Gaza, Dear Child II, Bepuwaveh, Lupe and the Galactic Corn Cake: A Halloween Reflection

 In the hero's journey, we first meet the horeoine in the Ordinary World, her normal state of affairs. It is only when the Inciting Incident occurs that the heroine is catapulted into the unknown. Ilsya Spencer's Beupevah ought to be considered the Ordinary World of every child: a fun, welcoming, creative, school environment where children are nurtured and are allowed to shine and flourish. This Halloween, I would like to reflect on the very real horros facing a child in Gaza, courtesy of a brilliant short animation film called Dear Child II, directed by Devin Peters and inspired by a letter written by Pulitzer Prize winning author, Chris Hedges.

"You know only the security barriers and fences patrolled by soldiers that surround Gaza."

Bepuwaveh is all about bridges, friendship, fun and freedom rather than barriers and fences: "Pojoaque Middle School students create a dialog, drama skit and culture around welcoming at their school and in their community." The children of Gaza experience the opposite - unspeakable horrors: "Trapped under the piles of smashed concrete. Your playmates. Your schoolmates...You see the chalky faces and limp bodies when they are dug out. I am a reporter. It is my job to see this. You are a child. You should never see this."

Creativity abounds in Bepuwaveh. In the first few seconds of the film, we are welcomed with a drawing of an alien in a spaceship. A few minutes later, we see an art teacher explain how "Faux Food" -  a delicious looking burger - was made from toilet paper, water and paint!

"You are hungry. The bakeries are destroyed. There is no bread. You eat one meal a day. Pasta. A cucumber. Soon this will seem like a feast."

The next part of the letter sounds like a good plot for a Halloween movie. Sadly, it is the reality of many people around the world: "I tried to tell your story. I tried to tell the world that when you are cruel to people, week after week, month after month, year after year, decade after decade, when you deny people freedom and dignity, when you humiliate and trap them in an open-air prison, when you kill them as if they were beasts, they become very angry. They do to others what was done to them. I told it for seven years. Few listened. And now this."

Dear Child II is "stylish, artistic and horrifying, yet hopeful that we can do better, centering the story around children in this way affirms a message - that we must." Children are at the centre of Bepuwaveh, but there is no denying that the adults - the teachers and the filmmaker, Ilysa Spencer - believe that we can do better. From their actions, it is clear that they are doing better and are doing right by the children.

One adult, a New Mexico history teacher, gets emotional when talking about her grandmother: "She always made me feel welcome in her home...she always had food, my favourite food."

A child and her grandmother are at the centre of "Lupe Q and the Galactic Corn Cake", directed by Javier Badillo, written by Nat Marshik and Javier Badillo: "Lupe doesn't care about her abuela's cooking lessons, she just wants to rock with her badass punk band. But when Lupe finds herself battling an alien monster with her band, her abuela's lessons remind her that punk rock is more than just loud music, and connecting with her latin roots may just save their lives."

In the book "The Undead and Philosophy: Chicken Soup for the Soulless", Noel Carrols's chapter is titled "The Fear of Fear Itself: The Philosophy of Halloween". He tells us the history of Halloween then writes: "In fact all manner of monsters can inspire Halloween mumming - even those who hail from outer space - since they would fit into the Christian redefinition of the Halloween universe as demons..."

During the inaugural Global Artivism conference that was held this September in South Africa, Louisa Zondo listed some demons that we must fight: “We must address the scourge of poverty, inequality, corruption, gender-based violence, deteriorating mental health and well-being and the imminent threat of climate change. We must push for the end of genocide in Gaza."

You can read the full letter by Chris Hedges to the children of Gaza at: https://scheerpost.com/2023/11/08/chris-hedges-letter-to-the-children-of-gaza/

Video Interview: Daniel Lir and Bayou Bennett – directors of “Connection”

Daniel Lir and Bayou Bennett had set the bar high with their short film “Time is Eternal” so my expectations were in the stratosphere as I begun watching “Connection”. They - including the international cast and crew - did not disappoint! I (Mildred) sent Daniel and Bayou the following questions and they answered them in an awesome video. Enjoy!

1. Your short film “Connection” is a beautiful and captivating piece with a strong environmental theme and that spans different countries in different continents. Making films has an impact on the environment. How did you both and the cast/crew take care of the environment during the filming of “Connection”?

2. “Connection” begins with a quote by John Lennon: “A dream you dream alone is only a dream. A dream you dream together is a reality.” The cast and crew of “Connection” is diverse, which serves to enrich the short film. Was this choice part of the writing/pre-production or did it evolve as the project took shape? What inspired this film and the overall vision?

3.  Sticking with the theme of “Connection”, apart from Berite Labelle, Daniel Lir and Bayou Bennett, what are the other connections between this film “Connection” and the short film you previously submitted to ROFFEKE “Time is eternal”?

4.  Africa has 54 countries, including Nigeria, the home of Nollywood. Why Ghana as a location?

5.  If you both were to argue for “Connection” to be included as part of the curriculum in schools/colleges, what would you say?

Interview: Simone Massi - Director of "in quanto a noi" (From our side)

ROFFEKE: You could have chosen to animate something that portrayed lighter themes but “in quanto a noi” (From our side) is about “sixty years of Italian History flow, taking us from one darkness to another”. What is the importance of highlighting darker themes, especially from historical events?

SIMONE MASSI: I could have chosen to talk about lighter themes, it's true, but this is the path I chose from the beginning. The first short film made at school, just under thirty years ago, told the story of the Resistance and fascism. I believe I was the first in Italy to address these issues and I made this choice with awareness of the difficulties and risks. Animated cinema should be a worthy heir to painting, to the studies of Renaissance painters. And they told stories and not jokes.

ROFFEKE: In the 2013 interview by Golden Kuker Sofia regarding a career as an animator, you said that you chose “a difficult job”. Animation is challenging and time-consuming but what are some of the advantages, highlights and fun aspects of being an animator?

SIMONE: There are mainly two advantages: freedom and being able to do a job that I love. How many can say the same thing?

ROFFEKE: In the same 2013 interview, you say you’ve been an animator since 1995. What would you say are the main differences between animation in 1995 and animation in 2024?

SIMONE: In my opinion there are no big differences, I continue to see animation as a splendid opportunity for expression and I continue in the same way, with the sequence shot, the zooms, the metamorphoses... I have taken into account that in the meantime the world is changed a lot and people might see my work as something ancient, out of time.

ROFFEKE: As an animator, what are your views about artificial intelligence and creativity?

SIMONE: What I have noticed is that much of what had been imagined by the writers and directors of science fiction films is coming true. And given that they unanimously prophesied catastrophic scenarios, I cannot hide that I am worried. Throughout its thousand-year history, human beings have never demonstrated wisdom or common sense.

ROFFEKE: Advice for upcoming animators?

SIMONE: I belong to the older generation, which makes everything by hand, without using a computer, it is very difficult to give advice. Instead I have a hope, I hope that upcoming animators try to make their dreams come true without harming others.

ROFFEKE: In these hectic times, how do you take care of your mental health?

SIMONE: I try not to follow the media, not to rush. And then I try to take the good in life, accepting defeat and respecting others.

Friendship: ROFFEKE Official Selections 2023 (Partial Listing)

“Bad Syne” by Illysa Spencer and the transmedia tripartite by Robert David Duncan “Alley Senses”, “Alley of Lost Friends” and “Old Man’s World” speak to and with each other, even though they have many differences. Bad Syne is longer (15 minutes) than all three of Robert’s microfilms (5 minutes 40 seconds in total). Robert uses a smartphone and artificial intelligence. Bad Syne is a student project filmed in Armenia, Puerto Rico and the U.S. while Robert’s microfilms are three of very many that he has done over the years (including "Room 254 Spinoza Hotel" that I had the honour of being a part of).

One similarity is that both Bad Syne and Robert’s microfilms feature street art/graffiti. About Alley Senses, Robert says: “I was revisiting some alley footage I had shot and was struck by the energy and sensory vibrancy of it, raw sound and all. I decided to capture some of its essence and share it in this film – enjoy!” The first few minutes of Bad Syne feature a graffiti artist in the middle of creating his street art as we hear his views via voice over: “…establishment, you’re not thinking about the better good of people by surrounding them by monochromatic, flat, dry and just dead-looking, absence of life environment.”

Both Bad Syne and Robert’s microfilms are about friendship. In Bad Syne: “Two artists collaborate on music and life in an epic roadtrip” while the three microfilms are “interconnected pieces on themes of friendship and art.” You can check out the Alley of Lost Friends transmedia story world at https://alleyoflostfriends.weebly.com/

The theme of friendship and art also shines through in “Time”, a screenplay by Mario Luis Telles: “After trying their luck at rock and roll fame, 4 friends embark on a hilarious journey to get their fame and fortune.”

Creative differences are part and parcel of the friendship and art package. The key is to know how to navigate these differences. “So it goes” touches on this topic. Director Jenna Cornell writes that it is “a beautiful song written by musician, producer and filmmaker Marc Golde. Tackling some of the current issues we face, it reminds us that we are all in this together. We all have common humanity even if we disagree.”

Patti Smith, Horses and ROFFEKE Official Selections - The White Horse, Trickster and The Heaviest Order featuring Greta Thunberg

Today is Patti Smith’s birthday, the “Godmother of Punk”. I discovered her during the season 2 finale of Millennium, a series by X-Files creator Chris Carter. Michael John Petty writes in collider.com that one of the best moments in The Fourth Horsemen/The Time Is Now (Season 2, Episodes 22-23) is “Lara Means’ disturbing psychotic break to the tune of Patti Smith’s “Horses”.

The Millennium website gives the correct name of the song, which is often understandably mistitled as simply “Horses”:

“The Millennium episode The Time Is Now contains the following music by Patti Smith:

• Land: Horses/Land of 1000 Dances/La Mer(de)

Heard during the intense motel cabin scene where Lara Means, (depicted through the use of various montages, imagery and stock photography) slips into insanity after failing to come to terms with the knowledge revealed to her by the Millennium Group.”

In “You’ve never heard Patti Smith’s‘Horses’?!” Charlie Kaplan writes that the protagonist’s (Johnny’s) “emotional collapse is a herd of horses, "white shining silver studs with their nose in flames".

Patti Smith’s iconic song could also work well in Goran Mihailov’s short film titled “The White Horse” where “A couple's daily routine is interrupted by an unexpected threat.”

Both “The White Horse” and Rob York’s screenplay titled “Trickster” feature a horse and a girl. Rob York’s screenplay is “Based upon a true story a wise old horse narrates his extraordinary life. After a near death accident he finds the meaning of life through the eyes of a special needs little girl.”

According to his writer biography, Rob York “…is a distinguished screenwriter whose passion for storytelling rivals his love for horses…Among his accolades, York proudly holds numerous awards for his standout screenplay, "Trickster" earning 87 awards in 23 countries…While Rob's talent in crafting captivating scripts is evident, it's his passion for horses that truly sets him apart. With a deep understanding of these majestic creatures, he brings an authentic touch to equestrian-themed stories, painting vivid portraits of the bond between humans and horses…Rob's other home away from home is working at the D6 Movie Horse Ranch in Apple Vally California, the home of Roy Rodgers. Rob works directly with the legendary horse trainer Ty Nitti who is one in a few horse trainers in the world who has mastered all three disciplines of Spanish, English, and Western. Rob is the direct assistant for Ty horse wrangling, stunt coordinating, and qualifying professional stuntmen in the movie industry. As Rob embarks on new projects and collaborations, there's no doubt that his unique blend of Texas roots, California spirit, and unwavering passion for horses will continue to shine through in every script he crafts, captivating audiences and leaving a lasting impression on the world of cinema.”

The Heaviest Order by Peter Böving is a stop-motion short film featuring Greta Thunberg who “places a significant order at a bakery.” According to the director’s statement: “The film begins with musical references to the Thuringian children's song "Backe, backe, Kuchen" (Bake, bake, cake). This simple song is fundamentally enumerative in content, essentially a pure baking recipe. Its simplicity and clarity radiate a "healthy" approach to food. In other words: baking - simple - analog! In the short film, this cake is created at the request of a young activist, even though the accompanying elements may remind one somewhat of the US short film series "The Little Rascals." The intended feel-good atmosphere serves primarily the purpose of creating the greatest possible anticipation for the punchline in the finale, which puts the issue of food waste at the center of the film.”

Greta Thunberg’s birthday is four days after Patti Smith’s. In January 2020, Jennifer Velez wrote on grammy.com: “If you follow punk rock legend Patti Smith, you’re likely aware of her fondness for Swedish teen climate activist Greta Thunberg. The singer posted tributes to the teen throughout 2019 and didn’t leave out posting one on Thunberg’s birthday, Jan 3.”

Patti Smith appears in Chris Gero's “The Sound of Us”, a documentary that attempts to answer the questions: “What is music? What is music to you?” Patti Smith’s answer? “It contains the essence of the human soul, one could say.”

International Women’s Day, “Run” (Directed by Camille Natta) and “Earn the Day” (Written and Directed by Jane Shepard)

Happy International Women’s Day! 

According to UN Women, the 2023 theme is: “DigitALL: Innovation and technology for gender equality” It is aligned with the main theme for the 67th session of the Commission on the Status of Women: “Innovation and technological change, and education in the digital age for achieving gender equality and the empowerment of all women and girls.”

I subscribe to the e-newsletter of filmmaker Ela Thier and she recently recommended a short film titled “Earn the Day”. I watched it then I understood why she mentioned in her short commentary that she was halfway through the film and she was both laughing and crying. After watching the film, I wrote in the comment section: “Funny, fun and so inspiring!”

The music video for IVA’s beautiful song “Run” was directed by Camille Natta and is her directorial debut as a solo director. “This is an experimental music video about a woman finding her inner strength to run in the cold in the dead of winter in Northern Sweden.”

I would say that the essence of “Earn the Day” is about the protagonist finding her inner strength to run away from the cold, harsh criticisms of her inner voices. Two powerful images appear both in “Run” and “Earn the Day”: a carefree little girl running freely, joyfully, unencumbered, unashamedly. In “Earn the Day”, the little girl appears when the protagonist is in the flow, when she is being her authentic self, when she has silenced those inner critics, when she has given herself permission to rest. In “Run”, the little girl appears during the chorus of the song, a simple chorus, reminiscent of the chorus in that Sheryl Crow song (“Run, baby, run, baby, run, baby, run, baby, run”) but in IVA’s song, the chorus is made up of one repeated word: “Run, run, run, run, run, run…”

When we women can reconnect with that little girl, or at least, that little girl’s energy, optimism and hope, then we can be transformed and run further than we ever imagined.

At the end of both “Earn the Day” and “Run”, the protagonists are transformed into more powerful versions of themselves.

Interview: Riker Lynch - writer, director, actor, producer of "Aliens on Halloween"

ROFFEKE: I really enjoyed watching your interview on Hollywood Approved (Episode 7). You said: “I do a lot of improvisation with my actors and I let people take the words and throw them out and put their own little vibes on it.” One of my favourite fun scenes (and “Aliens on Halloween” is full of fun scenes!) is the one where Titus Makin Jr.’s character meets the aliens. How much of that fun dialogue was from your script and how much was Titus just putting his unique spin on it?

RIKER: This is one of my favorite scenes too. Just trying not to laugh while we were filming made it even funnier. Titus is an incredible actor and he’s always working on something whether it be film, TV, or music. We were lucky enough to have him for a few hours in his busy schedule so I basically told him the lines do not matter. I really only needed him to mention “Halloween" and establish that he’s the owner of the house. I had written the character to be one of those people that just talk a lot and fast and don’t really listen and Titus was absolutely hilarious. I would say 90% was total improv. We did 2 takes and cut together the best of the best. It was all so good Gordy and I had a ton of fun working on that scene in the editing room.

ROFFEKE: You also said: “I put my friends’ music in it…I sent them texts, ‘Hey I’m doing this movie. Can I use your music?” What criteria did you use to pick the songs? Was it the lyrics? The vibe? The genre?

RIKER: I pretty much just went with the friends of mine that had songs that fit the vibe that I was going for. I’m great friends with the band New Beat Fund and their song Halloween Birthdaze was obviously a perfect fit. On a small-budget short film like this, you’re kind of looking for anyone who will give you permission to use their work as a favor so I knew all my friends would help me out in that regard. I’m very fortunate to have very talented friends in the music industry. 

ROFFEKE: You said about Ted Lasso: “…I think is the greatest show to ever touch television because we all need this in our lives, we all need this energy and this positivity…I want to spread as much optimism and positive energy as possible…” Apart from “Aliens on Halloween” - which I think definitely does spread optimism and positive energy -  and your various creative and artistic ventures, how else do you spread optimism and positive energy?”

RIKER: I do my best to just be an uplifting spirit in whatever I’m doing. To radiate enthusiasm and positivity everywhere I go. My music is a big part of that because I believe music can change your mood almost quicker than anything. My latest song “Remedy" is all about being the remedy for someone who’s having a tough time. I hope my music can have a positive impact on people’s spirits. 

ROFFEKE: Your top three memories from your 2016 Safari in Kenya?

RIKER: Oh that’s tough to pick. The whole thing was truly amazing. I was there with my four brothers and my dad. The first game drive early in the morning was just so surreal because I really didn’t know what to expect and seeing all these amazing animals up close in person is so spectacular. We saw a ton of elephants on our first day. 

Another time we saw a momma lion playing with her cub. That was so cool. We were in a jeep-like truck with no doors and we kept getting closer and closer to watch them and at one point the cub kind of wanders closer to us and gave us a little baby roar. He walks on and then the mom gets very close to us and I remember our safari guide says, “just stay calm and don’t look her in the eye.” I could’ve reached out and touched her, she was THAT close. Did I mention there were no doors in our truck? Such powerful animals.

We also got to play some music for these kids in one of the tribes there. I’m not sure if that’s correctly how I should describe them but they were such lovely humans. They were very interested in our guitars. This was back in 2016 so my band R5 was still going strong and we played “All Night” and “Dark Side” for them.

ROFFEKE: I interviewed Gordy De St. Jeor (director of The Thrill), who was also part of “Aliens on Halloween” and happens to be your cousin. He gave a thought-provoking answer to my question about whether the artist’s struggle is worth it. Please comment on, add to (or even dispute) his answer:

RIKER: Gordy is so talented. I’m so fortunate to be able to collaborate with him. He’s someone I deeply care about. Not only family but one of my greatest friends. 

I totally understand his view on the struggle. For me, the “why do I do this” well it’s because I believe it is my purpose on this planet and in this life to bring people joy through film, television, music, through stories. And on the "struggle for the art", I don’t really feel that I have a real “struggle” or sacrifice I guess. Sure I feel struggle if I’m stuck on a scene or a line or I’m not feeling inspired but that’s all part of the process. I love the quote, “Nature never hurries but everything is accomplished.” I really believe in that and I’ve also come to simply enjoy the journey that is life. There is no destination, it’s all about the journey, and part of the journey is going to be struggling. I know that. And it’s ok. Part of the journey is also going to be the most magical thing you’ve ever experienced. At the end of the day no matter how much struggle there is, I love what I do and I feel so grateful I get to do what I do. 

Hollywood Approved - Episode 7

Interview: Gordy De St. Jeor - Director of "The Thrill"

"My name is Gordy De St. Jeor. I'm 19 years old, but I've been working in the film industry since I was 13 as an actor. Eventually, I decided I wanted to create films for myself, and I've been DP'ing and directing films and music videos ever since. I have a strong background in music, having been on tour 5 times shooting video content for bands like "The Driver Era", "Iron Maiden/The Raven Age", and "Jesse McCartney", while also being a musician myself. I have also shot music videos for artists like "Wolfgang Van Halen" and "Kat Von D." I have DP'd a few short films over the years, and directed a few small ones, but this film was a passion project of mine, and I'd like to call it my directorial debut."

ROFFEKE: Your bio is so interesting! You say you have “a strong background in music, having been on tour 5 times shooting video content for bands…while also being a musician myself.” How did your being a musician help you in shooting video content for bands?

GORDY: I would say having a basic understanding and passion for music in general has helped me more than anything. Being able to anticipate when moments are going to happen is crucial to getting the shot sometimes. Also being a lover of music and being able to put that passion into your work is absolutely crucial in my opinion. 

ROFFEKE: What are some lessons you learned from creating this content for bands?

GORDY: I think above all I've learned that you need to not be afraid to get creative. Especially when you are on tour shooting the same show for an extended period of time, you need to be able to find ways to still make it interesting. This is different for every project, but you need to be willing to cross into the uncertain and take creative risks to keep the product interesting and exciting. You also want to always be prepared to capture the moment, even if you won't use most of the footage. 

ROFFEKE: What are some similarities and/or differences between shooting such content for bands versus filming narrative content, like your awesome short film “The Thrill”?

GORDY: The processes of shooting with bands and shooting narrative film couldn't be more different in my opinion. The approaches are almost completely opposite, in one you have no control over what the subject is going to do, therefore you are trying to predict and capture anything that does happen, and then make some sort of story out of it later. The other is meticulously planned, and you know exactly what you are shooting when you are shooting it. The goal is to try and insert the same spontaneous energy into the narrative work, and give the audience a sense of uncertainty throughout the film, which is a very tough task. I would say for this film, knowing what it is like to shoot bands on stage with thousands of fans helped a lot in trying to recreate that energy in a completely fabricated environment. 

ROFFEKE: For musicians wanting to get into filming or musicians wanting to collaborate with filmmakers, what advice would you give them?

GORDY: I think music and film are extremely compatible, and my advice would be to try to have fun and experiment with that compatibility. For me, it's really fun to try and see how different visuals react with different music. Music has the power to change the tone or message of a visual completely, and the same is true in the reverse. I would say trust your collaborators and don't be afraid to step out of the box and see how mixing these mediums can create new ways to express complex feelings and situations. Not to be unoriginal, but enjoy the process because for me, music and film are married and it's always extremely exciting to see what they can do together. 

ROFFEKE: In your director’s statement, you say “I made this film to explore the struggles we go through as artists, and to question, whether or not that struggle is worth it for the thrill.” As a creative, I know for sure that the struggle is worth it. In your view, WHY is the struggle worth it? What makes it worth it?

GORDY: To be completely honest, I'm still not sure if it is worth it. I know that if I'm not expressing myself in a creative way I might go crazy, but I'm not fully convinced that sacrificing yourself as it seems Daniel does in The Thrill is really worth the benefits that come with it. I think it's important to address the fact that a lot of artists, struggling or not, are not mentally healthy and have problems that they are actively dealing with through their chosen medium. And while that process can be and is often therapeutic, I'm not convinced that it can solve all of your problems when you dig yourself that deep. What happens when you sacrifice yourself for something and it works? What about the moment after? What about when it doesn't work? What are we really doing to ourselves? Why are we doing this to ourselves? I don't mean to be dark, I do really think art is one of the most important parts of us and we wouldn't be human without it. The act of expressing yourself is one the best gifts we can share with the world, and it has the power to bring people together and understand who we are on an indescribable level. But I think it's important to look deeper and ask ourselves WHY we do what we do and always question our values, especially when you are betting everything on them. 

WATCH "THE THRILL" TEASER

Interview: James Fouche - Writer and Producer of "Crossing Borders"

ROFFEKE: You are the writer and producer of "Crossing Borders". What elements of the screenplay changed, from the time you took off your writer's hat and put on your producer's hat? 

James Fouche: Crossing Borders was conceptualised and scripted as a TV series that would run for at least three seasons. While this is still the dream, filmed the short film to be a completed short film. Very little changed from script to screen. As the words became reality, the screenplay became the truth for everyone on set, even for me as I tried to switch between my writer and producer hats. We all believed in it. Strange as it sounds, that was liberating.

ROFFEKE: What inspired this story?

James Fouche: Immigration is as current as it is sensitive. I wanted to touch on the crossing of borders, or the policing thereof. The theme inspired the tone, which is why amber and yellow was generously incorporated throughout. Beyond that, I wanted to paint a truly African version of Jack Reacher, someone the whole world could easily relate to regardless of creed, culture, or colour.

ROFFEKE: Why the near-future setting and what were the advantages and challenges of setting the story in the near-future?

James Fouche: I chose the near future, assuming that by that time South Africa would have taken strides towards better border control. I further assumed that the policing of borders would become outsourced, much like bounty hunters in America. This practice of outsourcing immigration processes in SA was trialled in the early 2000's, but quickly discarded due to the exposure of corruption. The challenges were considering the surroundings and the transportation for such a small leap into the future. Ultimately, by looking at the past, I predicted that not much would change.

ROFFEKE: The theme of crime runs through "Crossing Borders" and your books "Jack Hanger" (a criminal mastermind kills his brother) and "King of Sorrow" (the protagonist "is pitted against the corporate world, where crime, mystery and intrigue hide in plain sight"). Why crime and not more "hopeful" themes? What would you say is the hopeful/hopepunk element in "Crossing Borders"?

James Fouche: I think crime is an ever-present element today. To avoid talking about it, certainly won't solve anything. I believe most crime writers do so in the hopes that they will unpack something, raise concerns, and offer possible solutions in the process, It's not always doom and gloom in the mind of a crime writer. In the wake of sadness and misery, often follows rebirth, renewal and hope for a future generation. The lead character of Crossing Borders, as I envisioned the TV series, was an African version of Jack Reacher. A lone hero who seeks only to do his job, who believes in justice, whose love is pure, whose passion is admirable, and who does good without being asked to do so. There is nothing more hopeful than that.

ROFFEKE: The lead actor, Aphiwe Nqevu, is so talented! Did you have him, or someone like him, in mind while writing the screenplay and as the producer, how much of a say did you have in the casting process?

James Fouche: I conceived the character of Bhongo just before the pandemic came around. During the national lockdowns I kept pecking at the character and discussed him with my wife, who is often my sounding board. I had engaged with Aphiwe numerous times prior to this. Then, one day, as we sat in a local coffee shop, Aphiwe strolled in without knowing that we were there. Something in my mind just clicked. I looked at my wife and said that I was looking at Bhongo. My wife immediately agreed. Aphiwe is the kindest soul, and is often called the township pastor. His natural flair for acting and how he bloomed after Neels van Jaarsveld arrived on set, has me convinced that he has what it takes to become a professional actor.

ROFFEKE: The whole film was a treat to watch but my (Mildred Achoch) favourite moment is the running-across-the-field scene. The accompanying song - and of course I am very biased - adds to the excitement. Why a rock song and not, say, Kwaito or House or Hip Hop? (This question is for you and/or the director, Chris Wilson).

James Fouche: That scene was the director's pride and joy. As an avid Guy Ritchie fan, Chris came to me with a proposal for the chase scene. I was the producer and he was the director. It was my job to trust him implicitly and it was his job to pour his creativity and passion into the project by blowing life into the words. While I might have given guidance to the musical tone, it was Chris who chose that song. I surmise that he felt my aspirations of taking a truly African hero and showcasing that to the world in a way that made him instantly human and relatable. We wanted music that didn't denote a specific location, again crossing borders and reaching a wider audience.

ROFFEKE: Advice for writers who want to become writer-producers?

James Fouche: Keep at it. Do not stop. Write, write, write.

Crossing Borders is in the ROFFEKE World Audio Visual Heritage 2022 Playlist. 

Read a review of Crossing Borders HERE.

Review: Crossing Borders (Directed by Chris Wilson)

Synopsis: "Bhongo Mhlope, a South African immigration agent is on the hunt for a Zimbabwean foreign national who has been scheduled for deportation. He calls in the help of Benny, a police detective and old friend. After the successful apprehension of his 'target', Bhongo and Benny discuss a greater menace growing in the town of George."

Reviewer: Love Kassim.

I love the music in the background because it takes the movie further and is purposeful throughout.

The color choice is spot on since it made the film vibrant and lifts the spirit of the movie 

The camera angles and lighting, especially when the two were running in a field in slow motion, gave it a gripping experience.

The actors did justice to their roles and this film placed them in a recognizable social context.

I love that the film utilized short, instantaneous and effective scenes.

Politically, the film shows the aspect of Immigration and deportation especially of criminals in South Africa and the struggles and lengths the authorities take to ensure criminal gangs are dealt with.

An intriguing piece that left me yearning for more.

Crossing Borders: Spotlight on "Finding Lulu"

Finding Lulu Synopsis: "After learning about the culture of school shootings in America, Lulu's Kenyan community bands together to prepare her for life in U.S. schools."

Director (Gayatri Kumar) Statement: "I'm a proud American. I believe my country is considered to be number one for a reason. But this American passport quickly begins to lose value if our children's safety doesn't rank number one too."

In a Psychology Today article, Michael Friedman, Ph.D writes that Dee Snider's "greatest contribution is that he has publicly and directly challenged the stereotypes that heavy metal musicians and fans faced since the inception of the art form - with heavy metal musicians and fans stereotyped as unintelligent and dangerous."

How dangerous? So dangerous that Marilyn Manson was accused of causing the Columbine massacre.

In "Columbine: Whose Fault is it?" Marilyn Manson speaks out:

"When it comes down to who's to blame for the high school murders in Littleton, Colorado, throw a rock and you'll hit someone who's guilty. We're the people who sit back and tolerate children owning guns, and we're the ones who tune in and watch the up-to-the-minute details of what they do with them."

Marilyn Manson wrote the article in 1999, the year that the Matrix was released, when Yahoo was still king of the Internet, before MySpace, Facebook, Twitter, Instagram and TikTok. 

Marilyn Manson goes on to point out that:

"We applaud the creation of a bomb whose sole purpose is to destroy all of mankind and we grow up watching our president's brains splattered all over Texas. Times have not become violent. They have just become more televised. Does anyone think the Civil War was the least bit civil? If television had existed, you would be sure they would have been there to cover it, or maybe even participate in it, like their violent car chase of Princess Di. Disgusting vultures looking for corpses..."

In February 2018, four years before the start of the war in Ukraine, Matt Taibbi wrote an article titled "If we want kids to stop killing, the adults have to stop, too." He begins by writing that: "Over two decades ago, I traveled to a city in the Russian provinces called Rostov-On-Don to interview a psychiatrist named Alexander Bukhanovsky." The caption of the featured photo reads: "Mourners stand during a candlelight vigil for the victims of Marjory Stoneman Douglas High School shooting n Parkland, Florida on February 15, 2018."

Taibbi goes on to list the variety of things that are blamed for gun violence: racism, violent video games, music lyrics and movies.

Fun fact: The end credits song in Finding Lulu is "Bang Bang (My Schoolmate Shot Me Down)", which is based off Nancy Sinatra's rendition of "Bang, Bang". Quentin Tarantino used Nancy Sinatra's version in the Kill Bill opening scene and said: "I think you'll have a hard time hearing that song after seeing the movie and not thinking about the bride lying in the church."

Taibbi asks: "But what about the fact that we're an institutionally violent society whose entire economy has historically been dependent upon the production of weapons?"  He also asks: "And how about the fact that we wantonly (and probably illegally) murder civilians in numerous countries as a matter of routine?"

This is a good time as any to mention the Melilla Massacre. Some would criticize legal immigrants - like Lulu and her family - and illegal immigrants, like the many who have perished as they pursued greener pastures. Those who belong to the critics camp share this sentiment:

"These guys trying to cross over to europe are giving the rest of us africans who stay home and work hard to overcome challenges and improve our motherland. put all that effort into building africa instead of dying like dogs at the hands of the old slave masters. #MelillaMassacre"

In "Immigration is horror" the writer offers a different perspective:

"Thus there are two kinds of immigrants. The ones who leave by choice and the others who do out of necessity. But, often, their reasons and motivations come from the same place: the conditions they live in are no longer sustainable either physically, mentally, or emotionally."

Taibbi remembers Dennis Kucinich "being laughed at by reporters...whenever he talked about...the establishment of a "Department of Peace"... He just happened to believe we should make nonviolent conflict resolution an 'organizing principle in our society.'"

Like all good films do, "Finding Lulu" offers the space to ask more questions and to think about this complex issue from a variety of perspectives. Below is Love Kasim's review of the film:

"Lulu, a primary school pupil, is relocating to California and is nudged by her fellow classmates on why she needs to go to a place where kids get killed every day.

Gun control and firearm use in America is still very much a hot topic. Firearm deaths occur at a rate more than five times higher than drowning.

Lulu embarks on learning about the steps to take if ever in such a situation, calling the police being one of them. The video shows the Police response time and how long it took for the them to take action in Uvalde and it's just dismal to say the least.

She resorts to training with the brave Maasai warriors and masters her inner strength to go through the process.

Some of the drills suggested to help during a school shooting are refuted by the classmates and I think those should be updated realistically.

Despite economic factors, gender, racial, mental health conditions or sexual orientation, everyone has a right to be safe in their classroom and communities and this is what the film is all about .

We should teach children and youth how to minimize social isolation, empathise with others and create a more inclusive and connected school culture."

Watch the "Finding Lulu" trailer in the ROFFEKE World Day for Audio Visual Heritage 2022 playlist.

ROFFEKE World Day for Audio Visual Heritage 2022

October 27th is World Day for Audio Visual Heritage. This year, like in 2020 and 2021, ROFFEKE will commemorate the day with a YouTube playlist. The theme of the ROFFEKE World Day for Audio Visual Heritage 2022 playlist is inspired by the title of one of the ROFFEKE Official Selection 2022 short films, "Crossing Borders". All the short films in the playlist cross borders in one way or another.

The short film "Crossing Borders" was directed by Chris Wilson and stars the talented Aphiwe Nqevu playing the role of Bhongo Mhlope. "Bhongo Mhlope, A South African immigration agent is on the hunt for a Zimbabwean foreign national who has been scheduled for deportation."

"Thou Shalt Dance" was directed by Abtin Yaghmaian, an animation director based in Tehran. The protagonist crosses the border between normal and abnormal: "In a normal day a normal man finds an abnormal solution for his problem."

Read - Crossing Borders: Finding Lulu and Cuando Haces Pop

Read - Crossing Borders: Forgotten Song and Maldita: A Love Song to Sarajevo

Crossing Borders: Forgotten Song and Maldita: A Love Song to Sarajevo

Forgotten Song, a beautiful, moving and poignant musical, is directed by Monika Grzybowska, a filmmaker who "believes in cinema with a mission."

Synopsis: "A young boy comes to the Friendship Settlement, where the Soviet builders of the Palace of Culture and Science lived in the 1950s, in search of accommodation for his grandparents from Ukraine. Here he meets a girl singing in the choir, who becomes his guide. Seemingly, it is a story about love that cannot happen because of the war in Ukraine, but more deeply it is a story about finding your identity. Music is an integral part of the film. It is not only the background of the events narrated in the film, but its equal protagonist."

Music also plays a big part in "Maldita: A Love Song to Sarajevo", directed by Raul de la Fuente Calle and Amaia Remirez. Below is a review by Love Kassim:

Bozo Vreco is a musician from Bosnia who in this film introduces us to a world of melancholy and sorrow as he explains growing up in a war-torn country and loosing his friend at a young age. The artist recalls the people he knew and the life he might have had if he hadn't gone through such a dismal upbringing. The war in Bosnia is repeatedly highlighted.

Bozo wears his hair long with kohl around his eyes and dresses in Kaftans; he spins around singing on stage. He believes that a person who sings songs of courage should present nothing but honesty to their audience. He further explains just how hard it was navigating as a queer person from a background who’s sound has influenced his music.The catchy melodies mixed with Bozo’s unmistakable voice gives the song an unparalleled softness.

I believe that this is the kind of sound that takes us on a journey through time.

His powerful highs and extra soothing lows plus the interplay of rhythm might blow your mind as the rich texture of the vocals pull you right back into place.

This music is calm yet so powerful.

This is an artist who tells us our most fundamental stories about ourselves and lost loved ones and when you listen to Maldita and watch the whole film in general, those stories are as relevant today as they ever were.

Crossing Borders: Finding Lulu and Cuando Haces Pop

 "There have been 27 school shootings this year. Maybe by October there'll be 30 more." 

So begins the trailer for "Finding Lulu", a short film directed by Gayatri Kumar and produced by Nyakio Wambui. Then we are asked: "How do you prepare for a country that has more guns than people?" Next, we see a Maasai Moran, sharpening a spear, wearing a Kenyan flag bead anklet. Lulu boldly approaches him and demands: "Nifunze kupigana" - Teach me how to fight.

Synopsis: "After learning about the culture of school shootings in America, Lulu's Kenyan community bands together to prepare her for life in U.S. schools."

 The trailer ends with the chant: "Usiue mtu, usiue mtu" - Don't kill anyone.

"Don't kill anyone" applies to Cuando Haces Pop (Once you pop), directed by Kevin Castellano and Edu Hirschfeld. This fun film with a twist in its tail/tale crosses the border between horror and comedy. Below is a review by Love Kassim:

"Cuando Haces Pop" (Once you pop) presents the story of Alicia and Ruth stranded in the middle of nowhere after they got kicked out of a car that was supposedly taking them to a music festival to perform. Once you pop provides a significant evaluation of the difficulties a band will go through just to get their music played, especially if it's made up of females.

They try to hitchhike to the next town and learn the hard way what it would really take to get a lift. Essentially, the film utilizes short, instantaneous and effective scenes that describe and exaggerate how they are limited to doing whatever the guy wants to get said lift.

The best remark I can give about the song is that it’s slowly infectious and one seems to return and replay it often.The song's infectious nature stems from its well-balanced, enticing sound, its positive vibe and its meaningful lyrics. We hear the interwoven styles of traditional punk and hints of pop, which seem seamless. It is difficult to achieve this mix of styles without being corny and Alicia and Ruth seemed to have done that.

I love the irony of the [not included to avoid spoiling the surprise! :-)] and actually enjoying their music.

Clay Calloway of Sing 2 and Ellery Demarco of One-Hit Wonder (Directed by Amanda Dow)

One-Hit Wonder: “A cab driver takes a former pop star on a one way Twilight Zone-like ride.”

Together with Jane Petrov, Andie Ximenes produced “One-Hit Wonder” and also plays the main character, Ellery Demarco: “As a sci-fi, Twilight Zone–type short, featuring an original song, “Humma Humma Ding Dong,” composed just for the film, I believe that “One-Hit Wonder” will speak to both movie and music lovers, leaving them humming as they exit the theater and pondering what it means to be an artist.”

According to the Sing wiki: “Formerly a rock star legend, Clay isolated himself from the rest of the world after the death of his beloved wife. He later meets Buster Moon and his friends, who aim to persuade him to perform on stage again.” Director Garth Jennings talked about Bono playing Clay Calloway in Sing 2: “He plays this big, old lion called Clay Calloway who was a legendary rock star but has been a recluse for 15 years ever since his wife died. He has just vanished off the face of the Earth.” - New Sing 2 trailer: Director Garth Jennings on casting Bono and working through the pandemic (exclusive)

One-Hit wonder opens with the sound of applause. Emery appears, walking though what seems like the tunnel of a stadium but is probably just an alley. This scene is similar to the one in the Sing 2 trailer where Clay Calloway walks through a tunnel-like section on to the stage. This happens right after the crowd sings along to a U2 song, spearheaded by Scarlett Johansson’s character, Ash: “Johansson’s punk porcupine also comes back for the second film, playing a key role in coaxing Clay Calloway out of his reclusive state.”  

The U2 song is the anthemic “I still haven’t found what I’m looking for”

“In Ayn Rand’s ‘Anthem’, the protagonist, Equality 7-2521, lives underground in a darkened tunnel. However, he emerges, possessing both the symbolic light of his intelligence and an actual light bulb….” - “The Symbolism of Tunnels in Literature" by Linda Emma. When Emery walks through the darkened passage, there is a point of light behind him and he smokes a cigarette. (Check out this article I wrote in 2016 about cigarettes and cinema.) 

Andie Ximenes and Florin Penisoara

Linda Emma notes that: “in the novel and movie “The Perks of Being a Wallflower” the tunnel represents the protagonist’s growth. The movie director, Stephen Chbosky, said that “the tunnel scene is a symbolic rebirth, whether people look at it as a spiritual rebirth or a coming of age.”

Amanda Dow’s Director Statement: “While the film has adversity, it’s about beginnings and a man wanting to find his way back to his love of music at any or all cost to his own. As the director of One-Hit Wonder, I wanted to provide a window into the collision of these worlds.”

 

Amanda Dow, director of One-Hit Wonder

Satire in Horror Films: The Case of “Witchin” - directed by Christina Diamantara

“Both comedy and horror are often viewed by critics and the general public as “low brow” genres with little social relevance and few redeeming qualities.” - Dr. David Gillota, associate professor of English at University of Wisconsin - Platevlle. 2019.

On October 3rd, 2019, Dr. Gillota participated in a forum that examined “how satire in horror films exposes systemic societal issues.” He provided an analysis of Jordan Peele’s “Get Out” and argued that this film “straddles the line between humor and horror in order to critique systemic racism and expose the hypocrisy of white liberalism.”

It can be argued that Christina Diamantara’s short film “Witchin” does straddle this humor-horror line so as to critique systemic patriarchy and expose the hypocrisy of sexism and misogyn. Pallavi Prasad outlines the difference between these three intertwined concepts in her article “The Difference Between Sexism and Misogyny, and Why It Matters": “If patriarchy is the overarching social organization in which men hold the power, and from which women are largely excluded, then misogyny and sexism are the two drivers that uphold this system. If patriarchy is the state with a capital S, the sexism is the ideology, the legislative pillar….Misogyny, then, is the method. It is both the executive and the judiciary, in that it enforces the ideology and reprimands where there is a breach of law. It is the hostile policing of those women who violate patriarchal norms and expectations, thereby setting a precedent for the cost of feminist transgression.”

In her Director Statement, Christina Diamantar highlights the fact that her film is about “a young idealistic witch, on her quirky-spells-and-pink-glitter-filled quest to find the notorious and elusive Big Dick Energy ingredient…” Although the story is set in “the world of fantasy and make-believe” Christina insists that her short film “is deeply rooted in human reality, and more so by the current social context that first inspired it.”

The Instagram hashtag #bigdickenergy is one of the elements that inspired “Witchin”. Christina finds that “this idea - that your confidence is as big as the size of your penis - is not only perpetuating a toxic interpretation of masculinity, but is also inevitably suggesting that, yet again, confidence is a male thing. I thought it would be funny to use this term as a physical ingredient - and in a way create a satirical metaphor about women who do all the right things, in terms of working towards their goals, only to realize that the  most important step for their success is to find some way to capture the essence of male privilege.”

Christina Diamantar - Director of "Witchin"

In her article titled “Standing Up: What Men Can do to counter systemic sexism in the office”, Liz Elting writes: “With privilege comes power, and there are so many ways you can use that power for good: speak up and call out sexism and misogyny amongst your peers, stand up for and champion women, point out when a woman colleague came up with a great idea (especially when credit is misatrributed to a man), hire and promote women, and the big one I’ll focus on today, opt out of boys’ clubs and fratty workplace culture.”

Here is the trailer for “Witchin” plus two insightful interviews where Christina further expounds on “Witchin” and her overall filmmaking journey and explains more about the secret ingredient BDE.

The Outcast Kid, Tom Morello and Politics

 “When I first moved to Hollywood, I thought I was going to rule the Sunset Strip with my heavy metal guitar licks…that didn’t work out. Nobody really wanted me. My hair wasn’t right, my skin wasn’t right…” - Tom Morello in “Totally Biased with W. Kamau Bell”

“If a Greek can be an outcast in this day and age, what are the chances for those from Syria? We are shown what it is like to be an outsider; being picked on, having to constantly prove yourself, the constant reminder that you are not like everyone. The theme resonates with every kid who was always picked on for being different from the rest, resonates with that third world country never taken serious by the 'super  power' country. Shout out to those parents and relatives who listen and offer advise for such situations.” - Review by Love Kassim.

“I was finally accepted by the East Side rocking community which is bands like Fishbone, Jane’s Addiction, Red Hot Chilli Peppers. Imagine my surprise…I grew up in a really stultifying, conservative suburb of Chicago and I went to an Ivy League school [Harvard] and all of a sudden my best friends were all drug addicts and prostitutes, who, many of them had a heart of gold. They accepted me when others did not.”

“The film talks about a half nationality [dual nationality] boy who has to deal with two sides of a coin, being half Greek and half Romanian. I liked that it addresses social issues as we see them, tribalism, ethnicity, religion, racism, and the fact that the young boy feels torn in between. It has addressed a multitude of issues that are overlooked and the issue of bullying is heavily seen here.  What l didn't like was the inclusion of politics that is hard to understand for the young boy.” - Review by Inez.

W. Kamau Bell: Why do you think it’s important for artists to be connected to social movements?”

Tom Morello: An artist’s only responsibility is to be true to themselves. If you do have convictions in the political arena then you shouldn’t divorce them from your vocation.”

Tom Morello's segment is from minute 13:40.

The Outcast Kid trailer.

Reviews: Tired Eyes (Written and Directed by Ryan Martin Brown)

As someone who is "schlepping" a small rock 'n' roll film festival in a less than conducive environment, I could totally relate to Tired Eyes (directed by Ryan Martin Brown). I can see the utter ridiculousness of it all...and also the utter importance of it. 

Overview

"Rose, Mitch, and Trevor make up the lo-fi rock band Tired Eyes. The trio have a small gig tonight, which means schlepping gear from a cramped practice space in Brooklyn to the middle of Manhattan. Unfortunately, the city has a way of making even the simplest of tasks absurdly difficult."

'A snapshot of people you know... [it] questions the purpose of art in a way that I found very moving.'

- Antonio Mendez-Esparza, Cassavetes Award Winner

'Perfectly captures the chaos and madness of New York, and the hustle of trying to get something off the ground.'

- Kentucker Audley, NoBudge.com

Reviewer: Love Kassim

This video shows what most, if not all, bands go through right before a gig and I think such hustles stem much of their writing.

Of course they are late and have to beg for a chance to play.

I can only imagine how long it took to set up.

Makes you wonder what kind of situation musicians go through right before and even after a show.

They are surprisingly good.

Set is done and they have to find a way back home.

Their band name is fitting after the day they just had: Tired Eyes.

Reviewer: Inez Inās

My first impression was that it is relatable and peaceful. l liked that it was funny and showed what happens everyday in life when you are not organized. The music was calm yet it showed confusion. l did not like how the scenes were short and how the characters were quite insensitive to their neighbors; they simply were in their own cocoon plus they were rude. The film reminded me of some of the fun, laid back comedy movies l have watched; the characters usually are petty but fun, eg Love Rosie, it showed her love life and the effects of not telling your love before, but it ended well.

Love Kassim: Side bar, can I find this band on YouTube, check out their music or they were just actors?

ROFFEKE: They were actors 😊

"Mitch" - Steven Carter

"Rose" - Emily DeForest

"Trevor" - Cecil Jennings

Writer/Director - Ryan Martin Brown

Producer - Paula Andrea Gonzalez-Nasser

ROFFEKE OFFICIAL SELECTION 2020 (Partial Listing)

A Youtube playlist featuring some of the short films, music videos and rockumentaries submitted to ROFFEKE in 2020. Watch it here.

 'Tis the holiday season, so the first music video is "Just Like Xmas" by Tom Tikka.

The year 2020 has been a bit...much, and the theme and inspiration behind the second music video speaks to this:

"In a divided time, when only the most sensational acts are acknowledged by the public, a shy man longs to be seen and heard. In particular, he seeks the attention of a girl who mesmerizes him and awakens his creative passion, but when he falls prey to the seductions of easy fame, will he pay the price for losing his true self? The 5th chapter, "Woke," from Kenny Cash's iLLustrated Opera (dubbed the iLL Opera) features Jaqx finding the courage to use his voice,  but when he finally protests against the dividing forces that rule his world he is forced to confront his hyped up alter ego.  Musically, "Woke" Blend of punk, funk and jazz fusion w/ aggressive vocals which reflect the battle that ensues."

Director's Statement: " After nearly forty years on the planet without paying much attention to politics, I never imagined a time would come when I had to express my opinion on the political landscape of the world that we live in. But following the 2016 presidential election, not having a political voice seems to have become an impossible task. The world has started to look a bit like a cartoon to me, where interaction doesn’t happen so much face to face, but rather with hyper-caricatures of one another on social media. I had always loved comic books, science fiction, stories of illuminati, and tales of redemption, so voicing myself through an even more caricaturized graphic approach just seemed right. Being a part of social media left me with my own internal struggle, as it is easy to fall prey to its seduction and the pull of media in general. What we see and hear repeatedly tends to shape our thoughts and close our minds to other's perspectives. If, at the core, the majority of humans tend to desire similar things, then why are we so divided in our approach to obtain them? So this is my voice for the new generation: my kids’ generation. Find your voice, use your voice, but always challenge your voice by listening to another’s."

The last music video in this playlist is a rollercoaster romp through an other-worldly reality - sort of like what 2020 felt like. The difference is that this music video is fun to watch, the song is sure to get you moving and the story is captivating:

"The hero breathes a cloud of strange smoke. He bangs a spray paint that turns into a living and dancing cartoon robot in the wall. All over the city, we see graffiti come to life to join our protagonist, who is going to get caught, to end up like a black and white 2D poster on the wall (like JR). Guided by the robot / bomb in the wall, he will meet 3 characters, the freaks of Caravan Palace, scary and crazy, who will first haunt him, pursue him, then finally amuse him to the point of dancing with them in a crazy way." (Director: Béchir "Jiwee" Jouini)

The year 2020 has been a cloud of strange smoke. It has haunted us and pursued us but hopefully, with a bit of friendship, fun and freedom, we can get to the point of dancing with it in a crazy way and ending the year on a high note. Happy holidays everyone!

Wine Game: A Metaphor for 2020?

Wine Game is a laugh-out-loud, 4-minute short film that I think could be a metaphor for the year 2020:

00:16 - Pandemic, lockdowns.

00:25 - Quarantined. Forced to look within. What are we carrying?

00:50 - New normal, new opportunities.

1:26 - In the new normal, it is not advisable to put new wine in old wine skins.

Wine "is a powerful literary metaphor used for centuries to refer to everything from love to blood to prosperity...no wonder the Greeks gave birth to the complex myth of Dionysius, a source of joy as well as thoughtless rage."

Some reviewers have likened the Wine Game story to that of the Sisyphus myth. According to Wikipedia:

"In Greek mythology Sisyphus or Sisyphos was the king of Ephyra (now known as Corinth). He was punished for his self-aggrandizing craftiness and deceitfulness by being forced to roll an immense boulder up a hill only for it to roll down every time it neared the top, repeating this action for eternity. Through the classical influence on modern culture, tasks that are both laborious and futile are therefore described as Sisyphean."

Of course, metaphors are subject to breaking down. Still, the beauty of "Wine Game" is that it is open to interpretation. To borrow from Robert Louis Stevenson's quip, "Wine Game is bottled poetry."