Jeremiah Kipp – First Look

An exciting new talent has recently been brought to the attention of KiV and we feel honour bound to share him with you.  New York based short film maker Jeremiah Kipp has been making some big waves with small movies and in the true spirit of exploration of all things independent and subterranean we’re here to show you what he’s been up to so you can say in a few short years to come “yeah I heard of him before…”

His production company Kipp Films [here] have been experimenting with the more visual essence of cinematic story telling and in doing so have created some incredibly emotive and impressive pieces of work.

Running Time: 5 mins

It’s no surprise that Crestfallen has ended up appearing on KiV or that we have an affinity for Kipp and his work.  This darkly poetic short has managed to capture the spirit of Nicholas Roeg and distil it down to 24 frames per second.  Kipp’s use of lighting flares, shadow and comparable framing within the editing process flirts outrageously with the idea of past and present, of cause and effect and of all four of these principles overlaying and entangling amongst one another until you’re certain you know what happens, and how it happens but you’re less certain of how much of it was informed recollection and how much was emotionally distorted memory until it’s too late.  There’s a richness to the film’s colour palette that must seriously defy budget and it all comes across with a relaxed confidence in his craft that’s reminiscent of Chris Marker at his very best.

Running Time: 4 mins

The director himself describes Drool as a “strange/erotic experimental film” and in one respect he has summed up what you’ll see in this dialogue-free black & white Art Nouveau inspired offering but there is more to it than that.  In a single frame Drool can switch from beautiful and intense to an almost grotesquely twisted nightmare and back again.  Birthed of David Cronenberg via David Lynch with a healthy dose of the sort of real realm phantasmagoria that has made Guillermo del Toro a household name worldwide it’s the sort of film that will evoke a reaction from audiences.  That will last so much longer than the process of viewing.  This is a quality that’s all too often lost in modern cinema and is priceless when you happen upon it.

The Days God Slept
Running Time: 10 mins

The longest of Kipp’s shorts viewed to date is also the one with the most narrative drive and therefore the most accessible to audiences that are more used to the conventional idea of cinema.  Set in a strip club starring Lauren Fox (Pi) it tells the tale of a blossoming relationship between her and a client as the two come to grips with their unspoken past in a landscape abandoned by all things pure.

There’s nothing more appealing in cinema than characters that are like orchids.  They blossom in the harshest conditions and are all too often the most richly textured, strong and interesting portrayals you’ll fine in narrative cinema.  What Kipp does well is showcase two of life’s orchids amongst a den of weeds but does so in a way that delivers a visual representation of the psychological complexities that exist within their personal histories.  The abandoning of linear narration and causal effect gives the conversation between the young couple a fluidity that only comes with time.  Steven Soderbergh optimised this perfectly in The Limey.  As Terence Stamp discusses his daughter with Lesley Ann Warren the conversation leaps through time and location yet remains unbroken creating a general feeling of memory.  A feeling that the events are not necessarily occurring on screen but are being remembered, and remembered ever so slightly inaccurately.

Kipp deploys this same technique in developing the on screen relationship between dancer and customer as the conversation leaps from club, to park, and back creating uncertainty in the audience and a level of tension throughout what would otherwise be a relatively straight forward piece of exposition.

One can’t help but feel that in The Days God Slept, Jeremiah Kipp has the nucleus for a feature film as everything and everyone involved in the production seem to scream to the audience creating the kind of emotional connection that’s usually incredibly difficult in such a short time.  His work straddles that difficult gap between narratively pleasing and artistically nourishing.  Take a moment to drop by his site, watch what you can, keep an eye out for funding campaigns – IndieGoGo, Kickstarter or otherwise and remember where you heard the name first.

If you are a film maker who would like to have their work featured in a Knifed in Venice – First Look send us an email [here].


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