5. Black Rainbow by Zig Dulay (Philippines)
Zig Dulay has managed to create a very sensitive movie, that, despite focusing on little children, actually includes quite a rich context, as it highlights the inequalities Aeta people face, along with their way of life that seems to be forcibly eradicated. Both the dream and the effort of Itan to go to school highlight this aspect in the best fashion, while his interactions with his sister, eventually showcase the value of family, and how kids can actually be much more smart than grown ups on occasion. This last aspect is also the source of the most hilarious moment in the short, along with the “teaching” sessions, with the “micromanaging” of the father being a delight to watch. Lastly, Dulay also seems to exemplify the role of local governments and teachers, which also extends to a comment about retaining hope even when things seem hopeless. (Panos Kotzathanasis)
4. The Scapegoat by Tathagata Ghosh (India)
Visually, the production has an air of beauty to it despite the unsettling subject matter. The cinematography of Tuhin (single name credit), has a complementary flow that conveys inequality through framing and blocking to have certain characters assert a sense of dominance. Consequently, actor Bimal Giri (who plays the callous Swapan Dutta) feels like a ‘larger than life' menace to his wife and the Muslim family he targets. Furthermore, the transition from meek to a position of indignation of Payel Rakshit (as Neeta Dutta) is equally explored through visual storytelling as her shrunken figure slowly begins to exude confidence as she becomes determined to make the necessary moral choice to save another. Ultimately, the presentation and script work together harmoniously to craft “The Scapegoat” into a beautifully engrossing cinematic experience. (Adam Symchuk)
3. PRE POST by Abhimanyu Roy (India)
There is no way around it, “PRE POST” is a deeply upsetting short film that will be off-putting to the majority of audiences. However, it is a carefully crafted assault on the senses that speaks to the socially redeemable properties of the exploitation genre – showing humanity at its worse, as both commentary and warning. In the end, viewers who can't handle challenging narratives should approach with caution or avoid all together but those with the stomach for it will be treated to a wonderfully crafted exploitation short. (Adam Symchuk)
2. Nitty Gritty Punjab Police by Kabir Mehta (India)
The fact that the medium that leads to both these aspects is the ridiculously looking and acting Gyan Singh works excellent for the narrative, in an approach that moves far beyond the “rules” of the mockumentary, as a kind of an absurd re-imagining of a police documentary. Indarjeet Saharan in the protagonist role is excellent embodying the aforementioned absurdism to the fullest.
The overall result is funny, pointed, rather intelligent and another testament to the fact that Mehta is pretty close to mastering the particular genre. (Panos Kotzathanasis)
1. Happy Birthday to Me by Po-Yu Chen (USA)
The only real qualm that viewers may have with “Happy Birthday To Me” is that the 15-minute film is slightly too short to really capture the magic that is hinted within, particularly with strong performances only existing in brief. However, Po-Yu Chen still does a remarkable job of condensing a romance by focusing on key moments in his subjects' love lives. Furthermore, the film itself flows in such a complimentary fashion to the narrative that it makes sense that it leaves audiences wanting more. Overall, the short is a wonderful indulgence in romantic beginnings and discovering oneself through past hardships – perfect for those wanting to either reflect on the past or celebrate the present. (Adam Symchuk)
