It is a rare and joyous delight when I am contacted and asked to review a director’s work. Today, it is director Jeremiah Kipp’s work that I will be discussing. Jeremiah Kipp is based in New York and has been making short films and commercials for over a decade. The three films he has asked me to review demonstrate his passion, talent and versatility as both a director and a storyteller. Paranoia, anxiety and an intensity are present in all three films despite their differences in aesthetics and themes. His films are like poetic nightmares that are equally terrifying ad captivating.
A film with no dialogue, Drool relies on the actors’ bodies to tell its story. This experimental short is simultaneously a horrifying nightmare and a beautiful dream. What struck me most about Drool is its sensuality. Rich in textures and a sense of touch, the wonder of Drool is further enhanced by lighting and complex editing. Drool, just in its four minutes of running time, reminded me of so many other great films. By no means am I claiming that this film is unoriginal; on the contrary, it is “dripping” in uniqueness. Still, it feels like something that would be right at home amongst David Lynch’s other cinema worlds whilst also maintaining a similarity to The Quay Brothers more abstract short films such as In Absentia. Drool refuses to release its audience from their unease until these agonising, yet brilliant, four minutes are over. It is brilliantly crafted; rich in horror, meaning and individuality.
The Days God Slept (2013)
Who can you rely on? In this world, which we experience for ten minutes, nobody can be trusted. Paranoia and uncertainty is ever present in this philosophical film-noir (esque) tale of betrayal and obsession. This film does have dialogue which allows us to see a different side to Kipp’s storytelling. Kipp continues to show his ability as a director here as he moves the story along with the camera as well as the words. The film is well executed and intelligently pieced together. The Days God Slept is like the love-child of Sin City and Only God Forgives which perhaps helps to highlight just how important and impressive the cinematography is.
This was easily my favourite of the three films. You have no idea where this film is going to take you and it continues to shock until its terrifying last moment. Anxiety and paranoia are as present as ever here and Kipp’s nightmare world is perhaps most blatantly present in Contact. It is almost an entirely silent film apart from several brief words of dialogue. The camera tells the story and moves the narrative once again, proving just how in control Kipp is of his camera and his plot. The sound/music is very effective and helps Contact to make even more of an impact on the viewer. Body-horror and mutation enter the film in its latter part – reminiscent of Cronenberg’s eighties masterpieces such as Videodrome and Scanners.
If you want to have a look at more work from this exciting and versatile film maker then head to his website. It only took three films to convince me that Jeremiah Kipp is not only an inventive professional and a cinematic craftsman, but he is as interesting and as talented as other recent film makers who have emerged from the American independent film industry, such as Shane Carruth. Now that’s something to get excited about. I can’t wait to see more from Jeremiah Kipp.
Thanks for reading and let’s all keep supporting our beloved film industry.