A troubled young woman finds unexpected solace in an old camera, igniting a journey to capture light and leading to self-fulfillment in Tamas Levardi’s micro short film The Light Keeper.
The Light Keeper runs for three minutes and twenty-two seconds and, on first viewing, looks so stylish and Avant Garde that it could quite easily be a trailer for the new Lars Von Trier movie or an advert for an Eau De Toilette. Of course, it is neither, but what we do get is a stunning-looking short that, despite not telling us much about anything, makes us feel like it has, while also providing us with some memorable imagery.
There’s a certain amount of freedom that comes from stripping a film down to its bare essentials when the only thing standing between the director and the story is the idea of making the film in the first place. In his notes, director Tamas Levardi stated that a few months ago he embarked on this type of journey. Feeling the weight of large-scale projects, he looked for a personal project where he could collaborate with a single partner. What began as a small idea quickly transformed into something more intimate – a micro short film focusing on the basics, stripping away any unnecessary detail and trying to create a more impactful narrative.
As the director, Levardi chooses a unique visual look, opting to shoot exclusively at sunrise or sunset. This meant that each shot saw the filmmakers hauling their equipment while cycling and hiking to remote locations, all in pursuit of that special form of twilight. The effect of this work is pretty spectacular though, as the environment isn’t just a backdrop it becomes a character in the short, much like the fire and the flames in the Ron Howard film Backdraft.
What also works is the decision to shoot the scenes handheld. The unsteady and wobbly nature of the technique gives the film a naturally raw feel. The lighting also helps to create a dreamy, ethereal look that feels otherworldly, yet the constant images that involve nature and physical aspects of photography keep the story grounded. The use of natural light becomes the primary source of every scene, both indoors and out; the director does admit to the occasional use of a single red bulb though, breaking this rule slightly.
What also deserves highlighting is the performance of Alice Beton who, snitched on by her director in his notes, is a non-professional actor. Beton’s physical performance provides us with a powerful singular figure who conveys an instinctual, raw energy. Her physicality enables us to look beyond the arty imagery at an authenticity that is found in her movements. There is something refreshing about watching a film where the performance feels less like acting and more like real life, captured as it happens. Meanwhile, the voice-over is provided by Elizabeth Nightingale whose vocal delivery is luscious and helps to give the film more gravitas.
What The Light Keeper is, is a labour of love. A project where limitations are seen as strengths and the process is dictated not by a budget or schedule, but by the natural world and the collaborative nature of the people involved. A small film, with a big heart, for viewers willing to embrace its natural and intimate charm; it guarantees you a connection that will be felt for a long time after the credits finish rolling.
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