Some short films convince you from the first few seconds that you are in front of a project made by professionals. ‘The Letter‘ is by far one of the most relevant examples we have come across lately. More precisely, if the short film, signed by Kevin Romeo & Matt Bakken, has great quality, it lies in the complexity of its cinematic material. No, in this case, we are not talking about an elitist approach to a subject intended for a niche, but about a certain spectacularism in the way in which the two directors manipulate a generous range of editing techniques. Likewise, the structure of the entire project has the architecture of a cinematic vortex defined by spatial and temporal ruptures, by dynamic images and sounds that, while revisiting an equally traumatic and providential episode for a character, provide viewers with an intense dose of adrenaline.
After escaping from a mining accident, a father keeps his promise to his daughter and returns home. Still, this chance to enjoy a new day next to his loved ones is not only a matter of luck, but it also involves the dedication of some people who ensure the protection of their comrades. The man thus writes a letter addressed to his unseen saviors, whose respect for work has managed to save a life. In fact, the short film is less the individual experience of a character than the story of a collective – the miners, to whom the directors pay tribute. Kevin Romeo & Matt Bakken thus sign a project that, beyond its dynamism and atmosphere of a race against time, is a confession about love, gratitude, and care for the other’s life. The narrative voice of the survivor is the red thread that welds all these sequential transitions, capturing, either in a metaphorical way or through harsh realist images, the stream of consciousness of the one who plunges into the memory of a nightmarish incident. ‘The Letter’ is an intense, almost tactile cinematic experience that, while not taking its narrative ambitions to another level of refinement, certifies admirable directorial talent.