Short Documentary Review: Myanmar Anatomy (2023) by Prapat Jiwarangsan
Yangon Zoological Garden, Yangon Circle Railway and the Drug Elimination Museum are the focal point of this blend of documentary and essay. Jiwarangsan adds accounts of Myanmar activists and their struggle during the coups as well as their conflicts with the authorities which made it necessary for them to flee the country. Also, the images from the three locations are altered, using various illustrations of animals, their anatomy, their muscles and blood circulation, as well as various color filters. The effect is often remindful of a museum installation, but at the same time, especially in combination with the other elements, enlightening for the viewer, give more context to the scenes. (Rouven Linnarz)
Short Film Review: Basri & Salma in a Never-ending Comedy (2023) by Khozy Rizal
The comments Khozy Rizal wanted to make here are quite evident. In the Islamic, patriarchal setting that is (rural) Indonesia, sex has turned into a deed only aiming at having children, with the couples that do not have the particular mentality, ending up being the recipients of ridicule, mostly from their own families. The ridiculousness of this approach is highlighter repeatedly in the film, with Rizal having the people who follow the ‘rules' having rather bad, occasionally violent relationships, not to mention owing money to loan sharks.
Interviews: Khozy Rizal
Short Film Review: A Short Film About Kids (2023) by Ibrahim Handal
Ibrahim Handal directs a very tender and funny film, using the three kids that eventually become four in order to highlight life in the refugee camp in Bethlehem. That the kids there want to go to the sea but they cannot due to the restrictions and the wall that surrounds the camp presents an eloquent comment in that regard. At the same time, the movie also works as a triumph of children's imagination, essentially suggesting that borders can be overcome with the power of the mind, even if for a little bit.
Short Film Review: Sound of a Million Insects, Light of a Thousand Stars (2015) by Tomonari Nishikawa
In a simple and interesting way, Nishikawa shows that there is still a lot of activity in the air in the area, which, of course, goes unseen. It is also a reminder as to the impact of physical film itself in communicating ideas. Something that would not have been possible with digital technology, it shows how much richer using film can be in capturing a moment. Â (Andrew Thayne)
Short Film Review: A River Stifled (2024) by Jingwei Bu
There is a sense of deadpan humor that borders on surrealistic humor, as the scene with the dancing highlights, in a very welcome relief to an otherwise bleak movie. In general, the interaction with the two youths is one of the most significant in the film, with the difference between people his age and Chunlei being eloquently portrayed, as much as his past is finally revealed. The alienation that he is about to experience after getting out from prison is also showcased, concluding the rather realistic comment about the lives of people who have spent time in prison (Panos Kotzathanasis)
Short Film Review: Circle (2024) by Joung Yumi
At first sight, ‘Circle' comes across as a straightforward film, set in a single location and featuring one (main) action. However, looks can be deceiving. While there are some clues about the story's location, such as the outfits the characters and city sounds, Joung Yumi uses an empty white space as a background. As a result, the story can be set in just about any place. This ambiguity is enforced when taking a closer look at the circle itself is. It is drawn with a stick so it should be a circle in a loose underground, however the sound more closely resembles it being drawn in chalk.  All signals for the audience that there is more than what meets the eye. (Nancy Fornoville)
Short Film Review: Oyu (2023) by Atsushi Hirai
Hirai lets the camera roll, gently capturing intimate moments of a simple, daily routine. This creates the relaxed atmosphere of the setting perfectly, allowing you to drift off and quietly contemplate what is on screen. The camera is almost permanently trained on Yoshizawa in these moments, heightening this intimacy, making it both personal, yet communal. (Andrew Thayne)
