directed by George Louridas

Having an opening credit with a short video from the production company can be a little misleading for the non advised viewers. They may think that the stop-motion video is the actual film, and there are visible differences between the production design of the opening and the following material.


The opening credits are a nice touch, also thoughtfully inserted, however placing them in the debut of the story can affect the overall experience of the viewer. In this particular structure, they are more likely to lead the eyes to think that both of them as they are seated side by side are two separate short films, not an opening credit and a movie that follows it.


Usually, a less critical aspect in an audio-visual artistic statement, the font of the film title opening catches the eye from the very beginning. The titles deserve a better fit with the background. However, in future projects, maybe there are other elegant solutions outside particular default presets contained by editing machines so that the final result can represent the artistic configuration set by the creator in every specific area.


The storyline itself has a puzzling touch, as the opening act has a leading voiceover which is challenging to grasp or perceive whose voice we're listening to. Furthermore, yet in the beginning, it isn't straightforward to determine if we're talking about parallel plans, different women or just old memories of the same character. The plot builds a bit unusual for the audience to perceive and become engaged quickly before the ending, so no strolling viewer is willing to leave the boat in the middle of the story. 


The director of photography reached to capture beautiful lightened scenes, especially the ending shots with the girls on the green field. There are intentions of gaining more aesthetically charmful shots during the movie. Yet, the most powerful ones stand as a statement in a few pillars throughout the film. The overall impression is the need for a more consistent visual declaration from the beginning to the end. 


Reaching the post-production area, we find the first shots in a slow pacing rhythm, maybe a bit too silent and opposed to the action coming right after. In a festival screening, it will be challenging to keep the audience alert so they can follow the storyline coming up next. The viewer will undoubtedly amend a visible imperfection: sometimes, when there is a cut in the video, it is accompanied by a hole in the sound. Even if there is a physical cut in the film, the room tone or the air in the room shouldn't be ripped out completely. We shouldn't "hear" the cut, so we propose attaching or supplementing with more audio transitions to achieve a fluid and continuous atmosphere.


Furthermore, even though the film is English spoken, also speaking both from an audience and festival programming point of view, an English subtitle would be highly appreciated by everyone, especially in the end, where french lines occur. When the three girls meet, and they start reading all loud, they all have different English accents, and it becomes bothersome to seek to assume what they're chatting about. 


Moreover, the length of the film is considerably ample. The issue isn't the significant duration from a programmer's point of view, but the fact that nowadays, the endurance of a regular, broader audience reducing from a season to the other. Just in case the unfolding of the action is very popular, and the editing has a catchy pace, perhaps the viewers could be more interested in watching a long length material until the very end. But even on Youtube, the typical audience leads to a video for around 4 minutes and decides if it's interesting to watch in 7 seconds. So maybe a shorter draft of the movie (approximately 20 minutes) could be taken into consideration.


All those said, "Inside the Sheer Nostalgia of a Lullaby" is a promising project and we look forward to George Louridas's next project eagerly, as we can't wait to see the career development of the young film directors joining the LSS family.