CalArts Shorts Program Featured at Cinema at the Edge Film Festival

Above: A trailer for Guillaume Legrand’s ‘Souffle Court’

This weekend (April 9-12), the Edgemar Center of the Arts in Santa Monica hosts the 3rd Annual Cinema at the Edge (CATE) Film Festival, which celebrates independent films of all genres that feature a “distinct vision, a unique voice, or a challenge to what is expected and accepted in the medium.” Eight student and alumni filmmakers from the CalArts School of Film/Video Directing program screen films in a dedicated, 90-minute CalArts Shorts program at noon on Saturday (April 11).

The following films will be screened in Theater A at CATE:

• Caterwaul (2012) – directed by Ian Samuels (Film/Video MFA 11)
  “An aging fisherman develops an intimate relationship with a lobster as he struggles to find closure with his lost wife.”
• Miracle Maker (2014) – directed by Kate Marks (Film/Video MFA 12)
  “Because Oz is too far away and the desert is hot as hell.”
• The Bluff (2013) – directed by Michael Scheer (Film/Video MFA 15)
  “A couple grapples with that which will haunt them, their love or lack of it.”
• Dol (2011) – directed by Andrew Ahn (Film/Video MFA 11)
  “A gay Korean-American man yearns for a family life just out of reach.”
• The Woman and the Fish (2010) – directed by Ilana Coleman (Film/Video MFA 16)
• Fatherland (2013) – directed by Sinah Ober (Film/Video MFA 16)
  “A young woman’s meditation on grieving for the father’s love denied her and the bitter truth of her family’s history.”
• Souffle Court (2012) – directed by Guillaume Legrand (Film/Video MFA 12)
  “Léa Loves Arnaud. The young and carefree couple lives in an abandoned school. It is Didier, a small time crook who offered them this shelter. In exchange they have to help him in facilitating child trafficking. Faced with the situation, the young woman hesitates.”
• Wunderkammer (2009) – directed by Andrea Pallaoro (Film/Video MFA 08)
  “An aging woman and her son struggle to coexist in a house that shelters a spectacular menagerie of birds. Within the ‘every-day-ness’ of their gestures and movements lurks a secret, and the anticipation of what might come is the dawning question.”

Above: Scheer’s film, ‘The Bluff’