As “The Virus” starts we seem to be looking in at a closed off world, the camera angles used seem to be trapped. The open images are hazy and grey. The technological metallic sounds send a chill down the spine. The film opens with a series of first images that set the film up and allow it to hook and engage the viewer. As “The Virus” advances I think a variety of camera angles are intelligently used, for instance the panning shots are extremely effective, they give an interesting perception of the workers environment, by zooming in and out on objects that are fundamental in the film, for instance there is a close up shot of the symbolic pen that begins to bleed, this creates a captivating and chilling environment. These different angles help show me a particular type of atmosphere is apparent at the moment in time.
“The Sandman” is a puppet-animation, with a shocking impact on the audience that is created shrewdly, but ultimately is a horrible interpretation of an old folktale. Paul Berry uses the hallmarks of German Expressionism to produce such a gripping short film. A bare synopsis doesn’t do justice to the sophistication and brutality of this film.
A young boy, named Oscar, plays a toy drum while his mother does needlework by the fireplace in the living room. When the clock strikes eight, Paul Berry uses symbolism as the grim reaper appears from the clock, this may represent an ill fate for young Oscar. As Oscar is in bed, he looks out of the window and he briefly sees the crescent moon with a long beak-like nose, representing The Sandman. A tall birdlike figure that moves in a crafty, untrustworthy way, with a crescent-shaped face, skinny legs and hands with long fingernails. The Sandman then enters the house without anyone being aware of his presence. What happens next? Watch the film, find out.
“The Virus” is a stylish, unusual horror/thriller about victims of a deadly virus caused by a modern reliance on technology. Andrew, the main character, is working late at the office. He receives a blank email from his girlfriend. He then downloads the attachment, which generates a shot from her web cam. He watches the shocking footage unaware that the same destiny awaits him.
Both films use a variety of different camera angles and some good visual effects to portray their fascinating storylines. For example, in “The Sandman”, as Oscar timidly scurries up the stairs towards his bedroom, his daunting task is emphasized by the clever use of certain camera angles and the use colours that make his pale face and his white clothing stand out against a dark blue disjointed backdrop. All of this highlights the smallness and vulnerability of Oscar. In “The Virus”, there is a symbolic use of colour as the dark, dull, grayish colours represent technology’s downside. The camera angles used make the viewer seem very much on the outside looking in on the action. The editing cuts back and forth, it’s quick and sharp. There is also a close up shot of a pen that begins to bleed, symbolizing desperation; this is effective because it adds tension and mystery. Overall, in both of these two short films there is an excellent use of colour and camera angles.
Irony, in “The Virus”, is important in revealing Simon Hynds lack of belief in technology. There is a scene where Andrew senses danger but is unable to communicate and warn his girlfriend despite all the modern technology surrounding him, in this instance technology actually creates barriers and Andrew is left frustrated and unable to do anything to help.
I bet you might have thought that German Expressionism plays a part in these two films, you would be right to think that because it does. In The Sandman it’s used to show distressing horror through shadows, I think this is a high-quality way of going about showing disturbing horror scenes. Simon Hynd is also excellent at using this technique he uses it well on several occasions. depiction
The closing shot in The Sandman consists of an alarming shot of the Oscars face; it’s now a white mask with black holes instead of eyes. The blinded child stumbles about, trying to feel his way in the dark. When the lights go on, he is surrounded by identical children staring blindly. The film finishes with many unanswered questions and leaves the viewer baffled but yet satisfied with an entertaining watch. Again “The Virus” raises may different questions, does what happens to him happen to her? Who then sends the virus to all of Andrew contacts? Etc.
The success of “The Virus” is very much based on tension and uncertainty for the audience. The structure is not linear, it’s not straightforward, however this generates questions which hold your attention throughout the film. I don’t think the film ever deviates from the audiences expectations but it impresses because Simon Hynd includes his personal opinions and he raises another important question to which the answer is debatable, is technology relied on too much?
“The Sandman” is a short horror film that makes us think back to our childhood, that’s why we empathize with Oscar at times. This short film thrives on real life theories; it is its rich film language that gives a somewhat simple storyline, depth and a truly nightmarish edge. Using German Expressionism Paul Berry preys on childhood fears and nightmares. This makes the film very effective.
Overall, I gave “The Virus” 8/10, because of its capability to capture a viewer, its ability to keep the audience engrossed and its tendency to raise various justified questions, which have depth and are modern dilemmas. It wasn’t perfect as the whole plot could appear to be confusing.
I gave “The Sandman” 7/10, its fantastic use of German Expressionism is clinical and the high quality of film is remarkable because the film was made from an insufficient budget (as was “The Virus”). The film was a little disappointing in one aspect, I felt as if it wasn’t direct enough it loitered on occasions.
To wrap up, both of these films are well worth a watch and they have my invaluable recommendation. They are not only a pleasurable, entertaining watch but have hidden depths for those profound thinkers amongst us that enjoy exposing the views and ideas of the film producers.
Joe Tonge
