[Alegra & Jim is] [r]elentlessly gripping and realistic with acid sharp dialogue (fans of early Neil Labute and David Mamet will be transfixed)...

Mike Dojc (TORO magazine)

[Body Parts and Alegra & Jim] are both really interesting and extremely well executed short films..."

Jason Knight CDC

Such a singular Miranda vision in [Body Parts] ! Funny, dark, sexy and eccentric.

I watched [Alegra & Jim and Body Parts]. It’s beautiful work. Strange and absurd. [Miranda Calderon is] like Alice in Wonderland: an innocent wandering through the world of movers and shakers. The further adventures of a young modern woman, an actress, searching for meaning. It’s really great work.

Dean Gilmour

Body Parts is really, really good.  It  tackles a conversation that I think pretty much every couple that have been together for awhile can relate to but what comes of it in real life is never so direct, intense and honest.  I also really liked the pacing, it has a propulsive rhythm to it. Anyway my favorite bit was when the boyfriend character cops to his ex-girlfriends being among his spank bank all-stars so to speak. 

Mike Dojc

Funny, absurd and real. [Body Parts] rides the line and provokes.

Lisa Diliberto

Watching BODY PARTS, writer and producer Miranda Calderon’s second short after her acclaimed ALEGRA & JIM, one clearly recognizes the voice of the artist. Again we are thrown into a baffling conversation that hides (behind all its candor and openness) a delicate heroine’s struggle to suffice – whilst in ALEGRA & JIM it was in the professional world, in BODY PARTS it is in the most private world of the new relationship. Here Calderon opens up a space that becomes brittle in the face of the nakedness and vulnerability of its heroine. We are let in on a quest for intimacy and immediacy that hits us like a brick in the face (or the loin) for it confronts us with our own struggles. Calderon’s voice in all its candor and sensitivity – and its poignant sense for leaving the most important things unsaid – is highly relevant: it moves us at our core and confronts us with the candid – and often very humorous – speechlessness of our generation.

Maria Milisavljevic