Saturday, March 7th (10pm)
Sunday, March 8th (8pm)

Transmutative Cinema is proud to present David Ball’s Honey.


Honey focuses on the intertwined lives of two twenty–something couples, but rather than being cool and reflective, they and their interactions are hot–blooded, high–stakes, and more than half out–of–control. Honey’s characters don’t stare at their navels and take their own pulses, but fight and argue and jockey for romantic dominance. – Harvard Film Archive

From the Honey Manifesto:
Honey is an almost unpitchable film, because the whole reason I wrote it was in reaction to pitchable films. There’s no high concept to it …What it’s about, really, is how crazy things can be. How you can reach this point with another person where they’ve hurt you and you’ve hurt them and you’re both thinking, “My God, I didn’t know I was capable of doing that to someone, and I didn’t know I was capable of withstanding that from someone”, and yet you don’t just run away because sometimes you have nowhere else to go. It’s about finding out for the first time that love is damned hard, that it takes a lot of work and a lot of courage in the face of signs that tell you to turn around and run away. It’s about that moment when you’re waiting for the other person to turn the other cheek and they get mad because they’re thinking, “I’ll be damned if I’m going to do it after all you’ve done to me—you turn the other cheek”—and then you get angry because you feel that way and can’t he/she see that they’re really the ones in the wrong. It’s that moment when something breaks and you’re both waiting for the other to clean it up because each of you is sure that you cleaned it up last time and isn’t it just like him/her to always expect you to make everything better…Honey is about the way it feels in (my) life, the questions you have after the epiphany—is the realization right, or is it another delusion masquerading as truth? Do I have the courage to go through with it if it is the truth? And what if I go through with it, and that’s not enough?

Stylistically, I wanted to focus on small moments—by that I mean, the large moments that appear small. I wanted the film to key you to noticing the little but telling details in someone’s behaviour and/or language that tells you what’s going on. There are few clues in the script; there will be few clues in the film. That’s not to obscure things wilfully, but instead to present the facts and let people make their own judgements, and make people think about the judgements they’re making. There is no “Good Guy” or “Bad Guy” or “This is a Sad Moment” music and lighting in real life, so I don’t want any in my film. And if you think someone is the good guy and then they’re bad, or vice-versa, that’s part of the experience as well.

Complete Manifesto

-David Ball
2004 | Color | Sound | 84 minutes

presented on DVD

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Saturday, March 7th (10pm)

Sunday, March 8th (8pm)


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