11. Memories of the Sea (2021) by Haris Yuliyanto (Indonesia)
Haris Yuliyanto creates a very interesting narrative, where the supernatural is implemented in order to make a sociopolitical comment, regarding the way the government is always keen to highlight the moves forward, as in the case of the port development project, which are actually what brings votes, but is quite eager to push the issues, and even more, the tragedies that take place, in the background. In that fashion, Yuliyanto seems to state that maintenance and damage control, as general concepts in the industry, are at least as important as innovations and various steps forward, despite the fact that they do not bring votes. As such, the actions the government takes in the story, provide a rather harsh critique towards it.
12. Please Be Quiet (2021) by William Adiguna (Indonesia)
William Adiguna directs a 20-minute short which is split into two parts, the first one taking place during the night and and the second during the day. The timing actually plays a role in the narrative, as it gives him the opportunity to present one part as a neo noir thriller and the second as a horror movie with social repercussions. The combination works excellently, as it allows to keep the short both entertaining in its diversity and to portray his remarks from different perspectives. The first aspect benefits the most by Russell Wijaya's cinematography, particularly in the way he presents the night scenes and the “peaking” one most of all, with Adiguna's own editing also functioning quite well in that regard, through a very fitting pace, that gives a sense of movement to a movie that essentially takes place in a single location.
13. A Matter of Time (2021) by Liu Yang (China)
Yang Liu pens, directs and edits a short but powerful episode in the life of a woman who represents a vast slice of China's population, affected by the struggle over the demolition and redevelopment going on across the whole country. China's urban housing “chaiqian” (demolition and eviction/relocation) has become a field of great conflicts in the recent years, a controvert political issue involving power of local officials who are pushed to deliver economic growth, fairness of compensation and the idea itself of progress. (Adriana Rosati)
14. Hey, Night (2021) by Taha Long (USA)
Taha Long directs a film that is essentially about loneliness, with the two protagonists highlghting two different aspects of the concept, since Tony is alone because he seems to have no one in his life, and Arlo, because she has to work long hours to support her family. One could say, though, that they are both lonely due to their jobs, since Tony also has to work in the night. In the end, though, the way they meet, due to each one's issues, and the open, but evidently “good” finale, close the movie in a rather optimistic note, that will probably leave a smile to anyone who watches the short.
15. Swallow (2021) by Mai Nakanishi (Japan, Taiwan)
Starting from the beginning, Mai Nakanish frames her thriller excellently, creating a sense of tension that derives from the violin music, the snarky comments of Xue Lan and the mysterious smile of Mimi, who manages to emit danger even if her demeanor seems completely different. Another aspect of the movie, pretentiousness, is also revealed from the start, as exhibited by the wine, the red-polished fingernails of Xue Lan and her overall attitude of snarky politeness, and the gourmet food, an aspect that actually carries on in the second part of the movie. in general, it is easy to say that the job done in the cinematography by Wei Tz-Yang is top notch, with the framing, as exhibited in scenes like the view from the balcony door, the entrance to the restaurant and the very finale, and the coloring, being of the highest level.
