After three years now it’s safe to say I have made a
tradition of seeing the Oscar-nominated short films at IFC Center in New York.
And I have the same observation this year that I had last year about the live
action shorts. There’s something so refreshing about short films. It’s like
being freed from the confines of what’s involved in a two hour plus feature.
You know with each one that the resolution will come quickly and that there won’t
be any subplots. It’s also fascinating to realize that many short films could
very easily be expanded to feature length. Therefore the converse must be true
and suddenly you start thinking about all the features that might have been
better as restrained short films. This year’s crop of five nominees represent
not only five different countries, but also very different subject matter and
styles of storytelling.
First up in the program is the Danish film Helium,
a whimsical tale of Alfred, a young boy in hospital with some undisclosed
terminal illness directed by Anders Walter. Alfred befriends Enzo, a janitor
whose own brother died many years earlier. Alfred’s fascination with balloons
and zeppelins prompts Enzo to recount a story of children not going to Heaven –
where, according to Alfred, it looks boring – but to some other magical world
called Helium. This was probably my least favorite of the group if only because
this sort of fantasy realism as it pertains to the easy button to push of dying
children is really uninteresting to me. It didn’t move any real emotion in me
at all.
The Voorman Problem, directed by
Mark Gill, was easily my favorite and the only one with recognizable actors.
Martin Freeman plays a psychiatrist summoned to a prison to examine one of the
inmates – Voorman (Tom Hollander) – who claims to be a god. This wouldn’t
normally be a problem, the warden says, except he’s convinced the entire prison
population he is. The sardonic wit of this film comes in short bursts
throughout its brief thirteen minutes and takes it to surprising places. This
is what Bruce Almighty would look
like if written by someone with a sense of irony and a ripe comedic voice.
From France comes Just Before Losing Everything,
written and directed by Xavier Legrand, which was interesting in the way it
could be a thirty minute segment of a feature film. There’s so much that takes
place before the action opens that we’re not privy to and potentially a lot
after the close and several directions the story could go. It is filled with
terrible tension that sneaks up on you after a serene opening finds a boy
leaving his house and walking to school, but stopping by a small creek under a
bridge. A woman picks him up and they drive, in silence, and come to a bus stop
where they pick up a teenage girl obviously saying a last goodbye to a
boyfriend. This family is on the run from an abusive husband. They remain holed
up at the mother’s place of work in a supermarket until they can safely leave. Here
you can see a bit of Michael Haneke’s influence on the way Legrand uses his
camera to build a sense of dread and anticipation. This is a clear example of a
story that could go on as a feature, but functions in a really unique way as a
short.
Next up is an example of a story that is certainly broad
enough for feature length, but was kept mercifully short. That Wasn’t Me is a
Spanish film by Esteban Crespo. It is a classic social problem film about child
soldiers in Africa. The country goes unnamed, which is either a convention of
short films to excise details that could add to the film’s length, or a way of
making all of Africa generically similar for the purpose of making a point. The
film opens with a scene of almost unbearable tension as a young Spanish couple,
being driven by a local guide, attempt to make safe passage outside a war zone,
first having to pass through a barrier manned by two armed children. They are
soon caught and things just go from bad to worse. The story is told by one of
the child soldiers as an adult from a position of newfound understanding of
humanity, brought to him by a great merciful gesture. The film ends up going
from a simple story of two doctors trying to get home to an action stunt
spectacular with a terrified woman playing the action hero. It becomes more
absurd by the second in the final moments.
The final film, Selma Vilhunen's comedic lark from Finland called Do I
Have to Take Care of Everything? In the film’s very brief seven
minutes, a family wakes up late, Four
Weddings and a Funeral style, for a wedding. In the chaos of getting ready,
the bumbling idiot dad who can’t manage anything in the household gets coffee
spilled on his shirt, the girls put on Halloween costumes in lieu of the
dresses they can’t find, they take a potted plant to take the place of the gift
that is missing, etc. It’s a frantic scene that ends with the disheveled group
arriving at the most unlikely and unfortunate of events (they got the wrong
date for the wedding). This really reminded me of the style of a zany animated short film, but
filmed as live action.
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