Written by: Matt Molgaard
Flicker is artsy and unbelievably dark. Edmond Marchetti crafts a picture that feels a bit murky at times, but also manages to leave the viewer quite disconcerted. The areas that Marchetti looks as if he could improve in are just the areas he avoids. It’s smart. If you know you can make specific settings, angles and motions work, why not stick to what you know? Sometimes it can be better to play it safe. In this case, the crew as a whole plays it safe. It was the right move.
The film looks absolutely gorgeous. It’s shot entirely in black and white and actually plays out like a vintage silent film surprisingly well. There’s just something very endearing about the look of the picture. The shadowing is stunning, the classic well-lit zoom-ins are great. It feels like a very authentic piece of classic film.
We get an assortment of daring maneuvers, leading up to a surprise climax that opens the door for very different interpretations. And that’s part of what is special about the film – make no mistake, the camera work as a whole is terrific, as is the editing – you can see the picture come to a close and easily juggle a different ideas. There’s a little bit mystery there, and I like that.
Over the last 72 hours I’ve probably watched somewhere in the ballpark of 50 (you’ll be reading reviews for a number of those soon) genre shorts. There’s no doubt in my head that Flicker is one of the absolute best of the bunch.