One More Pumpkin is the first AI film we review in Asian Movie Pulse

Kwon Han-si was born in 1993 in South Korea, he graduated from Chung-Ang University with a film studies degree. His short films such as Man of Na Manza (2021) and The Bystander (2020) were awarded for the best short film at Chungmuro Short Film Fesitval. Awarded at various film festivals, he is the CEO of a production company ‘STUDIO FREEWILLUSION Inc’ in AI-generated video content. Considering this is the first time I watch and review an AI-generated movie (“One More Pumkin” utilizes AI technologies such as T2I (Text-to-Image), I2V (Image-to-Video), and AI Super-Resolution) I was really curious to see something that could be a significant part of the future.

The short begins in a rather fast pace, showing an elderly couple amidst a film with huge pumpkins, while narration states that they have lived over 200 years, despite the fact that the Messengers of Death would not have missed this news. It turns out, however, that one Messenger of Death did come to the couple’s house, but the treatment he received essentially turned him into the victim, through the help of soup.

As the couple are revealed as something completely sinister, their whole life story takes a completely different turn, which actually affects everything around them, pumpkins, crows and Messengers of Death included. Lastly, the English the voice that we heard narrating, turns out it belongs to a mother of two children who is trying to teach a lesson about the blights of greed.

Kwon Han-si and his associates have come up with a series of impressive images, that truly fit the supernatural horror aesthetics of the 3-minute short. If the humans do look somewhat artificial (pun intended) and video-game like, the SFX that lead to death, scary faces inside soups, diabolical pumpkins and a number of other horrific ‘apparitions’ look exceptionally well.One could say that, at least for now, AI is more suited to be implemented in the technical aspect of a film than in the acting, although this is definitely just the beginning.

On the other hand, the rapid pace does not allow the viewer to truly distinguish the quality of the imagery, as the frames interchange with thunderous speed. This gives an appealing sense of speed to the short, but still makes it a bit difficult to follow. The story also seems rather intriguing, and it would be interesting to see it unfolding in a bigger duration. Lastly, the narration voice is appealing, although the word pumpkin is thrown around too many times.

As a first glimpse at AI movies, “One More Pumpkin” was definitely an intriguing experience, and the ‘taste’ that the film leaves is definitely a positive one. However, there are still a lot of issues to overcome, and we will see where this new approach will lead, perhaps in its competition with 3D and CGI filmmaking.

Around 11 a.m. on a recent Saturday, the first of five work-in-progress comedy shows began to unfold onstage at the Elysian Theater. The audience was encouraged to provide feedback. And between the five hourlong productions, bagpipe music filled the Echo Park space.

For performers Sarina Freda, Natasha Mercado, Charlie James, Miles Woods and Griffin Kelly, this “Edinburgh Fringe Percolator” was a chance to test material before they journey to the famed Fringe festival in August. For Los Angeles audiences, it’s an opportunity to experience the Fringe without actually traveling to Scotland.

The annual Edinburgh Festival Fringe is billed as the largest performing arts gathering on Earth, with tens of thousands of performances held in about 250 venues across the entire month. Before the talent arrives for the spotlights, they’re often refining their work — in L.A., that’s in places such as the Comedy Store in Hollywood, the nearby Kookaburra Lounge in the Ovation complex or the Lyric Hyperion in Silver Lake.

The 2-year-old Elysian Theater is trying to establish itself as an Edinburgh artists community, a spot to share ideas, via its Frogtown home and its Facebook group. The nonprofit is hosting Edinburgh run-throughs of Rachel Kaly’s mental-illness-minded “Hospital Hour” on July 15 and “Demi Adejuyigbe Is Going to Do One (1) Backflip” on July 14 and 16. Natalie Palamides is scheduled to perform her Edinburgh-bound “Weer” five times this month. “Avital Ash Workshops Her Suicide Note,” part of the 2023 Fringe, gets revived by Ash on Tuesday.

Toni Nagy presented “Grape Culture” with Sarah Buckner five times at the unrelated Hollywood Fringe Festival in June in preparation for her Edinburgh debut. Nagy will have a second title in next month’s festival, the cathartic parenting journey “Go to Your Womb,” in which she stars with her daughter, Adelia Aldrich.

“I’ve had to take an unconventional approach to my career because everything I make tends to push against the status quo,” Nagy said. “Bringing two shows to my virgin Edinburgh Fringe may seem like a bold move, but … they complement each other thematically, and if I can get through rehearsing and performing with my 13-year-old daughter, I can do anything.”

Toni Nagy’s “Grape Culture” performed during the Hollywood Fringe Festival in preparation for Edinburgh.

(Aletheia Lane)

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Jay Light’s vagabond “Wrong! A Dark Comedy Game Show” started at Alamo Drafthouse in Los Angeles and went on to tour in New York, Chicago and Austin, Texas, before settling in the Comedy Store in October. Three comics compete in committing “cancel-able offenses” and making “questionable decisions” in the show, which plays July 22 in the Comedy Store’s Belly Room before it moves to Edinburgh.

At the Ovation complex, formerly known as Hollywood & Highland, Fielding Edlow’s “Gaslighting Is My Love Language” promises “a brutally honest, unapologetically explicit, and immensely entertaining hour of comedy” July 25 in the Kookaburra Lounge.

A crop of Edinburgh shows also in previewing at the Lyric Hyperion, including Natasha Mercado’s “#1 Son” on Saturday, Milanka Brooks’ “Mum and I Don’t Talk Anymore” on Monday, Kym Priess’ “Loser Lion Party Bus” and Jackie Skinner’s “Beautiful Night” on Tuesday, Catherine McCafferty’s “(Not) That Bad” on Wednesday and Alex Kern’s “Thank You So Much for Coming” July 13.

Kyle Ayers brings his “Hard to Say” back to the Lyric Hyperion on July 22. The show centers on Ayers’ trigeminal neuralgia, a chronic pain disorder, so the comedian’s goals in Edinburgh feel as personal as they are professional.

“I’m most looking forward to just the supreme chaos of it all,” Ayers said. “I will be well outside of my comfort zone. It’s unlike anything I’ve ever done before, and I am trying to embrace that aspect. I want to see shows I never thought I’d see, meet people I never figured I’d meet, and perform for people who otherwise may never see my show.”

The Elysian runs workshops and discussions for confirmed Edinburgh talent and the “Fringe-curious” alike. “Opening night is important,” Kelly cautioned at one Saturday session, noting that early reviews carry weight. But the pressure persists, as comedy gatekeepers and tastemakers can pop up at any point in the marathon of nightly sets.

Naked Comedy producer Sam Varela said one trend is crowdfunding. “This year everyone is just more broke,” she says, citing the Hollywood labor strikes and dearth of jobs.

So much time and effort goes into making an Edinburgh show a success. For L.A. audiences, previewing the work provides a glimpse of that process.

“The first time I did Fringe, it really made me appreciate and understand the DIY comedy approach that has exploded in the last few years,” Light says, noting the collective development that was required to get his show to the stage, “It took two years to make it good enough in front of a crowd as it was on paper.”

“If a story does not end, how do you know if it’s good or bad?”

11 years after her directorial debut, Shalini Ushadevi came back with a science fiction drama which was screened at the 28th International Film Festival of Kerala 2023. Her first movie, thriller “Akam” (2012), was presented at 13 film festivals, including the Shanghai International Film Festival, the Dubai International Film Festival, and the Lund International Fantastic Film Festival. Since then, she created both fiction and non-fiction screenplays in many languages – Hindi, Tamil, Malayalam, and English as well. In 2022, she received the National Award for Best Screenplay for the film “Soorarai Pottru” (2020).

The narrative of “Ennennum” revolves around a married couple, Ouso (Anoop Mohandas) and Devi (Santhy Balachandran). They debate whether to become immortal by trying out a technological innovation in the form of a peculiar implant. At the insistence of a salesman, Jeeva (Ajithlal Shivalal), they agree to a three-day trial period to experience this new, and expansive, technology.

The movie initially delves into the philosophical implications of immortality, but after a while the main topic changes and starts to concentrate on the power dynamic of the main characters’ relationship. There are also instances of social and political commentary, as Jeeva talks about losing his job if the trial goes wrong, or when Ouso talks about “the party” his late brother was the leader of.

“Ennennum” raises interesting questions about the concept of immortality, especially through the character of Devi who says: “If a story does not end, how do you know if it’s good or bad?” – this line expresses the film’s central dilemma and invites the audience to reflect on the idea of an eternal life. Shalini Ushadevi decided to convey a lot of content through a minimalist approach, as the movie features very few characters, and the setting is limited to the couple’s home. The director’s approach creates an intimate atmosphere that intensifies the emotional and psychological depth of the protagonists. This choice not only underscores the isolation felt by the characters but also draws the viewer’s attention to the nuanced performances and the evolving dynamics between them.

The aesthetic of the movie is very measured, slick and still, with mostly static camera. The expressive means used by the cinematographer, Sreekanth Sivaswamy, emphasize the dystopian unease associated with using technology that goes against human nature, as well as the development of the plot and the growing distance between the spouses.

The acting in the film is also of a high standard. Both Anoop Mohandas and Santhy Balachandran effectively embody their characters and portray the changes in their relationship. However, Ajithlal Shivalal delivers a standout performance, serving as the cornerstone of the film’s sense of angst from the moment he appears on-screen.

In conclusion, “Ennennum” is a thought-provoking exploration of human relationships and the ethical dilemmas posed by technological advancements. Shalini Ushadevi’s minimalist approach, combined with good performances and evocative cinematography, creates an intimate picture. Despite its ambitious thematic scope, the film sometimes feels as though it has bitten off more than it can chew, as it doesn’t fully explore the themes it presents.