Alongside the features at the Paris Int’l Film Festival there is also a shorts programme which is split into four thematic streams. These cover a variety of topics under the headings: ‘Stories for Change’, ‘Human Rights’, ‘Comedy and Suspense’, and ‘Look Around’. Here we’re having a look at some of the films in the first two sections, with the second two being looked at separately.
Kintsugi (Dir. Nadja Bobyleva)
A remarkable film which travels far beyond where you thought it was going to. At its core is Lea (Sylta Fee Wegmann), a therapist who deals mainly with sexual assault, who then gets assaulted herself. Despite knowing all the best things to do after an assault, she suffers deeply and can’t follow her own advice. Although supported by friends, Lea descends into her own nightmares and reality and fiction blur together. With great performances and brilliantly shot, this is a fantastic short that not only makes an audience think, but leaves a lingering memory.
Handscape (Dir. Yiru Chen)
Xia Qing is young boy struggling for self-identity in an environment that is resistant to his personal expression. Despite growing up in a deaf household, he discovers a love for dance and feels passionate about studying this further. His Mother however disapproves and seeks to block his efforts. Zhenyu Tang in the central role does a great job, making the frustrations palpable and raw. An interesting film, which will bring up relatable parallels for many viewers.
Ruby Red (Dir. Philippe Audi-Dor)
Forbidden love and hidden desire are at the centre of this smart short, aiming its crosshairs firmly at conformity, fear and inner demons. It’s a nice idea, cleverly executed, with some sharp acting that gives the knife a twist when you don’t expect it.
Adnan (Dir. Steven Chatterton, Mark Arrigo)
Possibly my favourite of the festival, Adnan tells the story of a Mother and Son who have escaped tragedy in Aleppo, Syria to make a new life in the UK. Sadly, the horrors they had to endure in Syria have left the Mother in a state of shock and amnesia from her PTSD. Using his creativity and imagination, Adnan (Ayham Kabi) tries to break through to his Mother and save the family. With its brilliant use of cardboard and waste materials to create the models and scenes, it is reminiscent of the 2017 comedy-horror ‘Dave Made a Maze’, although here there is a much more positive use of the medium here! At the centre Kabi is excellent as Adnan, and the whole film works perfectly.
The Cunning Man (Dir. Zoe Dobson)
Inspired by a real life ‘Cunning Man’, John Harries (c.1785-1839), this is a story of mystery, spirits, and arcane knowledge as one man faces off against greed and corruption. It’s an effective piece that makes you want to investigate the real man further and delve into the truth of it all.
Life Unexpected (Dir. Tao Zhang)
An intriguing film set in the Tibetan hills, with parallel narratives that bears watching twice to pick out new details. At its heart is a mystery revolving around a Mother and her son, and the death of her husband. Nothing is straightforward though, as the legend of a door between time and space suggests a merging of different worlds.
Savage (Dir. Denis Dobrovoda)
Colonialism in the 1800s gets a spotlight shone on it here, as Savage examines the practice of shipping people from around the world to Europe as exhibits. Based on real events, it shows how African, Inuit, and Native American people were humiliated by misguided scientists and museum visitors alike. It’s a struggle for dignity in the face of unforgivable acts.
Patient 27 (Dir. Alex Merkin)
Shot like a noir, Patient 27 looks back at a strange romance between Isis (Cyrine Jarretie) and ‘Dr Henry’ who was manipulating her. As the film unfolds we see more and more how he has twisted everything to his own whim, both physically and mentally. The message is clearly designed to shine a light on abuses, which may resonate and then hopefully help people get through similar situations.
Anna (Dir. Dekel Berenson)
This is quite apt viewing for many on Valentine’s Day, as it looks at the desperate loneliness that some face in an indifferent world. In Eastern Ukraine, Anna (Svetlana Alekseevna Barandich) works in an abattoir, and seeks a change to break out from her humdrum life. Clutching at straws she responds to a dodgy radio advert for a dating service which places American men with Ukrainian women. As you’d expect, these social gatherings are not the most enticing, and Anna finds that her lonely existence may not be solved quite so easily, as it’s hellish out there…
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