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Créme: 2016’s Most Blistering Short!

Michael Ciaramella

by Michael Ciaramella

We've got the best moving pictures!

Créme – French word for cream. Also denotes something of top quality in modern-day English.

From here on out I’ll be delivering the Créme a la Grit, in the form of curated surf videos and their principally biased descriptions. Who do I think I am, Rory Parker? Hardly. In basic terms, I am a Surfing Mag reject, hell-bent on stoking the ashes of a five-day career in the surf biz.

For the sake of this extended series (I’ve signed on for a month!), consider me your Cousteau of the cinematic seascape. I’ll be scouring the web in search of deep-sea treasures, sometimes Titanic, others pure Gold. Either way, you can trust not to find any Larry, Curly, or Moes on your beloved Grit. As our manifesto states: “We believe in recycling plastic and paper and St Laurent jeans but not clips from B-ish surfers.”

Without further ado, your first installment of Créme — a retrospective glance at the best short of 2016: Luke Hynd and Darcy Ward’s The Set Menu

First, Darcy Ward.

The 21-year-old Gold Coast filmmaker is talented beyond his years. If The Set Menu didn’t moisten your muffin, then 1. you have poor taste (Staff Picks don’t lie) and 2. take a gander at Darcy’s Vimeo page — there’s something here to please even the most grizzled weblord.

Next, Lukey Hynd.

Genetic traits follow one of two presets: dominant or recessive. Derek Hynd is the fortuitous by-product of a recessive gene orgy, one that created an icon of eccentricity and flair. He is the physical manifestation of good luck. A fin-forsaking anomaly. A generous uncle.

Yes, Luke Hynd’s personal brand of cool can be directly linked to Uncy D. The laissez-faire approach, long flowing locks, and greed for solitude are built into the Hynd DNA. Being too young to have experienced Derek during his explosive twenties, I relish in the good fortune of sharing an era with his second-coming.

Lastly, The Set Menu, in whole.

A surf film succeeds when it transports the viewer from his physical living space to an inescapable vortex of sight and sound. From the point when Luke makes searing eye contact with a much-too-close water camera at 1:27, I was hooked. At 2:53, Darcy captures one of the most cinematically flawless surf shots of all time. If those don’t cut it, Luke’s solo sessions at not one but two terrifying slabs are enough to make the blood run arctic.

The Set Menu was the best short of 2016. If you haven’t already, go give ’em a click.