A naked body moves a stranger to empathy. PARTHENON is a slippery diptych that questions the limits of our perception.
A recipient of the 2015 Oak Cliff Film Festival Filmmaker's Grant and made with the generous participation of the New York Academy of Art, the film dissects objectification and the male gaze that has perpetuated throughout history. It is a movie about the need to be seen.
Starring Lily Baldwin, Tallie Medel, and Thiago Martins.
-2017 Sarasota Film Festival (world premiere)
-2017 Maryland Film Festival
-2017 Oak Cliff Film Festival
-2017 Marfa Film Festival
-2017 Eastern Oregon Film Festival
-2017 Cucalorus Film Festival
-2018 Slamdance Film Festival (Narrative Shorts competition)
-2018 George Lindsey UNA Film Festival (Vanguard competition)
-2018 FilmFort Festival
-2018 Houston Film Commission Showcase
-2018 Micro Wave Cinema Series
-2018 RSC Shorts Festival (Denver Film Society)
-2018 Brooklyn Film Festival
"Deeply intimate. A rich, elusive network of ideas and responses... it is a film that invites us into a tactile engagement with its many surfaces. One of the best films of 2017." -BFI critic Michael Ewins, Notes on Seeing
"A minimal work of pure tension. The delicate direction of its actors...serves as a reminder of the perpetual catharsis of mankind. The personal and the communal resound strongly."
-Jose Sarmiento Hinojosa, DESISTFILM
“A conceptual potboiler… that is devastating to watch. Mosley connects the dots between what we choose to see and what we don’t, and the cultural conditioning that goes into these choices, as well as what it means to see someone in full. It’s quite a bit to accomplish in less than 15 minutes, but Parthenon does so and lingers in the mind for far longer.” -Stephen Saito, The Moveable Fest
"Compelling and unique in its vision, furthered by a strong lead performance." -Emily Doe, shorts programmer, Sundance Film Festival
"We've featured the work of Frank Mosley on our site before, and we're happy to share the trailer for his latest short, Parthenon." -Scott Macaulay, Filmmaker Magazine
"It’s a film of two parts. The first a decidedly Lily Baldwin affair utilizing her expressionistic movements to full effect, a push-pull of domestic dominance. While the second half presents the opposite wherein sustained eye contact has the ability to emotional affect without any words being uttered." -Kevin Rakestraw, Film Pulse