2020 Montage Film Festival
April 30, 2020
April 30, 2020
(5:08, directed by Rena Johnson)
(10:22, film directed by Clarisse Gamblin)
During the week leading up to graduation, a high-school senior tries to find a way to tell a close friend his true feelings for him before they both leave for college.
(7:27, film directed by Kendall Hughes)
In this short documentary, we speak with three individuals about their experiences as women in the modern workforce. Ali and Elissa are recent college grads who are just entering the workforce, while Maria Bucur serves as our expert in the field of women at work. These conversations unlock some deeper truths about how the workforce has changed for women over the years, and exposes some ways that women are still being mistreated in the office even today.
(5:50, film directed by Layn Pieratt)
Requiem Aeternam is an abstract journey through the afterlife of a transgender person. This film was written to supplement Cary Boyce’s musical composition, which is set to text written by renowned Hoosier author, Kurt Vonnegut. Requiem Aeternam is intended to be a poignant but whimsical story, explored largely through dance.
(1:06, film directed by Rena Johnson)
(4:04, film directed by Matt Lutz)
The construction site is a place of construction, deconstruction, demolition, rearrangement—it is always a renegotiation of space. The mind, too, is in a constant state of renegotiation—memories change, details are forgotten/tweaked/made-up/exaggerated, etc. Hardhats poses the construction site as a metaphor for memory. But also acknowledges that the metaphor only holds up so far. Memories don't have a physical material that can be moved around. There are no blueprints or foremen. The mind changes indirectly and unpredictably.
(8:12, film directed by Bryce Reif)
In beautiful southeastern Idaho, 5,000 acres of private ranch land serve as a haven for humans and wildlife alike. While exploring the role this ranch plays in the surrounding ecosystem, 5000 Acres asks where we may find a proper balance between what we take and what we give back to the land we use, seeking an answer in this particular property and the people that make it so special.
(6:11, directed by Jeremy Nutter)
Winnie Bulaya and her family serve the community they came to nearly 10 years ago as refugees from the continent of Africa. Her story is an incredible testament to how much one person can do to change lives and how the spirit of giving can be infectious. With help from a multitude of families giving, Winnie is able to continue to bless those new to the Indianapolis through her giving of time and collecting items.
(2:05, directed by Rena Johnson)
(6:56, film directed by Abby Malala)
Mallory and Sarah are best friends in a band. Then, Dylan, Sarah’s new boyfriend, shows up at a gig. Mallory spots Dylan in the crowd and becomes transfixed, losing her place in the music. Mallory and Sarah are jamming together when Sarah admits that she doesn’t get along with Dylan. The trio go on an acid trip together where Mallory fantasizes about both Dylan and Sarah. At a party, Mallory gets upset at the sight of Sarah and Dylan and runs off to the bathroom. Finally, Mallory confesses her love for Sarah and the two kiss, having felt the same way about each other the whole time. Contains mature content, including drug references.
(9:52, film directed by Alex Kopnick)
John receives a mysterious call in the middle of the night from a woman claiming his cat is in her garden. There’s only one problem—John doesn’t have a cat. Despite telling the woman this, she continues to call back. As the night continues, John’s life is thrown into chaos. Come into the Garden, Maud is a dark comedy based on the short play by the same name, written by Don Nigro.
(13:12, film directed by Caitlin Noppenberger)
A backwoods commune must choose between love and hate when trespassing locals threaten to tear their community apart. Contains mature content, including violence.
(9:51, film directed by Caleb Allison)
To stalk someone is an intimate act of obsession. StalkHer explores what happens when that obsession is turned inward, toward the hidden personas, buried identities, and repressed desires we all harbor. Shot on super 8mm and digital, StalkHer embodies in form and content the dual nature in all of us. Contains mature content, including disturbing imagery depicting violence against women.