Category Archives: Academy Awards

Oscar-Ready? The Long & the Short of It: Call Me by Your Name & the Live-Action Shorts

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Call Me by Your Name

Call Me by Your Name

Timothée Chalamet & Armie Hammer

This languorous film based on James Ivory’s adaptation of a novel by André Aciman and directed by Luc Guadagnino (trailer) conjures all the steamy possibilities of youth in summertime. The drowsily buzzing flies, lying in tall grass whose sun-baked scent practically wafts over the audience, the lure of the river’s cool and limpid water, outdoor dinners on the patio. Guadagnino makes best use of his setting “somewhere in northern Italy.”

Timothée Chalamet has received well-deserved raves for his portrayal of Elio Perlman, the 17-year-old son of two intellectuals (played by Michael Stuhlbarg and Amira Casar). He beautifully portrays the confusions of late adolescence, diffidence alternating with aggression, the attraction both to Parisian Marzia (Esther Garrel) and, more strongly, to his father’s summer intern Oliver (Armie Hammer). He also plays the piano with bravura skill. “Is there anything you can’t do?” Oliver asks him and the same question might be put to Chalamet. All the music works, from Chalamet’s playing, to the soundtrack, to dance tunes broadcast on tinny car radios.

The attraction between Elio and Oliver is immediate, but builds slowly, and when they finally do reveal how they feel, “the moment makes you hold your breath with its intimate power,” says Christy Lemire for RogerEbert.com, “and the emotions feel completely authentic and earned.” And from there, to a final few days together, their emotional strength symbolized, perhaps, by the shift from the still waters of the swimming hole to crashing mountain waterfalls. Elio’s father is given an excellent, warmhearted speech to his son about the value of powerful feelings, even wretched ones.

Rotten Tomatoes critics rating: 96%; audiences, 86%.

LIVE-ACTION SHORTS
The five Oscar-nominated live action shorts this year have a “ripped from the headlines” feeling,  with three of them based on real events. ShortsTV has trailers for all five.

DeKalb Elementary, by U.S. filmmaker Reed Van Dyk came with a trigger warning. It shows a white shooter entering a school and how the black receptionist, through a combination of kindness and cunning, has to try to talk him out of carrying out either violence against the children or suicide-by-cop. Inspired by a 2013 incident in Georgia. (20 minutes)

With The Silent Child, U.K. filmmakers Chris Overton and Rachel Shenton make the case for teaching deaf children sign language, using the story of a sweet young girl whose parents expect her only to lipread. She comes out of her shell when she’s tutored by a sensitive aide. (20 minutes)

My Nephew Emmett recounts the tragic story of Emmett Till, the 14-year-old black child from Chicago murdered in Mississippi in 1955 after somehow offending a white woman. Though the story is a touchstone of Civil Rights outrage, U.S. filmmaker Kevin Wilson, Jr., gives it fresh interest by telling it from the uncle’s point of view. (20 minutes)

The Eleven o’Clock is a hilarious demonstration of confused communication. A psychiatrist, waiting for his new patient, knows only that the man believes he too is a psychiatrist. The encounter between the two of them, each trying to establish clinical control, is cleverly constructed by Australian filmmakers Derin Seale and Josh Lawson. (13 minutes)

In Watu Wote/All of Us, also based on a real episode, German filmmakers Katja Benrath and Tobias Rosen show a Christian woman’s uneasy interactions with her Muslim fellow-passengers on a long busride through the Kenyan countryside. Then the bus is stopped by well-armed Islamic militants bent on murdering non-Muslims. (22 minutes)

Try to see some of these excellent short films!

Award-Nominated Movies: The Shape of Water & The Greatest Showman

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Shape of WaterThe Shape of Water
The acting alone is a good reason to see writer-director Guillermo del Toro’s romantic fantasy (trailer), written with Vanessa Taylor, although the origins of the story are now in dispute. The film received 13 Academy Award nominations, the most for any 2017 movie, including best picture, writing, directing, best actress, best supporting actor and actress (Jenkins and Spencer), cinematography, and costumes.

Elisa Esposito (played by Sally Hawkins, who was terrific last year in Maudie) plays a mute young woman who, with her friend Zelda (Octavia Spencer), is a cleaner at a sketchy 1960s military research facility. The researchers bring in a merman-like creature (the unrecognizable Doug Jones) found in the Amazon, whom they mistreat, believing him violent, but whom Elisa befriends. If you’ve seen the previews, you get the idea.

Playing the heavy is a furious Michael Shannon,  Elisa’s neighbor and friend is Richard Jenkins, and a scientist more interested in saving the “monster” than killing him is Michael Stuhlbarg. All three are super!

Even if you aren’t a fantasy fan, there’s lots of drama and a warm core to this film you may enjoy. I did. As “an enchanting reimagining of ‘Beauty and the Beast,’ it is an unforgettably romantic, utterly sublime, dazzling phantasmagoria,” said Colin Covert, reviewer for the Minneapolis Star Tribune.

Rotten Tomatoes critics’ rating: 92%; audiences, 78%.

Greatest Showman The Greatest Showman
By contrast, this movie musical of the P.T. Barnum story (trailer) directed by Michael Gracey disappointed, especially because the songs were by Benj Pasek and Justin Paul (fellow U-Mich grads!) who wrote lyrics for La La Land and music and lyrics for the Tony-winning Broadway hit, Dear Evan Hansen.

Talented Hugh Jackman (as Barnum) sells it, but there’s little “it” there. He apparently wanted to do Barnum’s story for some time, but couldn’t get backing. Although the film received three Golden Globe nominations (best musical or comedy, best actor in a musical or comedy for Jackman) and won for best song (Pasek and Paul), Oscar took a pass.

You may enjoy the movie’s spectacle aspects, but it will require you to pause your brain. Plot holes make it hard to stay interested in the story, which is in part Barnum’s highly fictionalized career and in part the love story between him and his wife (nicely played by Michelle Williams).

OK, it’s a musical, so it’s the musical numbers that should shine. The pop-music songs were just bearable until Barnum met The Swedish Nightingale, Jenny Lind (Rebecca Ferguson). She has an eye-roller of a pop number (lip-synced, by the way; the real singer is Loren Allred), so contrary to how an internationally famous singer in 1850 would have sounded that the artifice of the whole production collapses under its own absurdity. As San Francisco Chronicle reviewer Mick LaSalle wrote, “It’s an awful mess, but it’s flashy,” calling it “The perfect realization of a really bad idea.”

Rotten Tomatoes critics rating: 55%; audiences: 89%.

The Oscar-Nominated Documentary Shorts

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Academy Award, Oscar

(photo: David Torcivia, creative commons license)

Do whatever it takes to see the short documentary films nominated for Academy Awards this year! All five involve thought-provoking situations and introduce you to some remarkable Americans.

Traffic Stop (Kate Davis & David Heilbroner for HBO, 30 minutes)
The filmmakers gain access to police dashboard camera footage showing a white Austin, Texas, policeman aggressively subduing a black woman stopped for speeding. He loses it. She loses it. The woman, Breaion King, is an elementary schoolteacher, and we see her in the classroom and in her dance class, and learn what kind of person she is. I wish we had the same 360° picture of the officer. Even so, it’s complicated, with tons of subtext. (See it here.)

Edith + Eddie (Laura Checkoway and Thomas Lee Wrights, 29 minutes)
This film should be marketed as a cure for low blood pressure (trailer). The filmmakers were recording a charming pair of 95-year-old Alexandria, Virginia, newlyweds just as their lives fell apart. A daughter living in Florida finagled a court-appointed guardianship for her mother, and the guardian—paid out of Edith’s estate—demanded that the elderly woman be flown to Florida against her will “for evaluation.” The guardian concluded without seeing Edith that she was not safe living in her own home with her husband. (More about this hair-raising issue here.)

Heaven is a Traffic Jam on the 405 (Frank Stiefel, 40 minutes)
In this extraordinary film portrait, artist Mindy Alper describes her struggles with mental illness and her commitment to pursue her art. Both through her art and in fascinating, surprisingly upbeat interviews, she communicates in a unique way. She has had a succession of gifted teachers to support her artistic development, and the film shows preparations for a gallery show of her work. One piece, a large papier-mâché portrait of her therapist, brought tears to my eyes for the compassion and love it shows. (See the documentary here.)

Heroin(e) (Elaine McMillion Sheldon and Kerrin Sheldon for Neflix and the Center for Investigative Reporting, 39 minutes)
Huntington, West Virginia, is the epicenter of U.S. heroin drug deaths, and this film (find the trailer here; view the film on Netflix) shows three heroic women fighting for the community. Jan Rader, a nurse and EMT, attends five or six overdose cases almost daily. Thanks to Narcan, not all are fatal. The city’s drug court is presided over by judge Patricia Keller, both compassionate and no-nonsense. Her goal is to get people back on track, whatever way she can. Necia Freeman started her “brown bag ministry” to help women selling their bodies for drugs. All three are amazing rays of hope in a devastating situation. (More about West Virginia’s epidemic here.)

Edwin's, restaurantKnife Skills (Thomas Lennon, 40 minutes)
The Cleveland restaurant, Edwin’s, and its culinary training school were started by Brandon Chrostowski (see the documentary here). He had early brushes with the law and used a judge’s second chance to turn his life around. Edwin’s hires former prison inmates and trains them for jobs in the kitchen and front-of-house. It trains about 100 ex-prisoners a year, who are taught the fine points of haut cuisine and learn about wines and cheeses. This kitchen is not three guys with a microwave, it’s chopping  and deboning and saucing and plating, and the workers mostly love it. So do Cleveland diners. Oh, and recidivism rates among Edwin’s trainees? Extremely low.

Phantom Thread

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Phantom Thread

Day-Lewis & Krieps in Phantom Thread

If this is indeed Daniel Day-Lewis’s last film, writer-director Paul Thomas Anderson’s new movie (trailer) turns out to be an odd swan song. Apparently the idea it would be his last came over Day-Lewis in reaction to this character, for reasons he can’t quite explain, but perhaps related to the draining intensity with which he prepares for his roles.

Reynolds Woodcock, the British fashion designer Day-Lewis plays, doesn’t display the physical energy of Hawkeye (in one of my favorite movies of all time, The Last of the Mohicans) or the agonizing choices facing Abraham Lincoln, or the disturbing intensity of knife-throwing Bill “The Butcher” in Gangs of New York. Woodcock’s challenge, a drive for perfection, comes not from circumstances, but eats him from within.

Woodcock is a fastidious, often languid character. Some of the dialog was included in a radio review, and I was struck by how slooowly Day-Lewis spoke and the long pauses between utterances. You’re less aware of that watching him, of course, because even when he’s not speaking, he’s doing a lot. The eyebrow, the little smile, the internal consideration, the piercing glance, the innate elegance. While the acting is wonderful, the character Woodcock is not especially likeable, and Day-Lewis is too honest an actor to try to make him so.

Woodcock runs his domain—domestic and commercial—his way, as a well turned out obsessive. He cannot abide a disturbance at breakfast or his whole day is ruined. When his new lady-love Alma (played by Vicky Krieps) scrapes the burnt bits from her toast (with a microphone hidden in the jam-pot, surely), it’s fingernails-on-the-blackboard for the entire audience.

The Fitzroy Square townhouse where he lives and conducts business is presided over by his sister Cyril (Lesley Manville), who knows exactly how to keep order. Is she a benign presence or an over-protective monster? Even she is thwarted when Alma realizes that, to keep her man, she must bring him low.

The production team had fun—Woodcock’s breakneck driving trips (an uncharacteristic unleashing of spirit), the 1950s ambience, the workshop with its dowdy middle-aged women—seamstresses in real life—producing fabulous garments they could and would never wear. Day-Lewis himself spent many months studying the craft of clothing design, and director Anderson has remarked on the actor’s fine hands, able to do work believably, to sew.

Fashion historian Alistair O’Neill has commented that the rich satin fabrics used remind him of Charles James’s post-war designs. (Luscious show about James at the Metropolitan Museum in 2014.) In its workshop and showroom scenes, the film eerily echoes the PBS mini-series, The Collection, which aired last fall. Couture in the 1950s is an infrequent setting for drama; is it the hive mind that inspires two such resonant efforts in the same few months?

The film has garnered six Academy Award nominations—best picture, actor (Day-Lewis), director, supporting actress (Manville), score, and costume design. If Mark Bridges hadn’t received that last, well-deserved nomination, surely he would have retired.

Rotten Tomatoes critics rating: 92%; audiences, 70%.

Hooray for Hollywood! – Travel Tips

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Walk of Stars

photo: Vicki Weisfeld

A Los Angeles vacation wouldn’t be complete without a trip to Hollywood! We shunned the swarms of shills for “homes of the stars” bus tours and instead took a prearranged walking tour along the few compact blocks of Sunset Boulevard where the movie studios, the radio and television networks, and the recording industry all got their starts. Amazing, really.

Our guide, Philip Mershon, has an encyclopedic knowledge of the area and will cheerfully answer any questions once the tour is over. Maybe he’s like the Aztec messengers who memorized their speeches and had to begin from the beginning again if interrupted. He’s personable, and he did a great job. (Philip Mershon’s Felix in Hollywood).

On Hollywood Boulevard and Vine Street, we trod portions of the “Walk of Fame,” the 2500-some plaques representing leading lights of radio, television, movies, and theater. You can’t help exclaiming over the names you recognize and wondering, who are all these other guys?

Grauman’s Theatres

Grauman's Chinese Theatre

photo: wikimedia, creative commons license

Sid Grauman was an early Hollywood theatrical entrepreneur, and his “Chinese Theatre” is justly famous for its over-the-top orientalist décor. It’s a bit of a mob-scene. Amusingly, it’s a popular stop among Chinese tour groups, though there isn’t a thing authentically Chinese about it. Hey, that’s Hollywood. Many celebrities have left their hand or footprints—or both—in the cement of the forecourt—including Jane Russell and Marilyn Monroe, under a scrawl of Gentlemen Prefer Blondes, and local (Paterson and Asbury Park, N.J.) talents Lou Costello and Bud Abbott.

A quieter spot was Grauman’s Egyptian Theatre down the block (I admit never having heard of it), which was the site of Hollywood movie premieres for many years. Its décor turned out to be timely, as the theater opened in 1922, just days before the discovery of King Tut’s tomb, a public relations coup even Grauman couldn’t have engineered.

Grauman's Egyptian Theatre

photo: Vicki Weisfeld

The lobby was designed to be small, with the illuminati instead gathering outside in the spacious forecourt, packed with starstruck admirers on both sides of a central aisle. The theater underwent numerous infelicitous renovations over the years, but since the late 1990s, American Cinematheque largely restored the original appearance and brought its technology up-to-date.

Behind-the-scenes tours of the Egyptian are offered only once a month, but it’s worth checking out what is playing there (and at the companion Aero theater in Santa Monica), because actors and directors often participate in these screenings. We missed this, but in November, the two theaters had scheduled in-person visits from Dick Van Dyke, Patrick Stewart, Jake Gyllenhaal, Jennifer Lawrence, Judi Dench, and many others, along with screenings of their films past and present.

Why Starve Yourself?

We had lunch next door at the historic Pig ’n Whistle, where Judy Garland had her fifteenth (?) birthday party. The richly decorated eatery was an early favorite of Hollywood stars and tourists alike.

Books to Toss into Your Suitcase:
The Day of the Locust, the classic by Nathanael West
A Better Goodbye by John Schulian, gritty noir about Hollywood’s sex trade (here’s my review)

Oscar Shorts Nominees 2017: Live Action

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SingEvery one of these five Live Action Oscar nominees was a winner! A diverse group in subject matter and national origin, though all European, this was one of the consistently best live action collections we’ve seen. Here they are:

  • Sing – a Hungarian film (trailer) directed by Kristóf Deák—what happens when a choral teacher bent on winning an important prize tells some of the children “just don’t sing.” Elementary solidarity (photo)! Charming. (25 minutes)
  • Silent Nights – from Denmark (trailer), directed by Aske Bang. A young Danish woman working for the Salvation Army falls for a poor Ghanian man, who neglects to tell her about the wife and kids back home. Wise words from her boss save her. Generous. (30 minutes)
  • Timecode – a 15-minute film (trailer) from Spain, directed by Juanjo Giménez. The day and night shift security staff at a parking garage exchange the barest civilities as they change places, but find an innovative way to communicate. Hilarious! (15 minutes)(watch it here)
  • Ennemis Intérieurs – this French film (trailer), directed by Selim Azzazi, is a chilling display of how a suspicious government can twist even the most innocent statements into accusations. It takes the form of an interview between a determined policeman of Algerian descent and a French-born Algerian man seeking citizenship in the 1990s, during the Algerian civil war, with obvious application to today’s tensions. Powerful. (28 minutes)
  • La Femme et le TGV – in this Swiss film (trailer & “the making of”), directed by Timo von Gunten and shot in one week, an older woman (Jane Birkin) waves at the TGV train morning and evening before heading to the desultory bakery she owns. When the train engineer tosses a note out to her, a correspondence begins. One day, the train does not come, and she must go in search of a less lonely future. Sweet. (30 minutes)

My favorite? Timecode was the most fun, La Femme the most beautiful, and Ennemis Interieurs the most significant, and the winner, Sing, the sentimental fave.

Coverage of the documentary shorts here.

Oscar Shorts Nominees 2017: Documentaries

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Watani, Syria

Farah, in Watani: My Homeland

Last night’s Oscar ceremony (though I wouldn’t have wished it longer and it couldn’t have been more dramatic) gave such short shrift to the short film nominees, it must have been hard for viewers to get any sense of them. Today’s post, the short documentaries; tomorrow, the live action shorts!

Watching a short film (technically, anything less than 40 minutes, including credits) is like reading a short story: the best ones crystallize the essence of a person or situation, sometimes more memorably than a novel, with all the distractions of backstory, secondary characters, side plots and the like.

Five films were nominated for the documentary shorts, and if you weren’t comfortable with the gritty realities of the war in Syria, you were really out of luck. Three of the films, including the two longest, dwelt with the consequences of that war, made by some very brave filmmakers. The role of “documentaries” in documenting what most of us are protected from came home sharply. Winner in bold.

  • Joe’s Violin, directed by award-winning producer of Kahane Cooperman (24 minutes), which told the story of Holocaust survivor Joseph Feingold’s decision to donate his unused violin to a public radio drive. In partnership with the Holland’s Opus Foundation, New York City’s WQXR collected no-longer-used instruments for schools. Joe’s violin went to Brianna Perez, a student at the Bronx Global Learning Institute for Girls (fascinating in its own right) in the nation’s poorest congressional district. When Joe and Brianna meet, the social, cultural, and generational gulfs between them are dissolved by their love of music and this instrument. One hanky. (See it here.)
  • Extremis, a 24-minute Netflix documentary directed by Dan Krauss (interview about the filming). The wrenching decisions family members must make for critically ill patients are explored here. The medical team’s lack of a crystal ball is clear. Perhaps it will motivate viewers to have conversations with family before a medical catastrophe occurs, and not to leave them struggling with impossible choices. If you’ve avoided thinking about these issues, see it here.
  • 4.1 Miles, directed by Daphne Matziaraki (26 minutes), is the story of a Greek Coast Guard captain and crew sent out from the island of Lesbos, day after day, sometimes multiple times a day, in all kinds of weather, to rescue desperate, terrified, and sometimes half-drowned refugees (mostly Syrian) trying to cross the 4.1 miles from Turkey to the Greek island of Lesbos. Through an accident of geography, the physically and emotionally exhausted Coast Guarders must deal with this enormous humanitarian crisis, unaided by the world’s wealthier countries. (I can think of one. Has a big navy too.) (See it here.)
  • Watani: My Homeland was filmed over three years by director Marcel Mettelsiefen (40 minutes). As Aleppo explodes all around them, four young children live in an abandoned home next to an army outpost. Their mother had taken them away from the dangerous city, but the children insisted on returning to be with their father, a Free Syrian commander. He’s captured by ISIS, and they are heartbroken. When they finally reach sanctuary in Germany—an iffy proposition, at best—young Farah still runs to shelter when a helicopter flies overhead. The detailed portrayal of this close-knit family brings the nightly news home in a way generalizations and statistics never can. Makes you realize “home” is a complex concept too.
  • The White Helmets, directed by Orlando von Einsiedel (41 minutes*), is the story of the unarmed and neutral civilians who respond to every bombing attack in search of victims. Last year, they were nominated for the Nobel Peace Prize. Interviews with three of them working in Aleppo (a construction worker, a blacksmith, and a tailor in their former lives) show how they have responded with almost unimaginable compassion to the equally unimaginable destruction of their homeland. The white helmets they wear offer no magic protection from collapsing buildings or new bombings and, in fact, at times make them targets. At the last minute, cinematographer Khalid Khatib, a white helmet worker himself, was denied entry to the United States and, therefore, attendance at the Oscar ceremony. A sign of the strength of the film is that I found a Russian website debunking the White Helmets’ work.

These films were all fantastic and about compelling individuals, but my pick for Best Use of the Documentary Form was The White Helmets. Best Raiser of Blood Pressure: 4.1 Miles. Sentimental Favorite: Joe’s Violin.

*I don’t understand the Academy’s rules well enough to know why this nominee wasn’t disqualified for violating the length requirement.

Moonlight

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Moonlight, Barry Jenkins

Alex Hibbert & Mahershala Ali

The holiday dry spell of movies worth watching is officially over. Lots of good films filling the theaters. I’m glad we caught Moonlight (trailer), written and directed by Barry Jenkins (III) before it faded, though maybe it will be around longer now with the Oscar Best Picture nomination. I’d seen the preview and came away asking myself, what the heck is this movie about?, instead of my usual, why did they give away so much of the story?!!

Immediately I was persuaded to see it, though, upon learning the play it’s based on was written by Tarell Alvin McCraney, whose Brothers Size plays were so powerful on the McCarter Theatre stage a couple of seasons ago. (McCraney recently received the 2017 PEN America Literary Award for a mid-career playwright!) Whatever it was about, I knew it would be worth watching. Brian Tallerico for RogerEbert.com calls it “one of the essential American films of 2016.”

In some ways it reminds me of modern (30 under 30) fiction-writing. A bit of disjointedness and a big dose of grit are part of the package. We see protagonist Chiron (pronounced Shih-RONE) at age 10 or so (Alex Hibbert), as a high school student (Ashton Sanders) negotiating tricky teenage waters in a violent environment, and finally as a young adult (Trevante Rhodes), struggling with his sexuality. While he in some ways advances, becoming more physically powerful, if still emotionally fragile, his mother (Naomie Harris) succumbs to her addictions and her sentimentality. His one lifelong friend Kevin (André Holland) cannot be the lifeline he needs.

As Mara Reinstein says in US Weekly, the movie “touches on themes of race, sexuality and isolation in ways that are rarely depicted in cinema.” A late scene with the adult Chiron and his mother, says so little in words and so much in feeling that it feels like a documentary. It doesn’t seem like actors reading lines; it’s real people struggling to connect.

The actors playing Chiron at all three ages do a stellar job. Two actors recently in very different parts in Hidden Figures appear again here: Mahershala Ali as the young Chiron’s drug dealer mentor and Janelle Monáe as his girlfriend.

Various artistic touches distinguish this film, reminding you it is a deliberately created thing. Parts of it are filmed with such super-saturated tropical heat that the stills would be like artworks in themselves. McCraney and Jenkins both grew up in Miami’s Liberty Square area, and the film carries the strength of their grip on its realities.

Rotten Tomatoes critics rating: 98%; audiences 88%.

EXTRA: The young Chiron and young Kevin (Jaden Piner) are both students of a gifted drama teacher at a Miami-area middle school, who encouraged her students to participate in the movie’s auditions, as described recently on public radio.

Tarell McCraney & I

Get Ready for Oscar: Short Films Rundown

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Academy Award, Oscar

(photo: David Torcivia, creative commons license)

Yesterday, I saw the AA-nominated short films in the Animation and Live Action categories. Academy rules define a short as any film under an hour, and some were only a few minutes. Overall, they were not the downers this year’s documentaries were (blurbed here). Links take you to the films or at least to trailers, for a taste of the tremendous diversity involved.

I don’t know enough about the animated category to discriminate, and the techniques are vastly different across films. Here are the nominees:

  • Sanjay’s Super Team – a young boy’s fantasy reconciles his love of superheroes and his father’s traditional Hindu gods. Beautifully rendered and quite sweet in its message. (7 minutes, from Pixar and Disney, directed by Sanjay Patel)
  • World of Tomorrow – the most graphically abstract, with what seemed like a lot of interesting points, but so fast-moving I couldn’t absorb them all. Funny in places, but ultimately disturbing. (17 minutes, United States, by Don Hertzfeldt)
  • Bear Story – already the winner of many awards, hyper-detailed graphics portray a bear who has created a complex hurdy-gurdy that shows a story paralleling the creator’s own yearning to regain his family. Richly visual; this one seems the likely winner. (11 minutes, Chile, directed by Gabriel Osorio Vargas)
  • We Can’t Live Without Cosmos – cosmonaut training and close friendship prepare two men for outer space. Then things go wrong. Relatively simple graphics and an interesting story. I liked this one best. (16 minutes, Russia, Konstantin Bronzit)
  • Prologue – parents were advised to remove their children for this one (nudity and violence) Wisely. Beautiful pencil drawing technique showed a battle among four sword-wielding warriors. My lingering question was “why?” (6 minutes, British, directed by Richard Williams)

A few additional animated films were shown in this program in some not-quite-nominated category, my favorite of which was from France: The Short Story of a Fox and a Mouse.

The Live Action shorts covered a wide range, and each had its fans.

  • Ave Maria – what happens when an Israeli family’s car crashes at the door of a nunnery in the rural West Bank, knocking over and decapitating a statue of the VM. The man wants to use the nuns’ phone to call for a ride, but between the nuns’ vow of silence and the Sabbath prohibition against using anything mechanical, everyone is at odds. The man’s mother has lots to say about the whole situation. The only comedy, this was my favorite. (15 minutes, Palestine, France, Germany, directed by Basil Khalil)
  • Shok (“Friend”) – When war breaks out and their town is occupied by Serbian soldiers, two Albanian schoolboys come to understand how fragile society’s veneer of trust really is. This seems the most likely winner, providing the most complete story. (21 minutes, Kosovo, Jamie Donoughue)
  • Everything Will Be Okay – from the title, as you can guess, everything is definitely not OK. A divorced father picks up his daughter for her regular overnight visit with him, but he has something entirely out of the norm planned. The actor playing the daughter steals the show, as she gradually realizes what’s happening. (30 minutes, Germany, Austria, Patrick Vollrath)
  • Stutterer – a young London man with a severe stutter has a six-month online relationship with a woman that goes amazingly well, until she comes to town and proposes they meet in person. Will he go through with it? Very sweet and a sentimental favorite. (12 minutes, UK, Benjamin Cleary)
  • Day One – A new-on-the-job Afghan-American interpreter for the U.S. military is confronted with a series of horrifying events. I thought the story had a whiff of the predictable about it, though all the acting was top-notch. (25 minutes, United States, Henry Hughes)

If you need to kill some time waiting for results in the short features categories, you might play a little Oscars 2016 Bingo, courtesy of Wired and Brian Raftery. I’ll be on the lookout for B3: “Louis Gossett Jr. pretends to understand whatever it is Lady Gaga is doing up there.”

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Run-up to the Oscars: Documentary Short Films

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Ebola workers, Liberia

Ebola Workers in Liberia (photo: WHO in PPE, wikimedia)

Again this year, the Trenton Film Society is presenting the three categories of short films nominated for Academy Awards. Thursday night, I saw the documentary shorts, five films culled from 74 entries. Tomorrow I’ll see the animated shorts and live action (fiction) nominees. Many of the documentary shorts have been well received at film festivals in the United States and worldwide. Here’s a quick rundown (the links include trailers):

  • Body Team 12 – this entry from Liberia, directed by David Darg, shows the work of people whose job was to collect the bodies of Ebola victims at the height of the 2014 outbreak in West Africa. Their work, described by Garmai Sumo, the team’s only female member, was heartbreaking, but essential in attempts to protect the health of family members and the community. (13 minutes)
  • Chau, Beyond the Lines – a joint U.S. and Vietnam production, directed by Courtney Marsh, about a teen growing up in a Vietnamese center that cares for children affected by Agent Orange who wants to become an artist and clothing designer. Marsh follows the profoundly disabled Chau into his 20s, when he receives vocational school certificates, gets a job painting pictures for a design firm and supports himself in his own apartment. Uplifting, but he is undoubtedly an outlier in spirit and success. (34 minutes)
  • A Girl in the River: The Price of Forgiveness – directed by Sharmen Obaid-Chonoy, this film explores the “honor” killings of Pakistani women, which occur at a rate of more than a thousand per year. 18-year-old Saba fell in love and eloped, but her uncle and father found and shot her and threw her body into a river. Miraculously, Saba survived, scarred, and her father and uncle were jailed. Now, if she only “forgives” them, the court will pardon them. Her lawyer and the police don’t want her to do it, but community pressure and the society’s intransigent views about “respect” are powerful. (40 minutes)
  • Claude Lanzmann: Spectres of the Shoah –this biopic from British filmmaker and journalist Adam Benzine describes French director Lanzmann’s challenges in creating his massive, nine-and-a-half hour 1985 documentary Shoah. This film includes some footage never seen before, as Lanzmann talks about how he went about trying to describe the Holocaust from the inside. That took a toll. (40 minutes)
  • Last Day of Freedom – a remarkable animated documentary from U.S. directors Dee Hibbert-Jones and Nomi Talisman: the story of a man’s agonizing experience when he reports suspicion that his younger brother—who has serious PTSD and bouts of homelessness—has committed a terrible crime. Since there is no film of Manny, the accused brother, animation lets him be represented, as a soldier, walking down the street, and was an interesting and effective choice. (32 minutes)