A to Z, Directed by C. Noah Taylor
In short films, time is always the central issue. The filmmaker must carefully structure their sequences, making sure that the introduction, climax, resolution, and conclusion all fall into place at the right moments. They must determine how to construct shots within each sequence, considering its significance within the broader narrative, and establish a rhythm that goes hand in hand with the film’s subject. Other elements, such as working with actors and having film score, ultimately serve the demands of time and timing—without which these elements would lack direction and cohesion. Time is what gives a film, especially a short one with limited duration, a clear trajectory. From this perspective, A to Z is a meticulously crafted film in which every shot is timed with precision, based on the script’s needs. Beyond the issue of timing, which is inseparable from the film’s form, the very concept of time itself is crucial to the film’s meaning. This is evident from the very first scene, which opens with the sound of ticking and an image of a clock. Without lingering on it too long, the filmmaker subtly introduces the clock in the opening shot before moving on to introduce the protagonist—yet the impact of that initial image lingers throughout the rest of the film.
We meet Zach, who wakes up in a cluttered, disorganized room, surrounded by beer bottles and food containers. But our attention is drawn to one specific object in a brief shot: a gun. The filmmaker employs the same technique with the gun as with the close-up of the clock—showing it only momentarily before returning to the main subject. The residual impact of these fleeting images changes how we perceive the scenes that follow. Because the sound of the ticking clock still echoes in our ears, we feel Zach’s anxiety, anticipation, and distress. We sense that time is running out, that he doesn’t have much left. This deliberate ambiguity is one of the important characteristics of the filmmaker’s approach.
Another usage of the concept of time is through temporal shifts—moving back and forth between different points in time. The initial reference to the clock is not just about the urgency of time or the pressure it creates; it can also symbolize a sense of being lost in time. As the film moves between past and present, between light and darkness, between the days of Ali and Zach’s relationship and his present-day solitude, time itself becomes the central theme. It explores how people remain trapped in the past, held captive by the bittersweet memories of yesterday, even though that time no longer exists. Despite the persistent ticking of the present moment, people continue to live between the tick tocks of the past.
Through these temporal shifts, the director of the film C. Noah Taylor not only illustrates Zach’s entrapment in the past but also succeeds in drawing the audience into the character’s mind—a mind that is constantly replaying memories, no matter where he goes or what he does. If he once shared a burger with Ali at a restaurant, if they once spent time at an amusement park, every place that once belonged to them, they all occupy Zach’s lonely world. We remember his state of mind in his room and begin to piece together the significance of that gun in relation to his current state. The past is depicted in warm, vibrant colors, while the present is cold and desolate. Through this simple yet effective use of colors, the filmmaker visually distinguishes between past and present, reinforcing the emotional weight of Zach’s journey.
Although A to Z presents a relatively familiar story, and we can predict from the very first scenes what has happened between Ali and Zach, it is the filmmaker’s approach that makes this familiar narrative interesting. Many of the stories we encounter today have been told before, but it is always the method, form, and style of storytelling that compel us to set aside our prior knowledge and immerse ourselves in the journey. Here, characterization plays a crucial role in engaging the audience. Zach’s character is meticulously developed from the outset, becoming one of the film’s strongest points. He is introverted, and even in the past, within his relationship with Ali, he was a quiet, somewhat withdrawn man. This introversion and reticence make his present-day decisions all the more striking. Had Zach been an extroverted, aggressive, or outspoken character, the presence of a gun in his room might not have felt as convincing. But for a sensitive man like Zach - who once expressed his love for Ali with such grace - it feels plausible that he would contemplate the gun as a means of escape from his sorrow and pain.
Although Ali appears less frequently than Zach, her character is revealed to us through Zach’s perspective. His love for her provides insight into her personality. The relationship the filmmaker constructs, and the love between these two characters, feels so real that we become invested in their fate. This emotional connection is built through a keen understanding of timing. With full command of the cinematic craft and an impressive level of skill, the filmmaker takes these two characters, a handful of locations, and a familiar storyline and crafts a visually engaging film that holds the viewer’s attention until the very end. In a world where thousands of short films are produced every month, filling festival programs worldwide, achieving such an impact demonstrates mastery of the filmmaking tools.
The film’s ending, rather than leading to conventional clichés, remains somewhat open-ended. By the final scene, Zach’s emotional state has not changed—he is still filled with sorrow—but he has made a decision as not to destroy himself. The gun introduced early in the film naturally raises the question of whether Zach will ultimately use it. However, what matters is not the answer itself, but how the filmmaker leads us to it. That journey is where the artistry lies.
A to Z is a modest yet remarkable film that makes the most of its resources to deliver an engaging experience. Many aspiring filmmakers could learn from this film how to craft a great film, even with limited means.
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