The Run is a dramatic short film about a woman who has shut down following the death of her daughter. Avoiding the dreaded task of cleaning out her daughter’s closet, she embarks on a long-neglected run, altering her world forever. During the run she attempts to evade the realities surrounding her, but ultimately, it’s her daughter who shakes things up, forcing a reconnection with life.
The tone is heavy, in spite of the light-hearted, pounding music playing off the top. The song Jen listens to in the opening scene is largely heard by her alone. We can hear the pounding base but the actual song isn’t deciphered. There’s a sense throughout the first half of the film, that Jen is separated from the world around her, that she’s isolated herself.
The fact that her daughter, Melissa has died will be hidden as much as possible until we “see” an image of her. Melissa will ‘appear’ behind Jen and will run a few feet behind all the way home. However she will remain outside the house watching her mother enter the front door.
The images will begin with a more claustrophobic feel with slightly washed out, neutral shades of colour off the top which subtly shift from more realistic, accurate colours, to finally hyper-real, intense shades in the final scenes.
The camera framing will also begin with tighter shots, with close ups of Jen’s face and reactions, moving to include more of the world around her as the run continues. Shifting from a claustrophobic, tight feel, to a more open, expansive feel at the end. It’s like her world has opened up before her eyes.
The majority of the run will be shot without obvious external sounds and dialogue. The music from her IPhone will predominate with Jen’s breathing interspersed. The occasional more invasive sound will barely break through her music (ie. Baby crying, the runner’s conversation). The external sounds will increase in volume and intensity following Jen’s rescue of the young woman’s close call from injury. The images and sounds surrounding Jen then become more vivid.
When we first see the image of her daughter, she appears real, however Jen seems unaware of her presence. In the final scene, a surreal glow will form on and/or surrounding Melissa, increasing in intensity until the entire screen is white.
Off the top, music is heard only by Jen, as she is wearing her ear phones. It’s a song from her past that she seems happy to intermittently sing along with. The camera will be observing Jen.
During the run, the music is rhythmic, pounding but not obtrusive. It’s meant to keep Jen into her own head; to keep her focused.
During or at the end of Melissa’s fade out, instrumental music will begin (Sigur Ros’ “Eg Anda” is a good example of the feel and emotion required) The music eases into the scene and space between end of the film to the beginning of the credits, followed by gentle guitar strumming ( Acorn’s “Lullaby”)