In Bruce-Michael Grossman’s short film The Process, an enigmatic director sets out to make the “greatest film ever made.” Our story opens with George (George Tsouris) snorting a line of cocaine to start his day. With cameras set up, he begins a conversation with his cinematographer about what it takes to create his magnum opus.
Instantly, he clashes over the definition of the perfect movie. When he can’t produce a script, George opines about the collaborative process and how it’s not about the “f*****g script.” He goes on about how the cinematographer should just do his job as the greatness of his film will speak for itself. When George brings in his first actor, his obsessive drive toward perfection pushes her to her emotional limit over the simple line “Please don’t go.” Now George needs more coke.
“…an enigmatic director sets out to make the ‘greatest film ever made.'”
The Process is an art piece. Shot in black and white, we see the drug-fueled process of the great artist/director…at least in his own mind. The story hits on themes of analysis paralysis and obsession. George is so obsessed with his art and perfection that he focuses more on experimentation than actually making a movie. Soon, we find that people become obstacles, and he goes to extreme lengths to deal with them.
George Tsouris gives an incredible performance as the tortured artist. The camera is tight on Tsouris’ face, and every emotion and nuance is felt. The Process does not have a lot of frills, as the set is basic, but it doesn’t look cheap in any way. Grossman uses black-and-white well to get his point across.
"…uses black-and-white well to get his point across."
