Tags

, , , ,

It’s always rewarding to go to a feature, especially with one of them you helped play a role in seeing it come to fruition.  Last night I got a chance to see the end result of Benjamin’s Hayden project, Agophobia, come to life.  I was one of a cast of many that helped put his vision out there, and I was curious if the special effects would add something to it.

But first, a pleasant surprise as Dylan Howard, who I interviewed in a previous post about his project, came up and showed a rough cut of King of Oneiros.  

It was a rough cut, but what I saw, was pretty good.   I really forget the style of film mentioned here, but a narrative that combined elements of fantasy and reality in terms of dreams and dealing with loss.  It still had a few rough spots, but Dylan manages to tell a great story with a multitude of meanings.  I can’t wait to see the final cut, and to his kickstarter supporters, you will enjoy what he creates.  Dylan is one of the most passionate people I know, and it shows in his work.  I would like to see this film when it’s all finished.  I was impressed with what I’ve seen and would like to see more.

After a brief intermission, it was time for the main event.  Everyone waited with anticipation.  When you make a movie, especially one like this, you wonder if the vision instilled at the start would look glorious on screen.

So was it good?

Agophobia is about a creature seeking to escape the domain system in a far future where humanity had ceased to exist and the systems left behind govern their domains.

Agophobia looked impressive from the very start.  The design even from the logo onward, gives the viewer an instant impression of the world that engages the reader.  To Hayden’s credit, the movie manages to engage the viewer instantly. 

All the visual effects are top notch and polished.  A lot of time, effort and energy went into creating this world from camera and imagination.  Some of the shots were clever and very smartly executed, including the image where the main character is crawling through the pipes.  Seeing how the shot was created from both sides of the camera gave me a good appreciation of how the shot was constructed.

Yet the film was built around a lot of old styles and concepts as well. Dance and choreography was the language of the movie.  Not one word was spoken yet throughout the whole movie you are engaged.  This is a credit to talent and direction to pull something like this off.  You’re never bored and are always wondering just what is going to happen next.

Another major part of the credit on screen should go to Melissa Meretsky.  Melissa created a lot of the look of the film with body paint and it was carefully inserted into the film with a lot of skill.  She worked on this and King of Oneiros and it really added something to the whole presentation.  Finding where the cgi and actual real world intertwine is next to impossible.

Agophobia is now going to be featured in various international film festivals this summer and in North America in the fall.  I am thankful for what little I did on this, and hope you enjoy the final result as much as I did.