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Making art — or at least a genre thriller — during the COVID lockdown is a daunting task, so hats off to the filmmakers of “Safer at Home.”
It’s more impressive as an exercise than thrilling, with a no-name cast and limited “action.” But they conjured up a movie out of a Zoom call split screen and a couple of handheld selfie-chases. In a medium that lives and dies by cinema’s control of time and the escalating suspense, which are largely a product of editing, they took a Hitchcockian shot at making movie that’s got very little editing.
“Safer at Home” is almost all performance and mise en scene. YOU try parking three couples and a single woman on four sets with limited visible backgrounds, captured on four split screens and getting a thriller out of that.
Thousands of years of live theater prove it can be done, but narrowing the frame of the story and the “world” you’re show in it requires a different way of thinking and a one-arm-tied-behind-your-back approach.
Three years into the pandemic (Dear Lord, let that NOT be the case.) and America ‘s lockdown has become the New Normal. Millions upon millions have died and curfews have gotten seriously strict.
But Evan’s (Dan J. Johnson) is having a birthday, so girlfriend Jen (Jocelyn Hudon) arranges a video conference birthday party.
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Safer at Home (2021)
Release : 2021-02-26
Runtime: 0 minutes
Genre: Thriller
Stars:
Director: Will Wernick, Will Wernick, Will Wernick, John Ierardi, Lia Bozonelis
Sinopsis : Two years into the pandemic, a group of friends throw an online party with a night of games, drinking and drugs. After taking an ecstasy pill, things go terribly wrong and the safety of their home becomes more terrifying than the raging chaos outside.
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Premise
They’re in LA, as is pal Ollie (Michael Kupisk) and his new live-in girlfriend Mia (Emma Lahana). Ben and Liam (Adwin Brown and Daniel Robaire) are in New York, and Harper (Alisa Allapach) is in Austin. That doesn’t mean they can’t share some laughs and a glass of champagne with their friend.
Maybe even a game or two. Maybe, if SOMEbody’s mailed “gift” reaches the other three locales, a little “Japanese” “off-the-chain Molly.
Damn, we’re still doing “off the chain” in the future? I lose that bet.
“Tonight is about forgetting…just one night, with NO consequences!”
After a little back and forth, they all ingest, they take up a round of “Never have I ever,” hard feelings come out and something bad happens, something the police would want to know about.
The movie scrambles to undo the “something bad,” and failing that, to keep the cops from finding out what happened and who might have caused it. They keep the conference going as assistance is offered, an escape is attempted and the evening escalates.
It doesn’t, really — escalate I mean. The little bit of running with a cell camera and the like amps up the energy enough to make us realize how dully static most of what came before was.
As with any movie with lots of split screen, figuring out which screen to concentrate on is an issue. As this was created during quarantine, finding something fascinating or at least interesting for characters to do within the confines of the four cinematic spaces can be a challenge.
And unless you think something covering her mouth and going “Oh my God” and somebody stumbling off to the toilet to throw up is scintillating cinema, you’d have to agree with me that the picture fails at this, too.
Never breaking free of its tight-screen limitations, it’s hard for any performance to register, although Hudon and Allapach have a close-up moment or two. Some of the most demanding acting takes place when characters step into the background of their one-fourth-size frame. Good luck getting the Academy’s attention with your power of emoting in that. We can’t even see faces.
Director and co-writer Will Wernick lets us see the storytelling problem-solving going on here, which is kind of fun. But the paucity of ideas is as obvious as the run-time, which is deceptive.
The film is bookended with long montages of pandemic coverage of the twice-impeached “former social influencer” botching the response to COVID-19. There’s even less “drama” scripted and shot here than you think.
Wernick is making a habit of “gimmick” movies like this. “No Escape” and “Escape Room” were his previous feature film outings, and “No Escape” at least had a lot more incident and actions and stuff going on.
“Safer at Home” is so trapped in its own gimmick, so myopic, so limited in action and lacking close-ups that build viewer empathy with characters, this becomes just an interested “failed” exercise.
Film, also called movie, motion picture or moving picture, is a visual art-form used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound, and more rarely, other sensory stimulations. The word “cinema”, short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it.
∎∎∎ STREAMING MEDIA ∎∎∎
Streaming media is multimedia that is constantly received by and presented to an end-user while being delivered by a provider. The verb to stream refers to the process of delivering or obtaining media in this manner.[clarification needed] Streaming refers to the delivery method of the medium, rather than the medium itself. Distinguishing delivery method from the media distributed applies specifically to telecommunications networks, as most of the delivery systems are either inherently streaming (e.g. radio, television, streaming apps) or inherently non-streaming (e.g. books, video cassettes, audio CDs). There are challenges with streaming content on the Internet. For example, users whose Internet connection lacks sufficient bandwidth may experience stops, lags, or slow buffering of the content. And users lacking compatible hardware or software systems may be unable to stream certain content.
Live streaming is the delivery of Internet content in real-time much as live television broadcasts content over the airwaves via a television signal. Live internet streaming requires a form of source media (e.g. a video camera, an audio interface, screen capture software), an encoder to digitize the content, a media publisher, and a content delivery network to distribute and deliver the content. Live streaming does not need to be recorded at the origination point, although it frequently is.
Streaming is an alternative to file downloading, a process in which the end-user obtains the entire file for the content before watching or listening to it. Through streaming, an end-user can use their media player to start playing digital video or digital audio content before the entire file has been transmitted. The term “streaming media” can apply to media other than video and audio, such as live closed captioning, ticker tape, and real-time text, which are all considered “streaming text”.
∎∎∎ COPYRIGHT CONTENT ∎∎∎
Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time. The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itself. A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.
Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.
Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.
Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration.
It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.
∎∎∎ GOODS OF SERVICES ∎∎∎
Credit (from Latin credit, “(he/she/it) believes”) is the trust which allows one party to provide money or resources to another party wherein the second party does not reimburse the first party immediately (thereby generating a debt), but promises either to repay or return those resources (or other materials of equal value) at a later date. In other words, credit is a method of making reciprocity formal, legally enforceable, and extensible to a large group of unrelated people.
The resources provided may be financial (e.g. granting a loan), or they may consist of goods or services (e.g. consumer credit). Credit encompasses any form of deferred payment. Credit is extended by a creditor, also known as a lender, to a debtor, also known as a borrower.