The Misogynist (2011)

‘The Misogynist’ is a creative and unique short film. There is definitely a particular essence to the film which is so different to others; although I liked this difference. It went well with the film especially the plot.

The camera is something that has to be pointed out. The use of the camera was very unique and varied in shots. There were extreme close ups, long shots, medium shots, everything. But what I liked the most is that there were moments where the camera followed the character, but contrasting mostly that it was completely still. Moments where the only thing moving was the character himself, the landscape quiet and still, just vast empty spaces the main protagonist was walking into. This gave such a unique style to the film that should be appreciated.

So anyway, the plot of the short film. The film lasts just over 12 minutes, however a lot is said. But cleverly, there actually isn’t much dialogue, a lot is said in the silence of the moments; although a lot is said when they are actually talking as well, more than you think. The main protagonist is husband, Harlan (Pascal Yen-Pfister), a photographer struggling to find his new project to shoot; to give him his edge and his own personal style. There are also two other characters, ones that contribute to two different parts of Harlan’s life. The wife (Rhea Sandstrom) mostly contributes to the life at home situation, while she is constantly at work, Harlan is struggling with his new project. You can tell from the beginning, there is a trouble in this marriage. The camera represents this distance between the characters. Significantly she does tie in with the life of photography but only because she is the symbol of what Harlan’s new project is based upon. The other character is W.D. Frost (Timothy Cox), who manipulates the photography part. We are told about Harlan’s career and his difficulty he is going through in regards to his photography. We discover through W.D Frost that something isn’t quite right when he gives his first selection of pictures.

I would recommend this film for a unique stylistic short film that has quite an eerie, creepy feel to it. A film that represents a bit of foreshadowing and many various camera styles. So did Harlan ever find his new edge for his photography?


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