Cordelia, Daughter of the Sea

Cordelia, Daughter of the Sea is a mesmerizing short film that had me captivated from the very first frame. Through a moving monologue by the father of the bride, it masterfully captures the raw, universal truth that to live is to love and be loved, and that loss is an inevitable part of that journey.

The father-daughter relationship at the heart of this story is deeply emotional and beautifully rendered, making every moment resonate with honesty and tenderness. The cinematography is stunning, with compositions that perfectly balance intimacy and depth.

Huge credit to the director for crafting something so heartfelt and visually captivating in just ten minutes. This is a film that lingers long after the credits roll.

This film caught my attention by delivering a simple and powerful message..... a father will always be there for their daughter.

The portrayal was delivered with an emotional impact that connects with the soul.

The director does not overcomplicate the message with unnecessary diversions and stays the course to clarity of message.

The actors hit their marks perfectly.

The cinematography captures the essence of the message.

Thoroughly enjoyed this short film and deserves a view.

Cordelia, Daughter of the Sea transported me immediately to another world - another time, another place, another life, then somehow made me feel like everything that happened was happening right inside my own heart.

Maddie Grammatopoulos has written and directed one of the most powerful shorts I've ever seen. It's one that's beautifully soft and layered, a bit like the film's pastel palette, then punches you in a gut in such a way that you'll call your Dad, your Mum, your siblings, your loved ones and tell them how much you love them as soon as the credits finish rolling.

The film is made all the more potent by the brilliant and nuanced performances of Luca Sardelis and Renato Musolino. I can't wait to see what Maddie makes next!

Cordelia, Daughter of the Sea is like a motion portrait. It's like a kind of novelty photoshoot you'd set up with your family by hiring a professional photographer while wearing retro costumes for fun. It's about as meaningful as that.

The Director seems to have a preoccupation with retro aesthetics and costumes. This seems to be an example of nostalgia for a time not lived in, as the director is rather young and could not possibly remember the era she's depicting. We can therefore assume that the film's aesthetic is not dictated by anything personally or emotionally honest, but a rather vapid expression of what the internet-age finds "novel", "trendy", or even "Arthouse". There is no justification for the period setting. It is simply a product of the filmmakers' apparent superficial obsession with retro aesthetics.

More egregiously, there's little justification for the "plot", either. The twist at the end of the film is a gimmick by definition, because it doesn't add anything new. It doesn't provoke any interesting ideas about fathers and daughters, what came before the twist remains unchanged. The father admitting that he won't truly understand his daughter is the only attempt at something of substance, but the exploration of this idea is razor thin. This idea comes before the twist, which means the twist is simply a device used to grab your attention (the definition of a gimmick).

The best you can say about this film is that it's pretty well shot. The compositions are pleasing to the eye and the natural lighting is beautiful yet not overly distracting. When it comes to the film's aesthetic (in the true sense of the term), thematic, and formal qualities, there's much to be desired.