveal the dead body of the masked thief lying in front of her. Another example is that of the climax scene where PJ lifts the mask off the dead body’s face to reveal Mac as Kira sits at the edge of her bed talking to the police and visible only through her reflection on the shaded glass window giving the effect as if the audience isn’t meant to discover her secret just yet.
The background music rises and falls rhythmically to the beat of the occurrences in the film, taking on mysterious undertones as the movie draws to an end. Combined by the shot into light sequences, the editing accelerated to run us through the course of the events, the film successfully manages to have us intrigued. The only visible flaw being the unconvincing dialogues and robotic dialogue delivery that lacked to project the emotions otherwise visible through the actors’ facial expressions.
Overall “Two” is a skilful piece of filmmaking and a very moving portrayal of misuse of trust and all that could go wrong if you trust the wrong people.
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