On this page - CRITICS' CIRCLE BRITISH/IRISH SHORTS OF THE YEAR:
FOR PEOPLE IN TROUBLE | MUNA | OUTLETS | PREDATORS | THE VEILED CITY


< < S H O R T S > >

Intimate cinematography and naturalistic dialog pull the viewer into this romantic drama, which is underscored by political issues that gurgle in the background. Actor-turned-filmmaker Lawther creates lovely visual flourishes that cleverly add to both the emotional depth and edgy situation. As it slides through weeks and months, the film is remarkably hushed and thoughtful, with big emotions and a sharp point.

Meeting outside a pub, activist Jenny (D'Arcy) meets nice-guy Paul (Madekwe), and they have a spark of interest. The next time they're together, they speak about how politics are shifting to the right, threatening global stability. Jenny becomes increasingly radicalised as the situation around them worsens, and both begin to wonder if this is a terrible time to be falling in love.

Relaxed, easy performances from D'Arcy and Madekwe create the sense that these are the only people on earth, and their connection feels warm, intense and urgent. Paul worries that Jenny's activism will push them apart, while she sees it as the only way to protect their future. The narrative becomes very dark, leading to near future horror that feels hauntingly present-day. It's a moving reminder that human connections are the only things that offer promise looking forward.

1.Jan.24

Nicely capturing the push and pull of a child of immigrants, this film centres on a teen trying to balance the culture she lives in with her family heritage. Writer-director Mohamed sharply depicts a vibrant Somali culture that ripples with thoughts and feelings that are easy to identify with. It's a clever look at a young person who thinks her disappointment is the end of the world, then begins to understand the larger world inside her. It's subtle and provocative.

In Britain, Muna (Ali) is desperate to go on a school trip with her friends, but her parents (Farah and Nur) say no, which seems unfair since her swaggering big brother Abdi (Elmi) can do whatever he wants. Then word arrives that her grandfather has died in Somalia, sparking a period of mourning for someone she never knew. As family and friends arrive to pay their respects, Muna begins to wish that she knew her grandfather. And Abdi has a surprise for her.

Ali is excellent as Muna, a happy teen who simply yearns to be with her friends and create the greatest playlist of all time. She wants to be there to help her mother, and perhaps change her mind about the trip. The film is cleverly punctuated with Muna's group chat with her friends, as she adds each song to her epic list, reflecting her thoughts. But it's fascinating to watch as she struggles to identify with her mother's emotions ("How can I be sad about someone I've never met before") until she begins to understand who she is.

1.Jan.24

Filmmaker Cowles runs through various ideas for a film that will help him move on from the death of his grandmother. Visually snappy and full of touches that are witty and emotive, the film holds the interest because the concept is recognisable, even if the approach is somewhat indulgent. But it's an intriguing glimpse into the creative process, most notably how personal circumstances can interact with it.

To start, he finds the first album of photographs he made when he was 9, then talks the viewer through some interesting discoveries. But some photos only remind him that his granny has just died. So he tries some animation. And a collage of activities that serve as useful distractions to real life. He also attempts to recreate an indescribable smell, bake the perfect pastry and much more. But everything reminds him of his granny, including an archival interview he filmed with her, and he feels unable to move on.

Much of this is played for deadpan humour, such as narrating the baking section in French and filming it like food porn. But there are also pointed observations that strike a chord, like seeing old photos that were snapped of things that meant a lot to him, which is the same as he does now, but the meaning shifts with time. Because it's so singular, the film feels a bit long and obvious. It also becomes increasingly meta as Cowles grapples with his thoughts. And of course acknowledging his grief like this is a positive first step.

1.Jan.24

Opening in the middle of a family argument, this short quickly establishes an atmosphere in which a pre-teen girl is desperate to get out of the house with her friends. Writer-director King keeps the narrative deliberately enigmatic by cutting around in time, keeping us wondering about what has actually happened. The film is beautifully shot, with a strong sense of internalised emotion even if the story itself never quite comes into focus.

Playing outside in the woods, a group of kids have an encounter with something that they won't talk about. The strong-willed Tegan (Smith) goes deeper into herself, lashing out at the grown-ups who want to know what took place when she was out with her friends Freya (Crossley) and Reece (Mpholle). She certainly doesn't want to tell anyone about the big snake they found. And now Freya's little dog is missing and the police are involved.

Performances have a raw authenticity that gets under the skin; Smith is particularly strong as the stubborn, belligerent Tegan, making us wonder what her back-story might be. She lives with Alan (Harling), who isn't her father and is visited by a social worker (Quin). The film is produced in the style of a feature, with lush cinematography that makes terrific use of eye-catching locations. And where the narrative goes is dark and provocative.

1.Jan.24

Inspired by London's Great Smog of December 1952, this gloomy experimental short uses grainy archival imagery to explore the nature of climate change. With a strong visual sensibility, writer-director Cubides-Brady makes several resonant points over the course of this brief film, so even if the voiceover and music feel rather pretentious, straining for the desired effect, the film carries a strong impact.

Reading letters addressed to Ida, a narrator (Eastwood) in the year 2098 returns back in time to 1952 to try to understand the source of an earlier historical disaster. London is referred to as "one of those great cities of before", as terrific newsreel clips depict the thick smokey fog that engulfed the streets, leading to train and bus crashes and other disasters that claimed thousands of lives. And the narrator notes that this is how people are going to die in much greater numbers in her present day reality.

The use of old film footage and Eastwood's whispery narration creates a remarkably haunting tone, mixing a science-fiction sensibility with the historical record to place us right in the middle. It's all rather ominous and doom-laden, but the underlying importance of the topic offers plenty of pungent insight. In 1952, the smog was considered to be a meteorological quirk, even though it was completely man-made. And there's a sting of understanding as the narrator refers to how one day there will be a world without us.

1.Jan.24