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In the U.S., at least, people who don’t go to film festivals rarely glance shorts. “Cinema16″ certainly works as a high-impact advertisement for the art. Every film is worth seeing. No shrug-inducing student films. All have major festival awards as calling cards. Two won Oscars.
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Most of the shorts have commentaries; a few do not. This makes for two experiences — the viewing, and then the director explaining what was what with the film. Some of these films are abstract or fair slow unusual, so it’s lively to assign your perceptions to the test true away.
Series producer Luke Morris unspooled the “Cinema16″ DVD series in Europe a few years aid, compiling award-winning British shorts and first films from top U.K. directors. His next DVD reached out to European directors. (Neither was spot 1) . This “Cinema16″ is tailored for the U.S., and it looks like we got the better deal — the double-disc status contains the greatest hits from the first two editions and then some. Eleven European nations are represented.
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My favorites:
“Je T’aime John Wayne”: Stylized, high-energy profile of a London hipster who fantasizes he’s living in Paris as a way-cool Jean-Paul Belmondo clone — until his mum calls.
“Wasp”: Won the Oscar for short film in 2005. A young single mom of four yearns to party at the pub, but can’t afford to feed her kids, let alone salvage child care. She cleans up loyal nice and drags the children to the local bar, where they wait outside while she keeps a date with an old-fashioned flame. The film’s magic is in its slightly sympathetic portrait of the lousy mother.
“The Man Without a Head”: Everyone needs a head, but our hero is modern out. A date with a ravishing woman looms; he decides to splurge on a head. So many to settle from …
“Six Shooter”: A man’s wife of many years dies at 3 a.m. The day is all downhill from there. This dismal comedy is another Oscar winner.
Ridley Scott contributes the dreary student film “Boy and Bicycle.” Lars Von Trier has a so-so fable of a woman panicked of the sun. Christopher Nolan lends a b&w story of man vs. bug.
There is enough variety here that I can almost guarantee that everyone will gather something principal to their collection. Reading the other customer reviews, I contemplate that my preferences are so different that my naming them can only illustrate my point. I will name them anyway.
From the first disc, Roy Andersson’s “World of Glory” and Lynne Ramsay’s “Gasman” are what I would deem the best work on note. But then, I went into it believing them the best filmmakers represented. If, for example, you assume Christopher Nolan is a visionary, you will probably secure that “Doodlebug” confirms your thought.
Disc Two has a greater concentration of sharp work. “Copy Shop” shows how a film can be wholly experimental while mild being immensely fascinating. “Boy and Bicycle,” made so long ago that director Tony Scott (TOP GUN, etc.) was young enough to play the fraction of “boy” in his brother’s film, is one of film history’s valiant follies, in that it taps Joyce’s ULYSSES as an influence. Sadly, the mumbling stream-of-consciousness voice-over fair gets in the device of its eloquent images, more reminiscent of Joris Ivans than of the Scott Brothers’ advertising or feature work. Smooth, well worth seeing as representing a path not taken.
“Before Dawn” is done in a single, ten-minute prefer, and is mighty for it’s interior dramatic construction; “Election Night” is at once excruciating and hilarious; similarly, “Six-Shooter” is a well-constructed drama that mixes hilarity and the macabre in unexpected ways; and finally, “The Opening Night of Close-Up,” shot on video, documents the behind-the-scenes agony of watching Kiarostami’s masterwork start in a London movie house, defining the expression “pearls before swine” to a “T.”
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