ANNA

The scouts

A two-minute film about a kid meeting a clown should be aggressively boring, but something in Amic's setup—that qualifier 'quite special'—suggests he knows exactly how to subvert the wholesome premise we're expecting. I'm curious what he's actually doing here.

The whimsy-and-tenderness register places this squarely in a children's cinema tradition, though the compressed runtime demands real precision in how Amic establishes character and stakes; the craft will live entirely in what he chooses to show.

Two minutes to make us believe a clown encounter matters—Amic's success will hinge on one moment, whether it's a performance choice, a cut that reframes the tone, or a sound design decision that shifts what 'special' actually means. That's where the film lives or dies.