{"id":85975,"date":"2024-02-07T17:42:57","date_gmt":"2024-02-07T22:42:57","guid":{"rendered":"https:\/\/preprod.activ.is\/?p=85975"},"modified":"2024-02-08T17:05:14","modified_gmt":"2024-02-08T22:05:14","slug":"slipping-away-the-cut-at-clermont-ferrand-2024","status":"publish","type":"post","link":"https:\/\/preprod.activ.is\/en\/spotlight\/slipping-away-the-cut-at-clermont-ferrand-2024\/","title":{"rendered":"Slipping Away: The Cut at Clermont-Ferrand 2024"},"content":{"rendered":"\t\t
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Molly Flood<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Molly Flood\u2019s The Cut <\/em><\/a>feels, in a word, slippery. Slippery, as in something tricky to hold onto; slippery, as in situated somewhere potentially hazardous. Actually, that seems a perfect description for the film\u2019s all-too-brief canoe trip to an island cabin \u2014 which, as it\u2019s mentioned, is located hours from the nearest hospital, something two women will realize when dinner prep leads to a painful slip of a kitchen knife.<\/p>

\u201cShould we stay or should we go?\u201d Flood says, explaining that her film, which editor Maria Todorov-Topouzov cut to be elliptical in nature (\u201cI adore her pacing \u2014 it\u2019s a bit quicker than mine,\u201d Flood says), attempts to capture the pangs of nostalgia that come from wishing summer would never end. \u201cWe were after a pace, like a memory slipping away \u2014 time running out, as it does in Canadian summers,\u201d she says. \u201cWe were outrunning sentimentality. If we kept things moving, we could feel the tension of the question posed.\u201d<\/p>

The question posed is certainly a sharp one. Should they do more than bandage what\u2019s been wounded? Tougher still: Is that effort even worth it? But, as I mentioned,\u00a0The Cut\u00a0<\/em>is slippery \u2014 for if you look closely at the relationship between the two women on screen (one played by Chala Hunter, the other by Flood, eight months pregnant at the time of filming) you\u2019ll notice the same questions are being asked. With their paths about to diverge, is this friendship something they accept will slip through their fingers? Will they work to repair a tenuous connection, or will they mourn and move on?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u201cThis film is deeply personal,\u201d Flood says. \u201cI was quite fearful of losing friends to a baby, and it did happen, but not to the great tragedy I perceived it to be. Two years go by quickly, and you find each other again \u2014 in a new place. I believe in change and forgiveness.\u201d<\/p>

Suddenly, the title of the film suggests a different type of severance: that of ties with people in our lives. \u201cFriendship to me is deeply important, and the tremors of a platonic relationship are often seen as less valued than a romantic involvement,\u201d says Flood. \u201cThe structure is different, but the heartache can be just as intense.\u201d<\/p>

It\u2019s refreshing to see such intensity with stakes far lower than they could have been. (While deep, the dinner injury isn\u2019t the end of the world.) But Flood says the de-emphasis of danger was central to the creative insight. \u201cI grew up watching coming-of-age movies about youth, often boys, on adventures in the wilderness, confronting danger in extreme conditions,\u201d she says, wondering why pregnancy isn\u2019t considered its own coming-of-age. \u201cAs I was going through one of the biggest transitions in my life, I started to think about [how] the loss of self, or a deep relationship, is akin to life and death \u2014 it deserves to be mourned. And as a filmmaker, the challenge became: How do I make an internal emotional journey just as cinematic without the framework of youth and mortality?\u201d<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Breann Smordin<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The Cut <\/em>played as one of seven short films in Telefilm Canada\u2019s Not Short on Talent programme<\/a> at the Clermont-Ferrand International Short Film Market. Flood and The Cut <\/em>producer Breann Smordin are also in development on their first feature film together.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Molly Flood Molly Flood\u2019s The Cut feels, in a word,…<\/p>\n","protected":false},"author":1203,"featured_media":85985,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":"","footnotes":""},"categories":[16,5],"tags":[],"class_list":["post-85975","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events","category-spotlight","posts_festivals-clermont-ferrand-2024"],"acf":[],"yoast_head":"\nSlipping Away: The Cut at Clermont-Ferrand 2024 - RDV Canada<\/title>\n<meta name=\"description\" content=\"Molly Flood Molly Flood\u2019s The Cut feels, in a word, slippery. 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