ShortsTV continues to make all three of the Oscar-nominated short film programs (animated, live action, documentary) available to audiences around the world. To find out where you can watch this year’s Oscar© Nominated Short Films, visit their Theatrical Release and On Demand pages.
Live-Action
The Shorts (live-action and documentary specifically) have a reputation for presenting only the most depressing subjects for public consumption. I’m sorry to say this year is no exception.
The unintended theme is “boys in peril”. Marguerite is the sole nonconformist. As my friend Jonathan Van Dyke observed – you’re likely to need a therapist after watching all of these bleak nominees.
I’ve ranked each one in order from best to worst.
SKIN
USA/20MINS/2018
Director: GUY NATTIV
This allegorical drama of just desserts plays out like a 1960’s Twilight Zone episode. The film’s overall subject is the oft detailed theme of racism. However, this tale is unique in that you initially meet the child’s father through his supportive eyes. He appears to be a warm and loving parent at first. Then a fateful encounter reveals the man to have deep-seated personality flaws. Tales of revenge are morally questionable but they can be cathartic too. This particular saga is an efficiently told chronicle with an ultimate twist of comeuppance.
FAUVE
CANADA/16MINS/2018
Director: JEREMY COMTE
Rather disturbing tale of two boys’ (Félix Grenier and Alexandre Perreault) game of one-upmanship. Their back and forth play culminates in a shocking event at an open pit mine. The story ultimately devolves into terrorizing consequences. It’s one of those portraits detailing behavior that critics conveniently describe as “toxic masculinity”. That assessment is far too facile. There’s a lot more at work here that begs deep contemplation. I was shook.
MARGUERITE
CANADA/19MINS/2017
Director: MARIANNE FARLEY
This is the story of an aging woman who is being taken care of by a younger caregiver. Marguerite comes to learn that her female nurse, Rachel, has a girlfriend. This becomes a stepping off point for our lead to reflect on her life. She too longs for a woman in her past. This is a poignant tale. Particularly interesting because it’s the only nominee that’s uplifting and diverges from the theme of “boys in peril” that defines every other nominee. Perhaps that’s why pundits have picked this as the odds on favorite to win.
MADRE (MOTHER)
SPAIN/19MINS/2017
Director: RODRIGO SOROGOYEN
A parent’s worst nightmare. The story concerns Iván, Marta’s 7-year-old son, who calls his mother while vacationing at the beach with her ex-husband. The entire drama takes place over the duration of one phone call, interrupted by a disconnection at one juncture. We never see the little boy at the other end, but we do see the mother’s response. Her terror as she comes to realize the intimate danger that her son faces is palpable. Loses major points for having absolutely no resolution whatsoever. This feels like a snippet taken out of context from a much longer horror film. Frustratingly unfinished.
DETAINMENTT
IRELAND/30MINS/2018
Director: VINCENT LAMBE
Detainment is far and away the most controversial all the shorts nominees. Inspired by the real-life Liverpool murder of James Bulger, it concerns two boys who kidnapped, then subsequently tortured and killed a 2-year-old child in 1993. The incident was so stomach churning that despite their young age, the assailants were tried and convicted as adults in the UK. This particular nominee has attracted dubious attention because Denise Fergus, the actual mother of James Bulger, was “disgusted and upset” by this film. She’s not wrong. The narrative is tolerant of the antagonists since it is done from their perspective. The account seeks to solicit sympathy. The attackers break down and cry as they come to grips with the severity of what they did. The short itself is not graphic, but if you’re acquainted with the substantive case, the sympathetic point of view to the aggressors’ situation is extremely unsettling.
02-16-19
2 Responses
These were kinda hard to like. But the Skin story was quite creative. The rest were just ok.
I think filmmakers are encouraged to make films about depressing subjects because those are the kinds of films that are acknowledged by the Oscars.