Short Film Contenders Pt 1. Who Will Win?

Eric Blume reporting for duty. We hadn't yet reviewed the short film Oscar nominees so I binged all 15 of this week. Many minds and bladders wander away from the Oscar telecast during these three categories.  Even those of us who claim we’ve “seen everything” have rarely seen all of the entries in the three shorts fields. But pay attention because these winners can bring some of the best moments of the show:  remember the 1991 show when producer Debra Chasnoff won for Documentary Short Subject for the General Electric expose Deadly Deception?  She got to the podium and said “boycott GE!” with a cut to Barbra Streisand smiling and clapping with Kevin Costner right behind her decidedly smiling and not clapping.  We Oscar lovers live for moments like this.

There’s a lot of quality among the three categories this year.  Here’s a quick overview as well as thoughts on who might prevail and why on two of the categories.

Documentary Short Subject

Body Team 12 follows the only female Liberian Red Cross member of a team which comes to remove dead bodies during the Ebola outbreak.  It’s the shortest of the five nominees at only 13 minutes, and therefore it doesn’t have a strong driving narrative, nor does it culminate in a larger meaning.  It simply follows the team while they gear up and remove the bodies, interspersed with an interview from its main subject.  It’s focused and lovely in its simplicity, but it suffers from its brevity. 

Pro:  Ebola.  Con: Uncomplicated.

A Girl in the River: The Price of Forgiveness follows Saba, a Pakastani girl who is shot and left for dead by her father and uncle in an “honor killing” once she marries the young man she loves.  It’d be hard for anyone with a feminist bone or beating heart in them to not get riled up by this story, and it’s told with restraint and intelligence. 

Pro:  Angry.  Con: Angry.

Eight more shorts after the jump

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AFI Fest: Der Nachtmahr

Kieran wrapping up myAFI Fest in Hollywood.

German visual artist turned filmmaker, Akiz’s Der Nachtmahr immediately announces its desire to confront its audience. The film begins with a super that warns about the strobe effect, which has been known to cause seizures (supposedly) in certain audience members. It then follows it up with a second super that cheekily reads “Anyway…”

For better or worse, Der Nachtmahr's opening scene certainly live up to its lurid promise as we follow high-schooler Tina (Carolyn Genzkow) and her group of friends at a rave party. Booming, assaultive techno music fills the diegesis as we watch Tina and her friends drink, do various drugs and night swim. The flashing, disorienting strobe light effect used in the party scenes is meant to mirror Tina’s fragile mental state, which starts its dramatic decline the night of the party. She begins to see a small, alien-like creature around her house, leading her parents and her friends to question her sanity. [More...]

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Interview: Laia Costa Talks "Victoria" and Her Favorite Actresses

Jose speaks with the star of the must-see one-take German drama Victoria (now in theaters!)

 Few performances this year have been as electrifying as Laia Costa in Sebastian Schipper’s Victoria. Playing the title character she combines innocence with determination in thrilling ways. When we first meet Victoria she is dancing the night away at a club unaware that before the night is over she will be part of a high stakes heist with three men she just met. Schipper’s film is notorious because it was shot in a single, uninterrupted take, no digital trickery in this one, although people have been comparing it to 2014’s Best Picture Birdman all over,  “comparisons are inevitable” but “Victoria is punkier”, says Costa when we speak on the phone. “Someone said that everything has already been invented, we can’t invent anything new” she adds laughing.

Talking to the actress you get a sense of the camaraderie she developed with the cast and crew of the movie. She refers to her director and co-star by their last names, and you can tell she has endless anecdotes about the challenging shoot. Costa will be familiar to fans of the television series The Red Band Society, but Victoria is her biggest screen role to date and has already won her the German Film Award for Best Actress (the first time a Spanish actor has won this accolade). Audiences in Spain can currently see her in Carlos, Rey Emperador where she plays Mary of Austria, a process she calls “more artificial, they’re interested in facts about Spanish history not seeking truth in the characters”, but very necessary because as an actress she seeks to learn by working in as many genres as possible.


JOSE: How many Red Bulls and espressos did you need to shoot Victoria?

LAIA COSTA: Not a single one. It was all just concentration (laughs).

JOSE: You’ve mentioned that making the film was like being on drugs…

LAIA COSTA: Yes, because it was a shooting style I’d never done before, which allowed me to live Victoria’s life for two and a half hours, and go on a “trip”. [More...]

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Dear Readers, obrigado, xie xie, takk, danke!

Before Fall Film Season hits us like a ton of bricks in 3...2...1.. I wanted to thank the faithful readers. Running a daily site is not even remotely easy though it may sometimes appear to be from the outside. We truly cherish those of you who tune in regularly. Especially those of you who take the time to tweet out articles, or email them to friends or share them on facebook or what not. 

Your editor Nathaniel (c'est moi) has always loved globes & maps. This could account for some of our obsession with oscar's foreign film submissions each year (today was the final day for countries to submit!). Whilst pitching an ad block to a distributor recently we got lost in statistics to where the readership actually is. More...

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Interview: "Labyrinth of Lies" Director on Obsession, Oscars and How Directing is Like Playing Music

Jose here. When we first meet Johann Radmann (Alexander Fehling) in Labyrinth of Lies, he’s a tenacious, idealistic prosecutor, who refuses to let a young woman get away unscathed from a minor traffic ticket with the notion that the law should be abided no matter what. His world is turned upside down upon discovering that the system he respects so much is overcrowded with former Nazis who were never prosecuted for their crimes against humanity. When his boss Fritz Bauer (Gert Voss) sees his potential, he assigns him to investigate the crimes committed by former workers at Auschwitz. Directed by Giulio Ricciarelli, Labyrinth of Lies is a powerful thriller that touches on the subject of obsession in unexpected  ways. The film’s plot spans for almost a decade, which allows us to see the frustration and powerlessness felt by the characters. Even knowing the real life outcome, we sometimes doubt Johann will be able to overcome the corruption and indifference of those in power.

The film will represent German at the Academy Awards, and begins its US theatrical release today. I spoke to director Ricciarelli about his unique directorial style, the theme of obsession and creating supporting characters worthy of their own movies.

JOSE: Labyrinth of Lies is essentially a film about obsession. Can you talk about how you used obsession to shape the structure of the film and the character played by Alexander Fehling?

more after the jump

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