The Short Films: Part II

Serious Film's Michael C. back for Part 2 of our trip through the short film categories. This time it's the Live Action nominees.  Your cheating yourself out of some Oscar night drama if you don't check out these contenders. This year there is an even a small scale Shakespeare vs. Private Ryan, comedy/drama showdown happening. While the majority of the country is making popcorn I'm going to be on the edge of my seat.

The nominees are...

THE CONFESSION – UK, 26 minutes, Dir: Tanel Toom
This is a quietly somber short about a 9-year-old boy who is nervous to make his first confession. What if, he worries, he doesn’t have anything to be sorry about? So he is and his friend decide to pull an innocent prank that will serve the purpose, but things quickly spiral out of control.

For It: Toom shows an impressive control of tone and manages to get decent work out of his child actors who need to carry some weighty material, especially in a nicely played final scene. Voters who equate heaviness of the subject matter with quality could respond to this heaping serving of tragedy. The way circumstance piles up tragedy on top of tragedy recalls an Inarritu movie like Biutiful or 21 Grams.

Against It: It lays on the Catholic guilt awfully thick at times. The story heaps one too many devastating twists of fate onto the protagonist to remain believable, and at this short length one can really feel it when things start to get contrived. It’s hard to imagine voters going for The Confession when there are other serious shorts that are not so unrelentingly bleak. 

WISH 143 – UK, 24 Minutes, Dir: Ian Barnes
When a 15-year-old boy with terminal cancer gets a visit from the English equivalent of Make-a-Wish he informs them he doesn’t want to meet an athlete or go to Disneyland. What he would really like is to get laid, please.

For It: Though it deals with children with cancer the filmmakers bring a refreshingly light touch to the material. The relationship between the kid and a priest sympathetic to his situation is also well handled and acted, especially by veteran character actor Jim Carter, an actor most recently seen in Nathaniel obsession Downton Abbey. Unlike The Confession the story here never feels forced. Its mixture of substance and honest sentiment could prove winning.

Against It: Though it never steps wrong into the maudlin or cloying, it never exactly wows either. The story has its heart in the right place but it is also pretty predictable. Wish’s admirable restraint might actually hurt its chances since it never goes for the big emotional catharsis. It is difficult to imagine it overcoming such strong competition.

NA WEWE – Belgium, 19 Minutes, Dir: Ivan Goldschmidt
When the ethnic civil war in Rwanda spills over into Burundi it leads to a nerve-jangling confrontation as van full of civilians is stopped by a group of violent rebels who interrogate and terrorize them.

For It: Na Wewe is first and foremost a beautifully crafted piece of filmmaking. Often the shorts have some amateurish touches that make them feel like the cinematic minor leagues, but Goldschmidt’s work here could stand proudly alongside similar work from, say, Paul Greengrass. It’s also a story perfectly suited to the short film length. Some shorts suffer from trying to cram feature-length arcs into half an hour but Na Wewe (You Too) gives the perfect slice to let the one scene stand as a microcosm for the big picture. It also stands out from the other shorts by being damned exciting. Delivering the substance as well as the thrills in a movie-movie kind of way = a tough combo to beat.

Against It: Nothing I can spot. Here is your frontrunner.

THE CRUSH – Ireland, 15 Minutes, Dir: Michael Creagh
When an 8-year-old boy is devastated to find out that the teacher he has a crush on is engaged to marry a lout who doesn’t deserve her, he takes the surprising step of challenging her fiancé to a duel to the death. Obviously the guy doesn’t take him seriously, though perhaps he should.

For It: Dark comedy isn’t the Academy’s favorite genre but it helps that a cute kid is center stage. Voters who like having a short with a clear beginning, middle, and end will be entertained by The Crush, which is much more concerned about its twisty plot than about atmosphere or grand themes. If enough voters are impressed by its cleverness it could surprise.

Against It: It's difficult to be too tough on a solid, enjoyable short but it starts to strain believability, and honestly the climax disappoints. It settles for cute when it had set the stage for something more surprising. As a result it ends up feeling slight, even next to its comedic competition. And the sight of young boy waving a gun around will make some queasy regardless of the light-hearted resolution.

GOD OF LOVE – USA, 18 Minutes, Dir: Luke Methany
In the only purely comedic short director/star Luke Methany is Raymond Goodfellow, a jazz singer hopelessly in love with Kelly, his drummer who only has eyes for Fozzie, his guitar player and best friend. After months of non-stop prayer for assistance the Gods finally intervene with a gift of Cupid-style love darts to help him win Kelly’s heart. 

For It: If anything is going to upset Na Wewe it will be this charmer from star-in-the-making Luke Methany. Like Na Wewe, Methany shows a control of tone and pacing that can compete with the feature length competition. On top of that God of Love is filmed with gorgeous black and white visuals that stands out from the competition and highlights its superior craftsmanship in a way that a comedy wouldn't otherwise. God of Love is a breath of fresh air in an otherwise somber lineup.

Against It: Say it with me: It’s a comedy, and with the Oscars that means stepping up to the plate with two strikes against you. Although maybe in the short category voters will loosen up enough to vote their heart and let the feature length films carry the weight of importance.

Marking Your Oscar Pool: If you want to play it safe check off the box next to Na Wewe, no question. The fact that it is a right in the Academy wheelhouse in terms of subject matter shouldn't detract from the fact that is is an extremely deserving winner. But my vote, and a strong upset possibility, would be God of Love for its control of tone, its originality, and for announcing the presence of a big new talent, Luke Matheny. 

Part I - Animation

Link in Sixty Seconds

Carpetbagger Oscar envelopes get a makeover. Er... it looks like McDonalds is handing out the prizes.
AV Club Michel Gondry is adapting Philip K Dick's Ubik. I predict that before the end of civilization every sentence Philip K Dick ever wrote will be put on the big screen.
The Wrap Adrianne Palicki will be TV's next Wonder Woman. I wish nothing but happiness and success for everyone who has ever been on Friday Night Lights. I do.
Just Jared another collaboration for Martin Scorsese and Leonardo DiCaprio. They just won't stop!
i09 Zach Snyder's Superman may be in trouble.
fourfour "wagon wheel watusi" Oh, Burlesque.
My New Plaid Pants the moment I fell for.... Andrew Garfield
Scott Feinberg is still pushing Melissa Leo for the gold. Here are some statistics to consider.

Finally Empire Online is hosting a "Done in 60 Seconds" contest in which readers have submitted one minute films spoofing some of hte greatest movies of all time. There are 20 finalists, one is even made by a regular Film Experience reader (who alerted me to the contest -Congrats!). Quite a few of them show real ingenuity but my favorites are the ones that don't merely recreate but remold the film in some other image. There's a spoof of The Terminator that cleverly uses Toy Story characters. It obviously cost nothing but, then, neither did the original Terminator. Ghost is similarly lowfi with teddy bears but totally works and I loved the voicework even if it did seem to be taking its cue from those 30 second bunny films.  The Wizard of Oz short is really more of a redo of a trailer of a hugely popular 90s movie (I'll leave you to guess which one). And there's two Social Network films. One of them (contestant #9) is an amusing send up of Aaron Sorkin and David Fincher rather than the movie itself.

Did you like Benjamin Button? Do you wanna go back to that?

It totally had me giggling. The last musical cue is hilarious. So, that's the one I voted for. Are you going to vote?

The Short Films: Part I

Michael C here from Serious Film popping in to give everybody an edge in their Oscar pools. For most of us the shorts categories represent a vague, uncharted area on our Oscar ballots where the blind guesses required balance out the relatively easy calls in the bigger categories. Just pick whichever doc short seems to have the most Nazis and leave the rest up to chance.

But now that Magnolia Pictures and Shorts International have begun releasing all the nominated shorts in theaters and for purchase online there is no longer any excuse to stay in the dark. Not only do you get to enjoy some of the year's most inventive work, but you get the added suspense of following categories that have not been analyzed to death and had the novelty drained out of them by every precursor from the Golden Globes down to the Sheboygan Film Critics Society.

Let's pour over this year's short film contenders and their chances of victory. Up first: Animation. The nominees are...

DAY & NIGHT – USA, 6 Minutes, Dir: Teddy Newton
This entry from Pixar was released in front of Toy Story 3 meaning it was probably seen by more people than the other fourteen nominated short films put together times ten. In case you missed it, Day & Night is the simple tale of an encounter between night and day portrayed here as two feuding anthropomorphic characters.

Style: Traditional and Computer Combination

For It: Day & Night has all the polish you would expect from a Pixar production, and its use of computer animation inside traditional 2D animation is an original concept nicely realized. More than anything the film is just plain fun; its six minutes zip by. The simplicity of its concept combined with the wit of its execution recall such classic Chuck Jones shorts as Duck Amuck and The Dot and The Line.

Against It: Pixar isn’t the powerhouse in the short category that is at feature length – it hasn’t won since 2001’s For the Birds despite five nominations. Going against Pixar can't help but make all the other nominees look like scrappy underdogs by comparison. Day & Night might also look a little frivolous compared to the more overtly artsy competition.

THE GRUFFALO – UK, Germany, 27 minutes, Dir. Jakob Schuh, Max Lang
This adaptation of a hugely popular children’s book was a hit when it aired on BBC Christmas 2009. The Gruffalo is the story of a little brown mouse that fearlessly (or foolishly) sets out into a dangerous forest in pursuit of a hazelnut tree. As the mouse encounters predators he invents a fearsome creature to scare them off with surprising results (if you're, say, ten or younger).

Style: Computer Animated simulation of Stop Motion

For It: The Gruffalo is at its most charming when it’s quietest, depicting the constant threats for those occupying the low end of the food chain. The moment when the mouse casually leads a line of bugs out of harm's way is a high point. If voters are easily wowed by big names The Gruffalo boasts an impressive cast of vocal talent including Tom Wilkinson, John Hurt, and Helena Bonham Carter. At nearly half an hour this is the most substantial entry.

Against It: This simple fable is stretched awfully thin over 27 minutes. The Gruffalo doesn’t transcend its children’s story origins. Adults used to modern animated films throwing in jokes for them will likely get bored with Gruffalo's predictable, repetitive story.

MADAGASCAR, A JOURNEY DIARY - 15 minutes, Dir: Bastien Dubois
Exactly what its title suggests. Madagascar has no story to speak of, instead opting for a collage of visual styles from simulated watercolor to a sketchy pencil to give the feeling of a journey through the African country. The centerpiece of the film is a burial ritual that involves retrieving the dead for a parade through the world of the living.

Style: Computer Animation

For It: When it comes to visuals none of the competition can touch Madagascar. Its 3D scrapbook style is a constant delight. Despite being a moods piece the film has a rollicking energy that keeps the film rolling along with lively music and a flurry of striking images. You can feel the passion of the filmmaking in every frame.

Against It: If voters want something more accessible they’ll go for Pixar or The Gruffalo otherwise I’m not seeing a drawback to this one. A beautiful piece of work. 

LET'S POLLUTE – USA, 6 Minutes, Dir Geefwee Boedoe
Let’s Pollute is a spoof of 1950’s educational films that instructs the viewer how they can be a better polluter in the grand American tradition.

Style: Traditional 2D animation

For It: Voters can pick Let’s Pollute if they want to pat themselves on the back for choosing something with an environmental message. The mimicking of simplistic Hanna-Barbera style animation is spot on.

Against It: The weakest of the entries Let’s Pollute is glib and preachy, lacking the the satiric bite of the average Onion article. Not that it's awful, but after you get past the premise Let’s Pollute doesn’t add anything insightful or constructive so much as hammer the one gag over and over. Its pro-environmental stance is the only explanation I can think of for this being nominated over other such vastly superior shortlisted films as the moving mother and son story Urs, or the raucously funny The Cow Who Wanted to Be a Hamburger. 

THE LOST THING - Australia, UK, 15 minutes, Dir: Shaun Tan, Andrew Ruhemann
A young man in a dystopian Gilliam-esque society adopts a strange creature and attempts to find a home for it after discovering it abandoned on the beach.

Style: Computer Animation

For It: This is going to garner some votes from those who value originality and from those voters impressed with the level of care that went into the memorable look of The Lost Thing. The moody, nicely detailed art direction recalls Shane Acker’s nominated short 9 from 2005.

Against It: A solid effort, but it’s hard to picture this winning. It lacks the “Wow” factor of Madagascar or the wit of Day & Night. If the story had been brought up to the level of the visuals this would be a winner, but as it stands The Lost Thing is an interesting but unmoving experience. I didn't exactly fall in love with the creature which is sort of a giant squid that lives inside a huge mechanical honey pot. 

Marking Your Oscar Pool: If kids were voting I’d say bet the house on The Gruffalo, but since we are dealing with adults I’d recommend placing your chips on the stunning visuals and vibrant culture of Madagascar. My personal vote would go to Day & Night by a hair. I’m a sucker for anything that keeps alive the zany Warner Bros. spirit and Day & Night feels like a new classic in the making. It would go toe-to-toe with Geri’s Game as my choice for Pixar’s finest short yet.

Move Over Natalie, Rodarte's Dressing Elle Fanning Now.

Rodarte aka the Mulleavey sisters,who recently won lots of press (some of it unwanted) for their featherly jeweled contributions to Black Swan, continue to make Hollywood inroads. Elle Fanning is now wearing their Spring Collection creations exclusively in a fashion short. If you didn't get enough of hazy leisurely shots of Elle Fanning lolling about in Sofia Coppola's Somewhere, you're in luck.

Dakota's little sister stars in Todd Cole's short film for Rodarte called "The Curve of Forgotten Things" which debuted on Nowness this morning. The look is golden 70s, referencing dusty films like Badlands. But since it's a fashion short, Fanning gets a bigger wardrobe than Sissy had in that seminal classic. (In reality Fanning is a fashionista and collects vintage wear, the 1950s being her favorite.) The droning eery Lynchian soundtrack might be a bit much but it's beautifully shot and the transitions between outfits are amusing.

Short fashion/merchandise films are all the rage these days (you'll remember Marion Cotillard's Lady Dior vehicles, surely). Still, we have yet to see the likes of The Hire repeated. That series starring Clive Owen as "The Driver" was just so special.