Courage is a foreboding film, especially at the very ending; an excerpt from the re-staged play Discover Love thematizes the events from the late 90s, when a businessman and an opposition leader where kidnapped and executed by the OMON.
From the start, Tudor is depicted with a sense of estrangement: through the veil, out of focus, partly hidden behind another person.
One thing is certain: no one in their right mind would ever want to go back to their teen years and live through them again.
Wang’s directing, essentially composed of editing short clips together in the rhythmical fashion, is apt for a piece of video-art
Miranda Pennell’s short documentary Strange Object, which premiered recently at Berlinale Shorts, is deliberately constructed that way so the viewer has to walk the same route of exploration as the filmmaker did previously
We meet our titular protagonist while he’s sitting in a transparent square space, picking up the courage to step out of it and explore the unknown world that lays in front of his eyes.
In his Berlinale Shorts contender Motorcyclist’s Happiness Won’t Fit Into His Suit, Gabriel Herrera paints a nonconformist picture of the Spanish conquest of Indigenous lands, set in modern context
The play with different styles and formats of footage shot by the newcomer Emiliano Villanueva are coded in a clever, not too obvious manner, while Asuad’s award-winning editing is a thing to marvel.
We are supposed to “paint-by-numbers” according to Ulu Braun, but how that’s another thing.
Bob Quinn’s work ‘Atlantean’ is the starting point of Bárbara Wagner’s and Benjamin de Burca’s eighth joined short film ‘One Hundred Steps’ and is also referenced directly in it at one point
