Despite their limited releases, short films still have the power to make or break an attempt to win an Oscar pool. The good news for the amateur gamblers out there is that the 10 nominees for Best Animated Short and Best Live Action Short will be screened at the Ritz at the Bourse (on 4th Street between Market and Chestnut) for one week starting this Friday. And in case you can’t make it, Street’s got you covered with some mini–reviews of these mini–flicks. Visit 34st.com/film for reviews of the animated shorts!
The Confession Director: Tanel Toom Runtime: 26 min. 5/5 Stars
Innocence is in short supply these days. While children may typically be seen as the last bastion of purity, films violate this sanctuary at most available opportunities. Tanel Toom’s The Confession is no different, detailing the exploits of two British Catholic boys, Sam and Jacob. As the two prepare to go to their first confession, Sam realizes he has nothing to confess, so the two decide to pull a “sinful” prank. Of course, things go awry and tragedy strikes almost immediately.
The striking thing about The Confession, despite its somewhat overused premise, is that it’s put together so well. We all have experienced the occasional boredom of childhood, and it remains a relatable subject. The film moves at a quick pace, with beautifuly understated beats that truly do portray the world seen through Sam’s eyes. The Confession is satisfying — a gem deserving much praise. — Alexander Hosenball
Na Wewe Director: Ivan Goldschmidt Runtime: 19 min. 4/5 Stars
Na Wewe — meaning “you too” in Kirundi — is a gut–wrenching exploration of man’s struggle within misguided ethnic discord. Set in the mid–’90s in Burundi, a country south of Rwanda, the film takes audiences by surprise, transforming a seemingly convivial first scene into the middle of the civil war between the Hutus and Tutsis.
A bus is overtaken by a band of Hutu rebels. Chaos erupts. Although director Ivan Goldschmidt is known for his often corrosive films, he is not remiss in adding a tender touch to the suspense.
While palpable terror and anxiety paralyzes the conflict, as no one is certain of anyone else’s allegiances, these raw features are softened by intermittent comical relief. Not only does the film effectively synthesize issues of human nature and war, but it forces us to confront our own attitudes towards hatred and identity. Who knew that short films could get so personal? — Lara Berns
God of Love Director: Luke Matheny Runtime: 18 min. 3/5 Stars
With a neatly sewn plot completely free of frills, God of Love takes full advantage of its scant 18 minutes. Director Luke Matheny plays Raymond Goodfellow, a love–struck composite of Cupid and Puck from A Midsummer Night’s Dream. Raymond’s shallow infatuation with Kelly (Marian Brock) wins him a box full of darts that make his victims temporarily susceptible to love.
The ensuing plot twists are expected, but they are elevated by the film’s black–and–white cinematography and its clever, simple shots, such as the close–up of Kelly’s face when she is first pricked by the love arrow. However, the cliché Brooklyn setting and general lack of character development prevent the film from being much more than an endearing take on a tired storyline. — Megan Reily
The Crush Director: Michael Creagh Runtime: 15 min. 4 Stars
There’s nothing unnatural about a little schoolboy crush. But what makes Ardal Travis’s love for Miss Purdy more intense than, say, Van Halen’s “Hot for Teacher,” is that this schoolboy challenges his teacher’s boyfriend to a duel to the death.
This debut film by writer–director Michael Creagh features a lesson in manners during a pistol duel, bleak cinematography that emphasizes the warmth missing from the characters and a love triangle so far–fetched it could only be seen as precious (even with a gun involved).
Perhaps what’s most notable about The Crush, though, is that it gives such a compelling portrait of the young, lovesick Ardal. There’s intensity to the character that’s jarring and far superior to that of his fellow players. — Shelby Rachleff
Wish 143 Director: Ian Barnes Runtime: 24 min. 3.5/5 Stars
If you were a terminally ill teenage boy, what would your last wish be? Endless Bagel Bites? A pick–up game with Kobe Bryant? More realistically, it would be to have sex for the first time. And that’s exactly what Wish 143’s hero David (Sam Holland) tries to do. Director Ian Barnes’s film starts off as a somewhat awkward but amusing comedy. However, it quickly becomes a poignant lamentation of kids who tragically do not have the time to experience the fullness of life. Wish 143 is an excellent effort but unfortunately feels just a bit underdone. The film’s emotional impact is blunted by its extreme brevity and abrupt ending. Nevertheless, David’s quest to lose his virginity manages to strike a chord precisely because it was never really about sex at all. — Michael Rubin
