June 10, 2006

--From JELLYBABY, a story about a happy couple who has a baby and finds their relationship tested, to THE GATES OF HEAVEN, a story about the afterlife and based on a famous Chinese myth, International Program B covered a wide array of topics. Some lighthearted, some not so lighthearted, these films were shorter than the other programs but certainly no less moving.

Audience member Kito Hadama preferred these films to the other programs because “they were cool in their simplicity,.” Kito, who is 15, spent his early childhood in Australia and wants to be a director. No cinema novice, Kito spoke about P.J Hogan’s Australia Maestro short GETTING WET. “It’s a good story. I could relate to the boy. But, for me, it wasn’t about the emotion. I was too busy analyzing the cinematography…the camera movements were just like the boy. Always moving, changing with the life that comes at him.”

Kito didn’t know about Short Shorts honoring the Year of Exchange, a pact between Japan and Australia to keep their relationship strong, and including many Australian filmmakers in their lineups. P.J Hogan, a native Australian and now a veteran Hollywood director, has gone on to make many successful films, including the hit MY BEST FRIEND’S WEDDING starring Julia Roberts and Cameron Diaz.

“I’ve never seen anything like this…I’ve been to Sundance, Toronto. I’ve never seen such good short films.” Antoine Gormaine, a Belgian tourist, caught International Program D at Short Shorts this morning. Antoine and the rest of the audience sat in the Laforet Theater, which for virtually all of the weekend shows, hadn’t a seat to spare.

ALICE AND I, a comedy about a guy who gives a ride to three Jewish grandmothers and is forced to listen to their advice on his love life, had the crowd in stitches. The film has been loved at festivals around the world and found an equally receptive audience in the Japanese community.

FOOD FOR THOUGHT followed and, though much different than Alice and I, had its own comedic legs. The 2-minute non-dialogue film proved how physical comedy can, in a matter of seconds, have people clutching their guts in laughter.

The program then veered to more serious topics with films like the Cannes-screened BEFORE DAWN and the high concept MECHANICALS. Hu Wen Li, a Chinese local who recently moved to Tokyo, couldn’t stop talking with his friend. “I couldn’t believe it. One shot…the whole thing,” he said about the 12-minute BEFORE DAWN.

“I think that was the best film I’ve ever seen.”
“You mean the best short film.”
“No,” he said. “I think that is the best film I have ever seen in my life. Its simplicity evoked so much emotion on so many levels. It was brilliant.”

THE MECHANICALS wrtier/director Leon Ford was present to answer questions afterward. He explained that his film, a story about what happens inside the walls of your house, was funded by a public film foundation in Sydney, Australia. Because of the success of short, he has received funding for a new film and plans to start shooting in September.

The films in International Program D vary greatly in tone, genre, and style. But they do, in fact, share one thing in common: being the cream of the crop. If that assessment is up for contention, please contact Hu Wen Li to settle the dispute.

A powerful mix of films comprise International Program “E”; like all of Short Shorts programming, they span a wide variety of formats, from CG animation to live action, and all vary greatly in length. The films in this section have been particularly successful at festivals across the world.

In THE LITTLE WOMAN, filmmaker Greg Williams tells the story of a man whose miniature wife―literally 12 inches tall---has run off with their kids. The story begins when the man, who is of normal size, calls the police. When they arrive, they peruse his bizarre, miniature furniture and begin to think that he may be suffering from his own delusion.

Most of the other films in this program explore more serious topics. One of them, AU PETIT MATIN (At Dawn), is a particularly striking French film, both for its violence and heartfelt emotion. Joshua Leonard’s story, THE YOUTH IN US, starring indie actor Lucas Haas, leads one down a particular direction, only to throw in a surprise, touching twist in the remaining minutes.

This section has a lot of well-executed, dramatic stories that, despite being limited to such a short length, evoke a great amount of emotion. The cinematography and acting are superb; the themes―which hit home in the last couple minutes―offer profound and inspiring messages.