In under a minute, Glass has set the tone, the period and the emotional stakes of the story that follows. But that story doesn’t go quite where you expect.Īs the story progresses, we find that Alice is a particular sort – her life the very picture of discipline and structure. The show’s style and Alice’s clothing tell us we’re somewhere in the 1950s. The woman, Alice (Charlotte Weston) is our host. Out of the darkness, we find ourselves on the set of one of those old fashioned cooking shows. A voice off-screen calls action and the pained face jumps to life. The stunning moment of hushed anxiety is broken with a splash of red light. The first image we see is the pained face of an aging woman bathed in darkness. That confidence is on display right from the film’s opening moments. Morally adventurous, emotionally charged and deeply resonant, Rose Glass’ film may be the most confident short I’ve ever see. The filmmakers that are rarely succeed – I’m looking at you 50 Shades. In case I haven’t been clear, there aren’t many filmmakers producing erotically charged dramas these days. Rose Glass’ Room 55 is the rarest of erotic tales that places character first. It’s rare to find a sensual story that finds an emotional connection to its content. Most erotic films are too willing to sacrifice context and drama for titillation and stylized sexual encounters. Not because of the content, but because of the context … or lack thereof. The Film: Erotic cinema can be difficult to watch. The Plot: An inhibited 1950s television host takes a night off from her structured life. That’s why we’ll be taking a weekly look at some of Vimeo’s best and brightest. This week, we bring you Rose Glass’ erotic fable, Room 55. Up next for release is All the Light We Cannot See, a WWII limited series based on Anthony Doerr’s Pulitzer Prize winning novel, which debuts on Netflix November 2nd.Short films matter. Vimeo wants you to know it. In addition to that film penned by Mortal Kombat‘s Greg Russo, others announced earlier in the year included its horror pic The Backrooms, to be produced alongside Atomic Monster and Chernin Entertainment for A24, as well as the horror Gnomes, based on the short from Dutch filmmakers Richard Raaphorst and Ruwan Heggelman.Īlso the producer on Lionsgate’s forthcoming Halle Berry thriller Never Let Go, 21 Laps earlier this year hit theaters with The Boogeyman, Rob Savage’s take on the Stephen King short story, which was released by 20th Century Studios. Prior to the WGA strike, 21 Laps boarded Seismic, another thriller for Netflix based on a spec. The scribe on a hot streak is currently writing an untitled Mexican Basketball Project for FX and adapting the bestseller Unthinkable for Toluca Pictures and MGM. Ketai sold three pilots prior to this year’s double strike. Ketai also created, wrote, directed and served as showrunner for StartUp, a crime drama series starring Adam Brody, Martin Freeman, Edi Gathegi and more, which found a substantial audience on Netflix after running on Crackle for three seasons. Starring Leighton Meester, Taran Killam and Adam Brody, the film spent a number of weeks in Netflix’s Top 10 when it made its way to the streamer. Prior to the sale, Ketai had most recently wrote and directed River Wild, a reimagining of Uni’s same-name 1994 thriller.
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