LOCKER ROOM | Award-winning short film by Greta Nash

Locker Room is an Australian drama film directed by Greta Nash in 2017.

A teenage girl named Carla discovers her male friends’ secret group chat. The short film dramatizes the situation in which she has to choose between her friends or do the right thing.

“A beautifully cinematic and thought-provoking coming-of-age story”
– Short of the Week

Greta Nash is a filmmaker from Melbourne, Australia. In 2015 she graduated from the Victorian College of Arts with a Bachelor of Film and Television. The short film Locker Room premiered at the 2017 Melbourne International Film Festival. She has won different awards. such as Best Young Filmmaker and Best Film short cuts.

Greta Nash was inspired by a series of Melbourne private school scandals that surfaced in the middle of 2016. This happened just before the #MeToo movement became famous. She and her friends were interested but mostly fascinated by all the articles about this scandal. Despite being a few years out of high school, she felt the need to contribute positively to this movement.

My experience

In my opinion, the film is astonishingly well done. Cinematography really captures the loose feeling of adolescence. I could feel the fear and emotions in each of the characters, even in the wrong ones. This is due to the good film work in combination with the music.

I really like the beginning of the short film because it confused me a bit. You could say that this is a negative thing, but for me it is not. It is a positive thing because it made me curious about the topic of the short film. What I heard and saw collided very much with each other. The music was cheerful, only the image was a bit grim.

It’s important to make the viewer curious in the first few seconds so he keeps watching.

I also like the scene in the bathroom till Carla opens the video on the laptop. There is no music. Despite the fact that there is no music, a climax is built up. When Clara opens the movie on the laptop, the climax is reached and the viewer is shocked by the strong and loud sound of the movie played on the laptop.

I believe that the use of ‘silence‘ and ‘ambient sound‘ is used pretty good in this short film in general. Especially in the last few minutes where Clara meets her friends and faces the confrontation. Because there is no music, the focus is on the quarrel between Clara and her friends, this makes it seem as if you are part of the quarrel, it seems as if you are standing next to it. It also gives me a powerless feeling.

But also when she cuddles the girl (I don’t know the name) in the last scene that was filmed.

The short film ends with a slide of the cast using the same music used in the beginning. This is very strong because, it gives you the feeling there will be a sequel to the first film. The feeling like: ‘will be continued”.

Next week I will discuss the short film Divine Children. This short film follows a gang of kids who are trying to adapt to life in a contemporary, post-war America. Press the link down below to watch de short film.

Will be continued…..



Holophonic sound, a sensorial expirence.

capholofonicTo get started, and before entering on the matter, I ask you to look for a headphone, to connect them on the device you are reading this and to put them in your ears. Now yes. We start an immersive travel through the sound and music.

There are a lot of ways and systems to listen music, and seems every new system that appears it’s better than the previous one. But what I am proposing here is a trip to the past, specifically to the 80’s, a moment when the big bands started to trying a technology that seems to be fashionable again; what some media or places in internet have badly called 8D audio.

The real name of the technique is holophonic sound, and was invented by Hugo Zuccarelli, in 1980 during his undergraduate study in electrical engineering at Polytechnic of Milan in Italy. It consists in capture and reproduce the sound as the human ear would do. But the reproduction of this type of record only has effect if it’s listen with headphones.

And someone could say “this is like record in stereo” … no! for the record of sound with this technique we need a mannequin head adapted with microphones in the ear zone simulating the auricle. A curious but functional system.

This head allows us to record the different depths, spaces and distance of sound, just like our hearing does, so the sensation when we are listening is so faithful. This have a very important psychological component and allow us to “play” with the listener. Although we can record a lot of kinds of sounds, the narrative potentialities are bigger in radio or videogames, giving to the user/player/listener a total immersive experience.

As I anticipate before, the musicians of 80’s also tried to taste the system. Ones of the most famous applications was in the Pink Floyd’s CD “The final cut” (1983), when Roger Waters wanted to experiment with the sensation and perception of his music. The mannequin was used in different space and localizations to get different sonorities inside the CD. The mostcurious is that there are very disturbing photos of the recording, the doll used for the recording became famous and was called “Ringo”.

We must not confuse the holophonic technology with the ambisonics audio similar technique that consists in the three-dimensional capture of the sound, and this one is manipulated to give the effect that comes of multiple directions:

Captura de pantalla 2019-04-11 a les 17.58.31

In this case the potentialities arealso amazing, above all if it’s combined with 360 videos and virtual reality glasses.



The absence of sound as a narrative medium


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From the first moment and during the following minutes, the staging establishes an inhospitable stage of great danger, in which silence has become the only means of survival, and in which relations have adapted to an unprotected reality and stripped of a certain portion of free will.
The landscapes and each interior portrayed maintain a dense atmosphere, full of condemnation and expectation, of imminent risk: the forms and textures, the colours and sounds that are deprived of us. The camera’s point of view, as well as the composition of the painting, suggest intimacy but also the repression that the protagonists live through.

The sound design, on the other hand, full of silence, incites tension and the sensation of an incomplete life. The dialogues, scarce due to the situation the characters go through, appear fortuitously, reminding the viewer that their absence is, in fact, an anomaly, as they arrive at such a point that we have become accustomed to the silent. And the musical tracks, as well as the sound effects, struggle to make the spaces more deafening, absorbent; they advance gradually and imperceptibly and keep the attention of the spectator in every detail.

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All this can be seen during the whole movie, but in these two scenes you can clearly see how the director plays with the importance of sound in the narration of the story. In this scene everything is silent, creating tension, and all of a sudden, only the sound of the child’s toy is heard, warning us of the danger that comes next.

the other scene that I have selected to exemplify the importance of the absence of sound in this film. We see a scene almost completely silent, we can only hear some ambient sound, in this we see a couple dancing but without music, and in fact does not need. the silence here we suggest intimacy but also the repression experienced by the protagonists.

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In short, silence in the cinema can and must be considered a sound resource that, on many occasions, is much more expressive than noise, words or music.
As said Robert Bresson, a great defender of silence as a cinematographic resource:

“The most beautiful thing is silence, although not just any silence. For it to have intensity, silence must be carefully prepared…”

V. F. Perkins considered that:

“Only with color as the available source can we consider the use of black and white photography as the result of a conscious artistic decision. Only in sound cinema can the director use silence to achieve a dramatic effect.”

As we see, we must always take into account in our cinematographic projects that the silence is not just a pause, is a resource to be used with own meaning.

 UN LUGAR EN SILENCIO: la ausencia de sonido como medio narrativo | Reseñas | Sector Cine. (2018). Retrieved from

 Morrison, M., Moran, S., & Mithaiwala, M. (2018). Why The Parents In A Quiet Place Had [SPOILER]. Retrieved from

Abrams, S. (2018). Did ‘A Quiet Place’ Take Enough Risks?. Retrieved from

A Quiet Place (2018) – IMDb. (2019). Retrieved from

Dark and its soundtrack by Apparat

Have you heard of that new Netflix series?

A boy is missed in the forest since some days, suddenly many birds fall from the sky, a dead body with clothes from the 80s appear, a man attempts suicide, people are shocked. More and more Crazy things happen in Winden, a German town next to a atomic energy plant.

It´s a story in a fictive town, that leads to many open questions in the first chapter since almost all of the new side stories and side elements show up and create a frantic and frightened atmosphere. To that circumstance comes the title music to play…

Goodbye by Apparat

Goodbye by Apparat brings and reinforces exactly the feelings we get in those scenes with that mysterical background.

“For neither never, nor ever, goodbye”

That song contains lines that fit the series perfectly. The main line says “for neither never, nor ever, goodbye”, a line that keeps up the misterious appearing in the meaning of not telling too much, but still revealing an important fact, that says: it is about time – On of the most important parts in the serial.

“fold out your hands, give me a sign, hold down your lies”

This quote of the song pushes in the same direction. It sounds like someone needs help with something when there´s the question for giving a sign, but not telling the lies. It could be a shoutout for the truth though.

Lets have a quick look at the sound itself. The musician Apparat uses to use electronical parts in his music in general, so we find this part here in this video again. In the first minute we don´t find a sung part, but we do find many electronical parts. Already in the beginning, when there´s almost nothing, but some sound effects that sound almost like a heart beat. Then we get a guitar similar instrument and just some silent words by a voice. Finally there´s the piano, that gives the important groundly strong sound, for giving the song a body.

At about 1:40 the voice sings for the first time. In some passages in between, we get more electronical parts.

Shortly before 3 minutes we finally get the chorus with the strong phrase we saw before.

It ends as it has started: with some silent parts including electronic, slowly getting more silent.

The trailer

“Yesterday, today, tomorrow are not consecutive”

The series changes the dimensions a bit. It says that the days aren´t just following each other.

“They are connected in a never-ending circle”

The days don´t just come one after another, they are connected in a never-ending circle, as the movie says.

“The future interacts with the past”

In the series, strange things appear in coherence with the past.

The trailer tries to show first the passages that appear, to follow with the music by Apparat, as analysed before.

Snow by Ben Frost

Here we see another, more calm soundtrack of DARK that comes up with similar feelings.

It doesn´t contain voices, but electronical music parts.

Irgendwie, Irgendwo, Irgendwann by Nena

At some point the series showes a scene of 1986 and there this song by Nena is played. Did you know this old famous song?


“Irgendwie, Irgendwo, Irgendwann”:
Picture by Netflix: