2 GUYS
A fleeting encounter at a disc golf course turns into a surreal exploration of modern dating
Directed by Marissa Goldman
words by Katie Huelin and Isabella Bazoni
2 Guys unfolds at an oddly specific meeting point on a disc golf course, where two strangers await separate Tinder dates. Directed by Marissa Goldman, the short film blends surreal comedy with an intimate examination of modern dating, toxic masculinity, and social anxiety.
With a sharp eye for timing and absurdity, Goldman captures awkward encounters and fleeting human connections, using close-ups and reverse shots to heighten tension, humor, and intimacy, turning a simple waiting game into a quietly revelatory exploration of contemporary life.
The film opens with a long zoom in, a slow drift from distance into intimacy. What drew you to that choice, and how did you think about using proximity as a way of easing the audience into these characters’ world?
The long zoom was the first thing that I thought about with this film, actually. It was a technique I’ve been thinking about and since I was making this film for next to nothing and very quickly, I wanted it to be a bit of a formal exercise. And yes, the choice behind it was that as they grew closer, so did the camera. I try to think pretty deeply about my shot choices and why I’m using that at any particular moment.
What sparked the idea of using a disc golf course as the setting for a modern‐day meet‐cute?
I used the disc golf course because it is one of my favorite spots here in LA and I love the view. I wanted to shoot something there for a while. As well, I thought it was an interesting character choice. I always like characters with idiosyncratic interests because it feels real to me.
“I’m often interested in how the digital world affects our lives and the meeting point of that reality and something that feels natural and real.”
Chemistry between strangers is notoriously difficult to craft. What was your process for shaping the dynamic between the two leads so that it felt spontaneous yet grounded?
Well, Colin and Chester were actual strangers and I purposely didn’t have them meet before the day. So that was part of it. They also just gave really good performances. Colin tends to be a very grounded actor in general so that was why I chose him for it. He never goes too big which I love. It was actually chester‘s acting debut, which was amazing and I also think that added to him feeling natural.
What did this story allow you to say about the ways people meet today, and the small, accidental moments that can shift the course of a day (or a life)?
I’m often interested in how the digital world affects our lives and the meeting point of that reality and something that feels natural and real. I’m not sure I was thinking about small accidental moments that can shift the course of life, but I like that interpretation of it. I always wondered what would happen if I accidentally invited two people to a date or something.
Where do you see this kind of intimate, character‐driven storytelling taking you next?
Interestingly enough, I actually struggle with intimate character driven storytelling. This was the first really small idea I had in a while. This film again felt like an exercise in a couple things and it was important for me to keep it simple. I hadn’t made something in a while and really wanted to get something out there. Definitely having that outlook can make pretty magical things but I have trouble accessing it.
Currently, I’m working on a feature that I really need to simplify for budgetary reasons. But in a feature length version too small is so boring to me lol. People always say to make a cheap film it’s one location and focus on the characters the conversations. That could only keep my attention for so long. Where I’ve moved towards in my creative process, and my most recent film Max Distance is incorporating a lot of world building, lighting and production design. And now having played with that, it’s really what is exciting me about filmmaking now. I think it’s something about having a background and painting. So really this could only work in the short form but after getting this question, I’m thinking I really remember the lesson the lesson of trying to simplify.
director - MARISSA GOLDMAN
producer - JOLIE DARROW
key cast - COLIN BURGESS
key cast - CHESTER TOYE
key cast - JOLIE DARROW
writer - MARISSA GOLDMAN
director of photography - RYAN THOMAS