Felix Aird's Blog

  Operator The narrative is deceptively simple: an emergency call comes in, the operator engages, the crisis unfolds, then the moment resolves into ambiguous aftermath. Yet this minimal framework is used extremely effectively: the pacing follows the real-time rhythm of the call and its emotional charge, rather than a conventional multi-act structure with explicit spectacle or resolution. The performance by the actor playing the operator is central, her calm voice and controlled body language mask the weight of responsibility and the uncertainty inherent in her job. By contrast the distressed caller is heard, not seen, which shifts the emotional focus onto the operator’s reaction and the psychological terrain she must navigate. The film’s ending does not provide a neat closure, which underscores the idea that for the operator work continues, the emergency loop remains unbroken, a decision that leaves a repetitive image of their duty. In this film the camera remains almost entirely w...

  The Ellington Kid In The Ellington Kid, the mise-en-scene plays a crucial role in contrasting the ordinary and the violent. The film mainly unfolds in a typical fast-food shop, filled with bright fluorescent lights, plastic seats, and greasy countertops. Yet this same space becomes the backdrop for the retelling of a shocking, brutal story, creating a striking juxtaposition between the normality of the setting and the horror of the narrative being shared. The setting sets up the film in gritty urban realism, making the story’s violent undertone even more disturbing and believable. The mundane visual details suggests how stories like these can happen anywhere with the right company.  The film’s editing and narrative structure are equally impactful, blending the casual storytelling of two friends with a flashback that visualizes the story being told. The cuts between the conversation in the kebab shop and the imagined flashback create a darkly comedic tension; we realize that ...

  Treatment and Planning :   Introduction   The initial ideas I had for my short film were to work on a thriller/ psychological horror, but I soon realised that I felt as if my idea would not be original enough and not the film I wanted to work on and spend time doing. Not only that, but I was struggling to come up with a general plot line. So, I switched genre and decided that I would like to work on a coming-of-age/teen romance type of film. The film would take place over a party where people are meeting each other for the first time, and stepping into the realm of new friendships .    Themes   One of the key themes I want to focus on is on how we communicate with others, and in what ways we make it effective , and the treatment of others when communicating with one a nother .    I also want one of the key morals or lessons to take away from the film is that we all have to take risks in order to get what they want, and its okay if we fail, ...

The Arrival  In this moment from 'The Arrival', the cinematography leans heavily into a shadow and minimal lighting to create a heavy, dark and uncertain atmosphere. The use of chiaroscuro is intimate, such as the nature of her thoughts that she is sharing with us, yet unsettling, as she is scared about what he will think, and this moment highlights how our biggest decisions stem from the questions which scare us the most.  Narratively, the short builds its structure around a slow and an emotionally unravelling story rather than a traditional cause and effect plot. The story follows the train of thought of a woman, contemplating why she is thinking about aborting a foetus. This form of narrative thinking-like structure helps the viewer to really connect with the girl.  3/5

  Tight Jeans In 'Tight Jeans', the use of long, uninterrupted takes brings a striking sense of authenticity to the boys' conversation. By allowing the camera to simply sit with them as they chat, the film captures the natural rhythms of real speech (pauses, overlaps, sudden bursts of laughter). It feels less like a scripted film and more like we’re eavesdropping on a real conversation between friends. There’s not much editing at all, or dramatic camera moves but just three men on a wall, talking. It reflects the everyday realism of growing up in a London estate, where the most meaningful yet random talks, often happen in the most ordinary places. A lack of editing, and long takes make us feel more connected to the characters' conversation.  The film's structure follows the typical structure of a conversation, with a response to a stimulus, such as a man with skinny jeans walking by, and shifts and drifts from the original topic, with the occasional sprinkle of some...