Jess Blackwell –
Twice a year, filmmakers from across Toronto and the GTA band together in small groups to complete the near-Herculean task of creating a short film in 48 hours. This is done as part of the 48 Hour Film Project, a global event occurring in more than 100 cities on different weekends throughout the year.
In each city, local filmmakers – beginners and pros alike – form teams and pay a registration fee to participate in the competition. They then face off with the other teams in their city to see who can make the best film within the time given.
Each film must include a specified character name, prop and line of dialogue. Teams are also restricted regarding the genre of their film. During the spring edition, teams must choose between making a horror or sci-fi film, while in the fall filmmakers must draw their genre from a hat containing numerous options.
The competitions begin with a Friday night kickoff event, where local teams determine their genres and learn of the other required elements. From there, teams promptly begin writing, shooting, and editing their films, with the goal of completing them in time for the Sunday evening deadline.
All eligible films are played in a cinema in front of a live audience, giving the participating filmmakers a chance to see their work on the big screen. A team of local judges selects the award winners, with the best film of each edition moving on to Filmapalooza, the 48 Hour Film Project’s annual international film festival.
Actor Donovan Brown has participated in the 48 Hour Film Project three times. He says it has allowed him to play and improvise with other creatives while diving into roles that he might not otherwise have the opportunity to explore.
Because the 48 Hour Film Project has an agreement with ACTRA, Toronto’s on-screen acting union, it also provides a rare opportunity for union and non-union performers to work together on a real set. “I believe the 48 has the chance to foster new and upcoming talent while also giving them the necessary experience of how a set and production can be,” said Brown.
For local editor and director Mike Donis, the main benefit of his participation was unusually tangible. In addition to winning Best Sound and Best Director in 2006 for his short film, Donis used the project to secure funding for a feature film in 2007. The experience forced him, only 20 years old at the time, to dive in and make a film without overthinking it. “[It] was a lot of fun in that ‘wish you were dead’ kind of way,” he joked.
Other filmmakers highlighted the challenging aspects of the time constraints. Leo Wei, a producer and sound specialist, noted that while the 48 Hour Film Project can help teach team-building and organizational skills in high-stress environments, its restrictions can fuel conflict while limiting creative potential, especially in post-production sound.
“It’s fun, chaotic, and definitely exciting to be part of,” Wei said. “But if I’m being honest, it’s not how I’d want to approach filmmaking. I’d rather take my time and make something that actually comes from me […]. Something that really sits with people and has meaning.”
Composer Daria Skvor had a more positive experience of the project’s time constraints, describing her experience scoring 48-hour films as “unforgettable” and “surprisingly fun.” She says meeting such a tight deadline increased her self-confidence as an artist, since “nothing can beat the deadline of delivering your work [in 48 hours].” She recommends trying it at least once in any role
