Hi, I'm Lucy Anderson, this is my animated film, Chainmail.

SOU Animation Club made Chainmail to explore our abilities to bring a full animated film, from pre production all the way through post production together as a team.

My particular role in Chainmail was in directing, but that meant a lot of things.

So that meant that I was managing the project along with, my executive producers who are the other cabinet members of Animation Club.

I learned so much about project management and about what it takes to lead a team through the full animating creative process.

Everyone volunteered to do what they thought would be fun.

So whoever wanted to write could write and whoever wanted to design characters could design characters and whoever wanted to animate could animate.

And it was great.

We had a great time.

Okay.

Dost thou think she returns mine affections?

No clue.

Return this to her at once.

My dearest Sibyl, my breath always catches when we receive one of my letters.

As of late, I've been dreaming of being.

In this dream, we've found a place to spend all our days together.

I wake with a smile.

I look forward to that response.

Truly, Princess Petal.

Here you go.

Does that think Kids already.

Hi.

My name is Fiona Carithers, and this is my film Too Much, Not Enough.

So this is my senior capstone, so all of us had to make a project.

And I had been writing a different script when I came across an Internet post, about the myth of Orpheus and Eurydice, and it made me so mad that I wrote about nine pages of a script in, like, a single day.

And I showed it to Sofia Guerrero, who ended up being my producer, and she read it, and she looked at it, and she went, I think you should make this as your capstone.

I think you should finish it, and I think you should make this your capstone.

And so I just ended up, completing the script, and it went through several revisions.

And I, you know, got all of the crew and all of the cast together, and this is the final result.

You really think you wouldn't turn around?

Yes, dude.

You're so full of shit.

Look, if I was given the task, walk out of the underworld without turning around, and you get your dead wife back, I simply would not turn around.

I think you're fundamentally misunderstanding so much of that story.

Patience.

Damn it.

I'm home.

Hey.

How was work, love?

Oh, pretty good.

Didn't have any difficult customers, so that's always nice.

Y'all playing your little multiplayer solitaire game?

Mhmm.

Quinn stole the deck that you got me.

Oh, well, that was rude.

I'm gonna go get changed, and then I'll make dinner.

Sounds good.

Prove it.

What?

You heard me.

Prove you're better than Orpheus.

Are you planning on dragging my fiance down to the underworld and making me go get her?

Should I be worried?

No, just don't turn around for the rest of the night.

You can only look at or talk to me.

So I don't turn around or talk to Robin, and then you'll admit I'm right?

Yeah, sure.

If you win.

And I'll even take your dish days for the rest of the month.

But if I win, you have to take mine.

Deal.

Orpheus was an idiot, and I am simply better.

Oh my god, Orpheus wasn't an idiot, he was in love.

Not enough, clearly.

Really?

That's your interpretation of the myth?

That Orpheus, the guy who sang his way into the underworld to get his dead wife who died during their wedding back, didn't love said wife enough?

Well yeah, obviously.

Why?

What's your reason as to why he turned around?

He loved Eurydice too much.

What?

Boo.

I'm serious.

In every version of the myth he turns around because he loves her, not in spite of it.

Oh come on.

No, look.

In the most common version of the myth he can't hear her behind him.

They're walking in some cases for weeks or months without stopping and he can't hear her so he turns around.

Because he doesn't trust her.

Because he doesn't trust Hades.

Sure.

Then why is the lyric do you trust each other?

Do you trust yourselves?

First of all, Hadestown is definitely a version of the myth, but I don't think a modern day musical has any bearing on this conversation.

Second off hi, Robin.

What do you all think about stir fry for dinner tonight?

Sounds great.

Second off, Hades 10 doesn't even work for your argument anyway.

Hades knows that Orpheus can't accomplish that specific task because Hades can't accomplish it himself.

What?

Where are you getting that from?

From the original staging?

When Orpheus sings but what he doesn't know is that what he's defending is already gone.

Hades turns around to see if Persephone's behind him.

That's the whole point.

They parallel each other.

Sure.

They parallel each other, but they don't parallel each other in love.

They parallel each other in lack of trust.

Hades doesn't trust that Persephone will come back.

Orpheus doesn't trust that Eurydice will follow him.

Oh, ignoring Hadestown.

Oh, because I'm right and it disproves your point?

Patience.

Ignoring Hadestown, there are several versions of the myth which are definitively in the realm of Orpheus turned around because of love.

So you admit that he didn't turn around out of love in the first version?

Kit, is it okay if I use the walk?

I'm sure that's fine, Robin.

Has Kit lost the ability to speak in the last five minutes?

Nope.

Just focused, competitive spirit and all.

Did y'all rearrange the kitchen?

Where the hell is ah.

Never mind.

In another version, Eurydice trips before she can make it out.

Orpheus turns to help her out.

Or Orpheus himself makes it out and turns to celebrate with Eurydice, only to discover that she hasn't reached the sunlight yet.

Okay, fine.

I can see that in your very specific cases, Orpheus turned out of love.

However, you're completely ignoring the original telling by Ovid, which uses the word miss trust when describing why Orpheus turned around.

The authority that the original writing of a myth has over subsequent tellings is an entirely separate conversation and Orpheus not trusting the Ariddyssey has nothing to do with your original argument of he didn't love enough.

Also, do you just know metamorphosis off the top of your head?

Write it for my thesis.

Where the hell is your ace of spades?

Plus, regardless of my argument, it wouldn't matter if he turned around in the first place because Eurydice either is or isn't behind him.

He loses either way if he turns around.

Sure, but it's not like Orpheus is thinking about Schrodinger's shade behind him.

He's not thinking logically.

He's thinking about making sure his wife is there, that he hasn't been tricked.

That's exactly what I'm saying.

Mine's there.

His wife is behind him.

Not his girlfriend or someone that he likes, his wife.

You would move heaven and earth for someone that you love.

Help.

Orpheus pretty much already did.

So something as simple as not turning around shouldn't be that hard.

Also, Orpheus is a mythological figure who exist to tell a story or to teach a lesson.

And since I am an actual human person that isn't held to a set narrative path, I still argue I would not turn around.

Okay.

You bastards definitely rearranged the kitchen.

Where the hell did the tea end up?

Not sure.

I think Kit put that away.

Maybe check above the sink?

Nope.

Alright.

Hold on.

There it is.

Which one did you want?

The green, please.

There you go.

Stop rearranging the kitchen without telling me, jackass.

Do you really think that we as people don't turn around?

Well, obviously, we do all the time.

And none of those times are out of love.

When you start to go somewhere and the friend you're with isn't where you thought they were, so you turn to look for them?

That isn't love?

Or maybe stopping for just a moment to get one last look at your partner before you have to leave, even if they won't know you did.

Rose.

I thought you weren't supposed to turn around.

What could that be except for love?

Patience, by the way.

I won.

Oh, you I'm Max Marzan, and this is my film, The Act.

Specifically, what I learned about filmmaking while making The Act was, I wanted to really test myself as a cinematographer.

I'm also a cinematographer on the film.

And I wanted to try to shoot anamorphic anamorphic on an anamorphic lens for the first time.

I'd never done that before.

And I think, shooting in that format is really interesting, and it was a new experience.

And I learned a lot while making it, struggled a lot while making it.

And you just have to play to different strengths of cinematography when you're using anamorphic lenses.

And that that was something that really was challenging and that I really learned while making it.

Just gotta be more more mad.

Think angry thoughts.

Hangry thoughts.

Okay.

My heart is like a bird.

And you were supposed to to teach it teach it cuss words for fun and feed it seeds, but instead instead you just clipped its wings and you you caged it.

But the bird, it didn't it didn't wanna be caged, so it tried to fly.

But you blinded it.

But the bird was wearing sunglasses, so it didn't work, and you you hate the bird.

Do you think he would say hate here?

We almost had it, man.

We did?

Because I felt I don't know, not not quite there yet.

Is there maybe an an an emotion I could go for a little bit?

You know?

Imagine you're the humble blowfish, and your body refuses to implode, or that your head is full of steam, and it's trying to escape your ears.

I want you Yeah.

To find your way to the full embodiment of that emotion.

Actually, pretty good dialogue writer myself, so That's gonna be violent and painful.

This is our bible.

Feel the words on the page.

You won't have to improvise much.

Remember, man, this is your bible.

I'm actually an incredible dialogue writer.

And it's, like, imminently gonna burst from your ears?

Yeah.

Painfully so.

So be mad.

But instead, you clipped its wings and and and put me in a cage.

This is probably the worst script I've ever read in my life.

Jesus.

Yeah.

Just take this with you.

Bitter.

And that bitterness will be to your taste buds what the pain of loss is.

To the character.

Is to the taste buds.

Jeez.

What the pain of regret is to the character.

Hey.

Hey.

Excuse me.

Hi.

Good to see you again.

Who the fuck is this?

He's rooting for the part.

My part?

My part.

It's fucking my part.

Does a disciple of God claim to have written the bible?

What the fuck is that supposed to mean?

No.

Don't fucking nod to that.

It's not fucking obvious.

What do you mean that Could you move for a second?

Wait.

What what is what do you you're who is this?

Did you like it?

Yeah.

It was great.

It was like the bitterness of the carrot.

What was in that?

Soil, bark, coffee.

Look.

You expect me to sit here and drink soil for you?

Sit here and give you every 05:00 in the morning, every day of my life to bring your vision to fruition in front of you like some creature you're trying to mold?

I'm a guy, and I loved your work a decade ago.

And and I'm not gonna sit here and chase that feeling.

I'm not gonna sit here and and and mold myself to your image and do this bull for you for you to just throw me aside after weeks of this.

I'm done with this, man.

I'm not out of here, man.

Man, we did it.

What did we do?

You were angry.

Really?

That was beautiful.

Dude, I thought you were really mad at me.

I was, yeah, beautiful.

Was I mad enough?

You were mad enough.

We Yeah?

Were mad enough.

Hi.

My name is Aiden Higgins, and I am the writer and director of Night Lights.

So the reason that I ended up making Night Lights was because, we ended up taking a field trip, to Las Vegas.

So I was kind of aware that we were going to be traveling to Las Vegas for, like, a film convention.

So I kind of themed the entire, film around Las Vegas and kind of the nature that Las Vegas brings with gambling and addiction and other sorts of theming throughout.

I would say what I specifically learned about filmmaking while making Night Lights was that not everything's gonna go perfect, and not everything's gonna go the way that you want.

Especially when you're doing guerrilla filmmaking in like a setting such as Las Vegas.

A lot of the time, like it's just like one take and that's like all you get.

And that's something that you just kind of have to accept as a filmmaker and just kind of move forward and kind of roll with what you have.

No, no, no, no, no.

Baby, look, listen.

Things are different this time.

I promise.

I'm not even taking out that much.

Are you kidding me?

What the is wrong with you?

I swear to God, if you're out there wasting all of our money Wasting.

What what do you mean wasting?

Look, why do you care anyways?

It's not like it's your money.

My money.

It's our money, Jason.

It was given to us.

Now, hopefully, you weren't planning on losing it all on slots.

Losing?

I'm not losing it.

I'm the one that's doing something for us, Elise.

Okay?

Do you understand that?

I'm turning our luck around forever this time.

Can't you see that?

Oh, off.

Call me right now.

Elise, listen.

Oh.

Hey.

Hey.

Hey.

How we doing?

Yeah.

Yeah.

Yeah.

Yeah.

I'm living the dream, you know?

Your money.

Yeah.

Yeah.

How about I get it to you get it to you next week?

Does that sound tonight?

I don't know.

I don't know.

Don't you?

Okay.

Okay.

Okay.

Okay.

I hear you.

I hear you.

Tonight it is.

My bad.

Just watch where you're going next time.

Yeah.

I'm such a dumb Right?

Hey.

Hey.

You, you lost or something?

Hockets.

Fast.

You, you nervous?

You look nervous.

Shut up.

Hold it now.

Look, man, I get it.

I have enough money to pay the bills.

I have enough food to Shut up.

Look.

Got it right here.

Got it right here.

See?

My looks run thin too.

I'm a provider like you.

My girl, she she doesn't put her faith into a shift in hand.

At least not like we've Shut the up.

I told you to stop.

I'm Anthony Vladimirov.

This is my film, Rest Easy.

I made this film, Rest Easy, because I had to initially write it as a screenplay for my screenwriting class.

And at the end of it, we all read it out loud, my professor said, should make this.

I wanted to show a lot of physical comedy, and I wanted to show it very fluidly.

This was the first time where I acted and directed a film where I had a crew bigger than, like, four.

Again, it was, like, close to eight or nine people still, but it was still a very good learning experience to have, like, a really good team behind my back to support me and carry me through.

And we shot this in, a day and a half.

So we were on a very not tight time crunch, but we wanted to get this done in a timely manner, and we we did.

And so I'm very proud of that and all the people that are part of it.

What's up?

Scott.

Carl.

Why is our boss in your trunk?

Tyler, you vinks.

I thought you wanted to make the big bucks.

I thought you want And what is he doing in my driveway?

I didn't know where else to go.

The hospital.

You could've gone to the hospital.

I it was an accident.

I I accidentally hit him with my car.

I'm not going to jail for an accident.

Yeah, was an accident.

It was an accident.

I'm not going to jail for an accident.

You're tossed into the back of your truck.

Where else was I supposed to put it?

If Susan finds out about this, I'm dead now.

She doesn't have to know.

We'll just like, you know, like put him in a dumpster or the river somewhere.

Drop him in a river.

Scott, do you hear yourself?

It's fine.

Listen.

We'll figure it out.

We'll get rid of him, and then I'm gone.

I'm out of here.

I am gone.

It's over.

Poor bastard.

It was an accident.

Some accident.

So what now?

Well, considering that his heart is still beating and hopefully he's not in a coma.

I'll grab some hot sauce and you run to the bathroom and grab a wet towel and some of Susan's makeup.

I think it's in the mirror cupboard.

Jesus.

God, how fast are you going?

Mascara.

Hey.

Hey.

What?

What do I grab?

The mascara.

Mascara.

Yeah, the stuff that goes on your face first.

You mean like the powder?

No, the shiny stuff that goes on your, like, you know, the stuff that your face, glow, the foundation.

Yeah.

Just grab the whole bag.

What the fuck?

How's he look?

Yeah.

Sure?

Great.

Grab his legs.

Okay.

So Hi, honey.

Hi, Dave.

How are doing today?

Oh, I just can't sleep.

No.

Yeah.

Why?

Oh, I just had a horrible nightmare.

Nightmare about what?

About work.

Oh, people, I'm sorry, sweetie.

Have you tried making some tea or make you some tea?

Oh, no.

Honey, I'm I'm good.

I can make myself some tea, I I don't wanna keep you up.

Okay.

Yeah.

What's that?

What's what?

That smell.

Musk?

No.

No.

It smells like fish.

Oh, baby.

We're in Jersey.

It's gonna smell like a lot of things.

You boys don't stay up too late, okay?

Oh, and, let me know next time you have friends over.

Okay, hon?

Good night, Scotty.

I'm sorry, man.

Did you think anyone would come look for me?

I have a dog do that.

Do do what?

Do have a consciousness?

Conscious or not?

You got yourself into this mess.

You know what?

I'm not getting rest again for one of your antics.

Figures are different.

Yeah.

Yeah.

Yeah.

I don't want it here.

Drop.

Today is a sad day.

A very, very sad day.

For jaywalking.

I stand before you, Jerry, to humbly apologize for hitting you with my Volkswagen.

And although I didn't bring you flowers, I do have this buy one cone, get one free Baskin Robbins coupon.

May you savor it in the afterlife.

Feel any better?

No.

Not really.

Great.

I'm going home.

Hi.

My name is Zenith Stick, and this is my film, The Black Sky.

This is my biggest project.

I had, like, 15 to 20 people on this project where my other projects were pretty, like, rad tag crew like me and, like, five other people.

So, it was a challenge to me to get these, performances out of it, and I really wanted to make something grounded and feel real.

And then, as the film goes on, just kinda strip everything away and kinda see, like, a raw reaction to what happens in the film.

And I feel like my actors achieved that, and I'm really proud of their performances.

Thanks for doing that, McKinley.

Langley, we should go over the case file together before we meet I read it already.

I just wanted to compare notes.

Make sure we're on the same page on how I don't need to.

Trust me.

Langley, I get Buran was your partner, and it's been a rough few weeks since, but we have to make sure we are walking in there with zero bias and not jumping to conclusions.

The conclusion is that Parker is hiding something, and I'm going to find out what happened to Agent Buran and the others.

We've wasted enough time.

There's a reason why he's been hospitalized and been in intensive care.

He's our only lead.

He was always different.

We all saw it, and now five of the people that he was assigned with have gone missing, and he won't talk?

That's all I need to know that there is something not right on his side.

Always different?

This is exactly what I'm saying.

You have a bias in this and Parker is just starting to I'm just gonna cut this short with you, Stone.

The only reason that you're assigned to this case is because you're the daughter of the former deputy director.

I know it.

You know it.

Everyone in the bureau knows it.

This might just be a charity case to you, but to me, it is much more.

And that's exactly why I know you're not ready to go in there.

You don't want answers.

You want someone to blame because you can't stop blaming yourself for calling out that night and letting Parker take your place.

If you walk in there like this, you won't get justice for Buran or the others.

You'll lose whatever truth Parker still has and we'll never know what happened that night.

Agent Blankton, Agent Stone, the interrogation is ready.

Hello, Mr.

Parker.

My name is Agent Stone.

And that is Agent Langley.

He knows who I am.

We're here to discuss what you and the team of other agents you were with experienced on 01/24/1991.

I know this can be a lot to take in again, so we'll go through this at your pace.

There's nothing to worry about.

Me and agent Langley and everyone here just want to put the pieces together.

Let's begin.

Do you remember why you and the other agents were on the operation to the Siskiyou Forest?

No.

When the team finally arrived at twenty one hundred hours, there was no impact debris, no meteor, just a crater?

Nothing.

Just dark and cold.

When you woke up, was there anyone around you?

No.

Just me alone, screaming.

What do you remember before you were taken?

I I I was looking for something.

For traces of the crash?

Everything went silent.

Do you remember seeing anyone before you awoke?

They they just vanished.

They they they shouldn't have looked at it.

But but it it was there.

Looked?

What do you mean?

And what was there?

Daniel, please.

We're close.

No more stalling.

You are the only one who came back.

And this is the story?

Some scattered brain nonsense?

Langley, just skip.

No.

He needs to start making sense.

Biren, Moore, Warren, Stuart, Cooper, all gone.

And you can't remember at all where they went when you last saw them?

I I can't.

I I have to hide from them.

From what?

Why were you hiding?

Oh, god.

Don't.

Look at me.

Leslie, stop.

Hey, Jesus Christ.

Parker, I told you to go west, not east.

I'm so sorry.

I got lost, I Enough, okay?

Morphin gone too damn long and I can't walkie anyone and we're just gonna have to call it in.

Okay?

So just use your radio.

Okay.

Warren, do you come in?

Warren, do you come in?

Over.

Hey, Buran?

Buran.

You're in.

Yaron?

Yaron.

Hello?

What happened?

Talk to me.

He was gone.

He cut all of us.

What do you mean, Parker?

Stay with me.

I know what I saw.

Buried changed.

Burin, what the hell are you talking about?

What happened to him?

Langley, let him talk.

Something horrible happened.

It got everyone.

It got Burin.

It got me.

I'm still trying to find a body still.

What are you saying?

What did you do?

It's much bigger than we can imagine.

The eye, it sees everything.

Takes everything.

In the black sky, it's it's still it's oh, no.

I can feel it again.

No.

No.

No.

No.

I have to get it out of me.

I have to get it me.

I have get it out of me.

I I have have to get it out of Get it out of me.

Get out out Stop.

Get it out of me.

Mark, is that you?

Enter the light, Michael.

Stop.

I'm only telling you once.

You will see the light too.

All of you.

Saw it.

Saw what?

What are you talking about?

I'll get help.

Just don't move.

It's here.

I can show you.

Jesus Christ, what the hell happened?

Something was wrong with Parker.

You saw it on the monitors, right?

No, the video cut out when Parker was streaming.

Agent, I need you to put your gun down.

Parker wasn't human.

He he turned into something abnormal.

Lights came out of him and shined Langley.

I'll show you.

No.

No.

It was right here.

You have to believe me.

I was trying to restrain Parker, but she got scared and shot him.

What?

You're lying.

You're different now.

Just like him.

She's confused, shocked, in delusion.

She shot him.

I saw it.

Gun.

Tell them.

Tell them what you said to me.

Tell them.

Don't look into his eyes.

He's lying.

He's not the same.