The Journal of Short Film's Volume 19 offers challenging insight into language and deception as the filmmakers present hypnotists and tricksters, tactillic interpretation and pantomimic representation of our world. Of the films that offer a narration, the words attempt to describe the abstract notions of God and metaphor, showing how easily language fails to communicate what is around us. Each film offers a photographic rather than cinematic style which creates a lingering effect over the details of each image.
Michael Fisher's Widow appears as a series of black and white photographs endowed with life to tell the story of an ending love affair between two Puritans. The suitor's hands linger on the ripped bark of trees, the widows eye stare widely as he approaches her door. The camera pauses on each face, each hand and footstep, as if to ponder the choices the lovers must make. Words are not exchanged as the suitor leaves the widow, the threshold is not breached. Not to bear a moment more of his absence, the widow considers a poisonous vile on her mantle. His regret and hesitation is apparent as he slowly walks away, then turns to look at the house over his shoulder. As the suitor steps back to the house, the widow's long hair slowly folds upon the bare wooden floor. His skin pulls tightly around his knuckle as he braces to knock her door communicating his presence...
Please, follow this link to see Widow by Michael Fisher in its original 16:9 format.
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