WAKE The Short Film

Wake, Short Film


The film opens during a rainstorm with a series of tableaux of everyday objects shot in rich color. We are introduced to a man, in his late twenties, early thirties, awakened by water dripping from the ceiling. He seems to be annoyed. You get the feeling that he does not want to interact with the world, at least not on this particular day. As he drags himself out of bed, we see that his bedroom has not been cleaned for days. We get a long shot of him walking down a corridor and past the living room. The house is in disrepair. In the corner, we see a TV screen playing old footage of an apparent relationship. He goes to a window and looks out on a large body of water. He walks outside and starts walking towards the beach. He dives in and starts to swim out to sea. This sequence of images finishes with the classic “Sunset Boulevard” fish-POV shot of his body floating and then a direct cut to him prostrate on the floor of a basement and coughing up water. He is alive. .

I have just described the first three minutes of director Martin Klapperbein and writer/cinematographer Liam Higgins’ seven minute long silent short film (no dialogue but with a synth-based score). It is at once enigmatic and hypnotic and evokes a great sadness. These themes are further explored in the film’s second half when the man, in a beautifully edited sequence, climbs the stairs from the basement and eventually finds himself in a church with a young girl praying near the alter.

What you get out the film will depend on you, the viewer, although there is a message before the final credits that does tie everything together in a meaningful way. For me, the film’s manipulation of time and space together with its striking use of direct cuts was reminiscent of Robert Enrico’s classic short “An Occurrence at Owl Creek Bridge” and Lady Gaga’s homage to “The Color of Pomegranates”, “911”.

To view the film on it’s release date of January 19th, Click this link: https://vimeo.com/liamhiggins/wake

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