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Los Angeles Times
14-02-2025
- Entertainment
- Los Angeles Times
Review: We watched all 15 short films nominated at the 2025 Oscars. Here's what should win
If you want to ace your Oscar pool, you musn't ignore the three short film categories — animation, live-action and documentary. But what cinephile would, anyway? The 15 nominees here have already won something, if you think of them as global ambassadors of all that cinema can do in a pinch of time. They will compete on Hollywood's biggest night but, of course, we have our favorites. This year's solid animation bunch splits neatly, between flummoxed kids with hope and injured adults trying to cope. Among the former, Loïc Espuche's French charmer 'Yuck!' depicts consensual kissing as a pink, sparkly tell on people's lips, which creates an inconvenient problem for any kid disgusted by adults smooching but secretly interested in trying it. Veteran Japanese animator Daisuke Nishio's stop-motion fantasy 'Magic Candies' gives lonely boy Dong-Dong a bag of the title sweets, each briefly making a part of his world less silent, as his own outlook becomes more appreciative and confident. Enough optimistic voters could land either of these films the statuette. But something tells me our battered mood will see a winner in something like gifted ironist Nicolas Keppens' 'Beautiful Men,' a quirky tale of three balding Flemish brothers visiting foggy Istanbul for hair transplants. It makes brilliant use of the tactile intimacy of stop-motion, perhaps the only appropriate style considering this trio's crippling insecurities. Another possibility is 'In the Shadow of the Cypress' from co-directors Hossein Molayemi and Shirin Sohani, who follow last year's first appearance in this category by an Iranian filmmaker (Yeghane Moghaddam with 'Our Uniform'). Their color-coded tale of a traumatized war veteran, his concerned daughter and a beached whale is evocative and unsentimental. An isolating unease and satiric TV nostalgia mark Dutch filmmaker Nina Gantz's Roald Dahl-meets-Adult Swim curio 'Wander to Wonder,' about the tiny human stars of a cheap children's show, fumbling through survival in their disused studio after the demise of their creator. In its bleakly funny mix of world-building by way of world-decaying, it memorably reclaims the term 'suspended animation,' and is resonant enough to win. The live-action entries, meanwhile, look at dangerous situations — some ripped from real life. South African Cindy Lee's semimelodramatic but effective poaching parable 'The Last Ranger' sends a wide-eyed village girl with a love of rhinos into a wildlife preserve, where her encounter with a friendly female ranger leads to a violent revelation about protection and endangerment. From India (and American producer Mindy Kaling) comes philosopher-turned-filmmaker Adam J. Graves' refreshing 'Anuja.' It tracks the spirited bond between the title character, a 9-year-old, and her older sister Palak, smart girls navigating the strained opportunities available to them. Fleet and amusing, alive to childhood's exploratory nature, it also regrettably cedes dramatic ground at a curious point. Weightiness isn't a problem for either 'A Lien,' from writer-directors Sam and David Cutler-Kreutz, or Dutchwoman Victoria Warmerdam's 'I'm Not a Robot.' The former brings crackling Paul Greengrass-like energy to a young family's engagement with America's bait-and-switch immigration system. The latter — as if Maren Ade had made a 'Black Mirror' episode — takes Captcha technology to an eerie omega point for a young office worker (superbly played by Ellen Parren). It's a feminist nightmare for her character — and a darkly tingling identity comedy for us. The standout, though, and probable winner, is Nebojša Slijepčević's masterfully tense Bosnian war vignette 'The Man Who Could Not Remain Silent,' set in the grim complacency of a train compartment. As the space is searched by a paramilitary group, a young Muslim man's fate is bystander fodder for all but one passenger. Though a true story, the stripping away of historically specific details is part of the film's power: It feels disturbingly relevant. Over in the short documentaries, films tackle legacies of violence or, in the case of 'Instruments of a Beating Heart' and 'The Only Girl in the Orchestra,' the sweeter strains fostered by music. The delightful 'Instruments,' from Ema Ryan Yamazaki, takes us inside a Tokyo school where second graders form a percussive orchestra, learning about blending their nervous internal rhythms into the stuff of communal performance. 'The Only Girl,' meanwhile, is Molly O'Brien's loving portrait of her groundbreaking aunt, 89-year-old double bassist Orin O'Brien, the New York Philharmonic's first female orchestra member, handpicked by Leonard Bernstein himself. She's self-effacing, charismatically nerdy and loved by colleagues and students. It's a superlative biodoc fueled by how effortlessly O'Brien radiates the soulful bonhomie we want to imagine courses through all those dedicated to a life in art. Grace exists in the more severe stories too. Kim A. Snyder's 'Death by Numbers' centers on the expressive healing process of Sam Fuentes, a Parkland, Fla., school-shooting survivor, as her assailant's trial nears. Texas' Death Row is where Smriti Mundhra's heavy, heartfelt 'I Am Ready, Warden' finds uncommon ground shared by a condemned murderer, a reform-minded local DA and the son of the victim, torn by unresolved feelings. It potently argues that, in some cases, the death penalty only kills positive change. But the most deserving short, 'Incident,' by never-before-nominated found-footage master Bill Morrison ('Dawson City: Frozen Time'), reveals the limits of accountability. The film is a real-time montage from publicly released police body-cam and surveillance videos of a Chicago officer's fatal shooting of a Black pedestrian and the chaotic aftermath. From synched split-screen images, we absorb the excruciating minutes that barber Harith Augustus' body lies unattended, while becoming privy to the closed-ranks crafting of a justification. On the other side of the yellow police tape, a gathering chorus of a besieged community shouts the truth like a commentary track they know will never be heard. Chicago's latest police union contract revoked the public use of their body-cam footage. 'Incident' infuriatingly uncovers why.
Boston Globe
13-02-2025
- Entertainment
- Boston Globe
Magic candies and midlife crises: A look at this year's Oscar-nominated animated shorts
Advertisement Let's start with the animated shorts. Keep in mind that animated does not always mean 'for children.' In fact, at least two of these films are too graphic for kids. Leave them at home. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up A still from "Yuck!" ShortsTV 'Yuck!' Loïc Espuche's short lives up to its title. A bunch of voyeuristic little kids roam around a beach resort watching people make out. They find the act disgusting, but that doesn't stop them from watching lovers play tonsil hockey. The nosy pests know when folks are about to kiss because the participants' lips glow a painfully bright fuchsia color and obnoxious music starts playing. This affliction happens to an old married couple, horny teenagers, and even two closeted male soccer players who, of course, don't get to complete their kiss. Meanwhile, a boy named Léo realizes that, when he stares at one of the girls in their kiss-haters group, his lips start lighting up as well. He tries to hide this telltale sign, only to discover that the object of his affection is glowing up as well. Then the proceedings get weird. This short is supposed to be charming, but all I could ask myself was, 'How old ARE these kids?' They looked about 9. They should have called this one 'Death to Smoochy,' but forget what I think! Its simplicity makes it my pick to win the Oscar. (In French, with subtitles) (★★) Advertisement A still from "In the Shadow of the Cypress." ShortsTV 'In the Shadow of the Cypress' If the Academy favors symbolism over simplicity, this silent Iranian short by Hossein Molayemi and Shirin Sohani might win instead. Instead of the proverbial elephant in the room, a father and daughter must deal with a literal whale on the beach. The father suffers from post-traumatic stress disorder as a result of a terrifying boat accident. The effects have finally taken their toll on his daughter, whose attempt to leave is thwarted by a beached whale. As the two try to help, the father's condition gets worse. Though the film ultimately becomes repetitious, it does a credible job of evoking what it feels like to have a PTSD attack. (I speak from experience.) The animation is intense and often harrowing as it jumps between the terror of the father and the helplessness his daughter feels. (★★★) 'Magic Candies' A lonely Japanese kid named Dong-Dong goes to a store to find marbles, but ends up buying sweets that look like marbles. The proprietor tells him they are 'magic candies,' which are also known by their adult name: 'mind-altering drugs.' Just kidding! However, Dong-Dong does hallucinate whenever he eats one. Side effects include a hilarious chat with the living-room sofa ('Please tell your Dad to stop farting on me!,' the couch pleads), a conversation with his dog, and a moment of unspoken understanding between father and son. There's also a bittersweet interaction with Dong-Dong's grandmother, who yells at him from The Great Beyond, and a peaceful moment of communing with nature. Director Daisuke Nishio's colors are as loud as Dong Dong's nana, and the animation is bouncy and cheerful. This short is the most fun and my favorite of the five. (In Japanese, with subtitles) (★★★) Advertisement A still from "Wander to Wonder." ShortsTV 'Wander to Wonder' I cop to admiring the sheer visual grotesquerie of Nina Gantz's English-language short. But this tale of a children's show that goes horribly awry is so unpleasant I'm surprised the prudes at the Academy nominated it. When Uncle Gilly, the creator and host of the titular show suddenly dies, his three animated characters continue to make warped videotaped programs for an audience that probably isn't watching. Meanwhile, Uncle Gilly decomposes behind them as they starve (the gigantic flies that buzz through much of the short are a nice, garish touch). One member of the trio performs Hamlet soliloquys while exposing himself. And that's the tame part of this short! Alas, none of it made a lick of sense to me and just felt weird for weird's sake. If that's your cup of tea, drink up. (★★) A still from "Beautiful Men." ShortsTV 'Beautiful Men' Another short featuring a trio. This one's about three balding, middle-aged Dutch brothers: Steven, Bart, and Koen, who travel to Istanbul in 2021 to get hair transplants. Unfortunately, Steven accidentally books only one transplant and struggles to break the bad news to his siblings. Director Nicolas Keppens gives his characters a litany of midlife crisis-inducing issues besides their hairlines. The title is clearly a snarky one. These guys are realistically pudgy and wrinkled. Koen wears Elton John-style glasses and can't do two push-ups. Bart, who is worried about a lump in his testicles, spends 75 percent of this short full-frontal nude. And Steven's hair loss is probably due to worrying. The relationship between Bart and the other two is also fraught with unspoken grudges. As a middle-aged guy with brothers, this one kind of spoke to me. I enjoyed how it took a sledgehammer to male vanity. Like last year's Advertisement Odie Henderson is the Boston Globe's film critic.
