Trespass | a short film| Haiku Review


The Challenge is to write a HAIKU REVIEW after watching the short film Trespass . Feel free to write in Single – Couplet – Triplet Haiku Verses using 17 syllables per verse . Lines in 5-7-5 . Try to Review the short film below as close to your interpretation of what you viewed and how all your senses responded to it. Think of it as looking at a moveable painting.

If you decide to take on the HAIKU REVIEW CHALLENGE . Leave your Haiku in the Comment Section of this post on ‘the secret keeper’ . so others will be able to view what you have created. I will be posting my own HAIKU REVIEW just above the video of Trespass.

If this film doesn’t inspire . don’t worry. A new short film will appear every Friday for you to try your skills at the WEEKLY HAIKU REVIEW CHALLENGE .

Here’s to engaging in the Haiku Review Challenge | Clinks & Cheers! – j.kiley

by j.kiley

Once it felt harmless
Clear . until fear took over
Simple gestures cost

© j.kiley ‘17

Best Viewing Experience Open Video Full Screen

Trespass | Mirrah Foulkes

Rating . . . PG-13
Genre . . . Short Film . Thriller . Mystery . Environment
Length . . . 11m 37s

There is an eeriness that accompanies experiences in the forest. Even the mundane — leaves rustling, a branch breaking — can make your mind jump to sinister conclusions before reason has the chance to calm it back down. Maybe it’s being out of your element. Or that the silence and sparseness of nature allows space for your brain to wander. In ‘Trespass’ . we’re dropped instantly into this kind of heightened state. By recreating the tension felt in the forest, the film gives viewers room to project their own insecurities and ideas into the story and ultimately, come to their own ominous conclusions.

In “Trespass,” which premiered at TIFF in 2016 and won the Erwin Radio Award for best Australian short at the Melbourne Film Festival, Foulkes wanted to create an atmosphere unlike most thrillers. The protagonist, Rachel, walks her dog through the woods and comes across a young woman crying. Through the lingering details of the forest and sparse dialogue between the two, it’s difficult to get a clear read on the situation. Does this young woman need help? Should Rachel just continue on her way? “I was interested in the idea of trying to sustain the tension and suspense with as little hand-holding as possible for the audience,” she describes, “so that as a viewer, you’re almost having a parallel experience to the character Rachel.” As this tightly-wound interaction ends on an ambiguous note, we, the viewers, feel the same conflicted sense of worry and search for the same clues as Rachel. And that leaves us with the crux of the film: if you think someone is in trouble, do you try to help? Even if it means crossing boundaries that potentially shouldn’t be crossed? – Notes from Film Maker Mirrah Foulkes

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