What would you do if you were literally losing your father day by day, when he literally becomes less and less of himself and gets more and more out of control? When is the time to literally let go of your father? And when exactly is it too late? Those are the questions posed in this week’s Short Shot, the post-apocalyptic short film Flesh and Blood (2016).
While Flesh and Blood (2016) does take place in a post-apocalyptic place, the setting of the film, the smallness of the story and the realness of the emotion makes for a distinctive film that is more than just a typical post-apocalyptic film. At its core, it’s a narrative about family and growing up: Max needs her father to survive at first, but also needs to let go of her father to make sure she and her sister survive in the end.
Upon making this short film, the team behind Flesh and Blood (2016) wanted to make sure that the virus was portrayed as realistically as possible.
It made sense that the virus would need time to fully take hold. Alzheimers was one example. It’s not like you get “infected” with Alzheimer’s and then suddenly you’re gone. Rather, it starts slow and then gradually takes over.
Another way the filmmakers tried to ground the production in reality was by looking at the 2014 Ukrainian Revolution as an inspiration for regular people surviving in an environment of physical danger. The improvised cardboard armor the characters wear on their arms, for example, is something that came straight from the streets of Kiev. The filmmakers also strove to convey the struggle to survive through the rugged locations pictured in the film. From snowy alpine peaks to empty, savanna-like expanses, the sense of emptiness, beauty, and lurking danger makes the locations just as important a character as those portrayed by the actors. In that way, Flesh and Blood is reminiscent of films like No Country For Old Men (2007), which have a sense of real world landscapes (both internal and external) that bring the story to life. Enjoy this week’s short film!
Credits Cast Hannah Telle, Clint Jordan, Charlotte Alexis White Written and directed by Merlin Camozzi Produced by Tim Lewis, Linda Christina Riedmann, David Oh, Ben Haigh, Merlin Camozzi Director of Photography Julia Swain