WATCH THE TRAILER HERE
First, the Recap:
Legend. Folklore. They take us to worlds of fantasy and magic where morality tales and sweeping sagas featuring epic heroes and mythological creatures abound. Yet, they are mediums where even the some of the most powerful lessons are learned away from battlefields, castles, or enchanted seas. And it is within one such fantastical realm that a simple, darkened wood becomes the setting for The Hunter (Martin Galligan), a man of no equal and unmatched skill, whose prowess with a bow itself is known throughout the lands. This night, he stalks the White Wolf. Stealthily moving through the trees, he has spotted his quarry, and with the precision he is renowned for, an arrow cuts the misty air.
Yet, in the aftermath of success, a turn of events is about to unfold. For as The Hunter lingers at a nearby stream, a sound steals his attention, and turning to gaze at a high waterfall’s edge above him, beholds a woodland Nymph (Anna Ilaya Ozolina). Starkly white against the blackness of the night sky, she dances and entices The Hunter to seek her out. Unable to resist, he once again pursues his mark, following her deeper into the shrouded wood. Finally arriving at a clearing, he watches her beautiful dance, mesmerized, until allowing his nature to take over, and lets loose once again. But all is not at is seems, and soon he comes to realize that in this bewitching place, his role may become the hunted.
Next, my Mind:
Trained as an animator, Irish director Damian Byrne brings his exquisitely simplistic, emotionally charged, and visually potent short film to ethereal life, capturing the viewer for its entire 10 minute runtime, and utilizing the absolutely classic Claude Debussy piece “Clair De lune” to make the impact of the story complete. Filmed at Blarney Castle’s fairy gardens, the fantastic mix of this setting, plus the richly detailed and purposely chosen costuming, captivating imagery, and interpretive dancing all combine to present what truly becomes a fully realized version of an almost operatic stage production or animated film feature, which makes perfect sense given Byrne’s background training and skill-set. Given this is his very first directorial effort, this reviewer honestly cannot wait for future projects.
The sole actors present here, Martin Galligan and Anna Ilaya Ozolina, take the best advantage in having to convey their respective character’s every emotion through movement alone, as there is no dialogue here. The entire narrative is emoted via each directed motion, whether as simple as quietly padding through the forest with The Hunter, to the fluid undulations of the Nymph’s transfixing dance and gazes. It all has to come out by what the viewer witnesses and feels in tandem with the Debussy score wafting throughout the scenes. So kudos need to be given to Galligan and Ozolina for so poignantly illustrating this fantasy piece with their skills. Overall, a more than worthy first effort that showcases the talent of a newfound directing talent.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
