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On a morning walk on a serene country road, Misha hears screaming and then sees a naked woman running for her life. As the family piles in, Misha withdraws, haunted by guilt and unanswered questions. When he finally joins for dinner, the topic turns uncomfortably to the incident, where several interpretations of the events are introduced. Avital is an accomplished music video director see here and here , amongst many others , and here she directs her first narrative short, a promising switchover. Director: Allie Avital. Producer: Meghan Doherty. Cinematography by Sonja Tsypin and Max Lakner. Edited by: Yana Karin.
W hen the hip and happening photographer Rankin put a small ad in Time Out magazine, asking for "nude models, all ages, all sizes, for photographic exhibition", he couldn't in his wildest dreams have predicted the extent of the response. Invited to send in a Polaroid of themselves with a description of how they would like to be photographed, the women who responded weren't short of ideas. As a result, this is the female nude as you've never seen her - squeezed into an abandoned supermarket trolley, reclining in a bath of strawberry jelly and contorted into a double-jointed yogic pose with ankles brushing ears, a sly pastiche of the Germaine Greer portrait that first appeared in Suck magazine in the 60s. The pictures - which go on show next week at London's Proud Galleries - are arresting, peculiar even, precisely because his subjects appear to be totally engaged with the camera.
We float through much of life on auto-pilot. Years can go by unexamined in this manner, and it often takes something drastic to be shocked out of this malaise. Films are frequently about these kind of moments because they are catalysts for change, and change is a prerequisite to narrative plotting. Sometimes they are realistic: a breakup, an unexpected death, or a cancer diagnosis. Other times they are fantastic, like Neo glimpsing the Matrix, or Harry Potter being invited to Hogwarts. Misha is jogging in the area surrounding his country home one morning when he witnesses something strange—a young woman emerging from the woods, completely naked, and crying for help. He is shocked, transfixed, but ultimately frozen. Before he can bring himself to action, a car pulls up and the woman is driven away. It is a brief moment, but an indelible one—the kind of rupture in the fabric of everyday reality that spurs contemplation. Returning home, Misha informs his wife.