Set in the brutal Gold Rush of Australia in the 1850′s, Gold Field tells a tale of betrayal and greed. Guillaume (Dino Marnika) and his brother, Frederic (Albert Goikhman), are camping on their claim in the Australian region of Victoria. As Frederic heads off to gather more wood for the fire, Guillaume catches sight of an old acquaintance in the dark and calls out to him. Etienne (Alan King) emerges from the surrounding thicket, stripped naked with his hands tied in front of him. Guillaume invites him to the fire and….
A nearly bankrupt photographer is out taking pictures when he encounters a strange man in a dark hood. The man opens fire, and the Photographer (also an accomplished marksman) fires back. Wounding the man, he’s unable to confront him, but finds a box left behind that contains several unusual camera lenses…
Ethan is a car thief. He boosts cars for a living, which has led to a lifetime of friction and disconnect between himself and those closest to him. When he carjacks a car, throws the occupant out by the side of the road, and drives off into the boonies, it’s just another day in his life. However, as he drives toward the rendezvous he’s set up ahead of time with his cohorts, a disturbing news broadcast makes him realize that this is the worst day for business as usual.
Mark is living his dream in the big city and everything is going well, until he receives a call from his estranged mother. She tells him that his brother Danny is dead, but because she didn’t know how to reach Mark, Danny’s funeral has already passed. Mark decides to return to his small hometown to make peace with both his brother and his past.
Bill (Daniel Munns) is lost in his own mind. Images of his wife and their life together flash before his eyes, but he keeps getting interrupted by mysterious voices and, curiously enough, an image of himself that keeps changing costume. He thinks there was some sort of accident, but the real truth is much more terrifying.
When John (Juan Amador) picks up Mimi (Angeline Prendergast) for a date, he’s excited to see hear that she wants to see a porno. However, when she lights up an electronic cigarette in his car, he finds himself unable to stop trying to guess what sort of abuse or childhood trauma led her to be a smoker. When she retaliates, threatening to burn him with her cigarette if he doesn’t shut up, she uncovers the fact that he’s into pain and would actually be turned on by that. She then proceeds to make assumptions about him as they drive.
For their first foray into digital (at least that I’ve seen), the Varavas (Justin wrote andd Jared directed) went with the RedOne (which is arguably the highest end digital rig that most microbudget filmmakers can afford to rent and still stay microbudget). But what to tell with this digital exploration? Why, what else? A Western tale about a tumbleweed, of course! But not just any tumbleweed, of course. A loner tumbleweed who marches to the beat of his own windstream!
In Aboriginal legend, the time of creation is known as the Dreamtime. It was a sacred and mystical era in which spirits created the world. One of those spirits – still feared by modern-day Aborigines – was known as the Quinkin. The Quinkin had two distinct beings: one was described as being long and whip thin with a rounded head that had spikes coming out of it. This being lives in cracks in rocks and is good-natured. The other being is evil in nature – big and fat, and known for any and all kind of mischief and bad deeds. Some Aborigines are afraid to even pronounce the name of this spirit for fear of its power.
David (Aaron Himelstein) appears to be an average college student in 1962. He spends most of his waking hours debating philosophy with his friends in a local coffee shop and questioning how morality is subject to perspective. However, one day, as David is chatting with Marie (Tiffany Brouwer) and a few of his collegiate friends about Nietsche, his theory of the ubermensche (“superman” or “overman”), and how his viewpoints can justify many of the most horrific acts between human beings, the discussion goes from abstract to personal for David when a man from his past walks into the shop. Upon seeing the man, David knows he has no choice but to do something he’s never done before. What this is, why he feels this compulsion, and how he intends to carry it out is what makes Dig such a powerful film.