Set in a world, not unlike mid-20th century America, “The Vandal” centers on Harold, whose tormented search for peace from traumatic loss results in an unexpectedly destructive awakening after he undergoes a lobotomy. When the procedure “turns his mind inside out” and his great love is suddenly gone, Harold’s desperate search intensifies.
Eddie Alcazar wrote and directed “The Vandal” starring the exquisitely cool Bill Duke. For his short, Alcazar coined the term “meta-scope” to describe his unique filmmaking process where “the closer you get to the subject, the more real it becomes.” Blending VFX, animation, Kodak 16mm black and white reversal film with Panavision cameras, intense close-ups resemble William Dieterle’s gothic fairytale, “All That Money Can Buy.”
“The Vandal” begins with the camera zooming in on a model-scale town before cutting to Harold (Bill Duke) being inspected by Doctor X (Maurice Compte). The doctor recommends lobotomizing Harold while speaking to his wife Eva (Baadja-Lyne Odums). Eva falls, while cleaning the window, and unfortunately succumbs to her injuries. At night, Harold’s haunted by memories with his wife calling out, “come to the paintings and find me.” Eventually, Harold heads to a museum in the middle of the night. Inside, Harold begins destroying paintings trying to free his wife who he believes to be is trapped underneath. He is, as a result, institutionalized and cared for by a nurse (Abbey Lee) who encourages Harold to create instead of destroy.
Alcazar is currently working on his debut feature that is being executive produced by Steven Soderbergh. This short showcases an incredible new talent.
“The Vandal” premiered as part of Cannes 2021 Directors’ Fortnight and was executive produced by Darren Aronofsky.
