In case it has not been clear by what we have been writing the last few years, short filmmaking is experiencing one of its Golden Ages. Apart from the many specializes festivals around the world, short films have seen exceedingly more exposure in all the major festivals, with Asian titles in particular enjoying both exposure and accolades. At the same time, it is easy to say that in countries were features have taken a step back, as in the case of S. Korea, short filmmaking has risen to fill in the gap, in a year for the specific country where the best movies seem to be of smaller duration. As we will see in this list, however, a number of countries have also films of quality to offer, even if Japan seems to be one of the most dominating once more.
Without further ado, here are the best Asian Short Films of 2024, in reverse order, although the order, particularly in the first 10, could easily be completely different. Some may have may have premiered in 2023, but since they mostly circulated in 2023, we decided to include them.
20. Other Side of the Mountain (Yumeng He, China)
Mostly a type of travelogue, with the camera following the father most of the time, “Other Side of the Mountain” also includes a number of elements that make it seem somewhat experimental, while adding an audiovisual flair to the whole thing. The scene in the bus with the almost outwardly narration about Mao and the final scenes, which also move towards more art paths, are indicative. The combination of the two elements works particularly well, also due to He’s excellent editing, while adding to the aforementioned ‘discussions’ between father and daughter. Lastly, a gesture of love and affection closes the doc in the best fashion.
19. Right Jabs (Zi-En Wu, Taiwan)
“Right Jabs” is a wonderfully playful look at the disconnection in the modern era, with a protagonist playing through the roles handed down to him with complete boredom and desire for something more sensational. However, what makes Zi-En Wu‘s short film work so exceptionally well is how it circles around that need for structure and normalcy; a fleeting moment of rebellion against a fundamental truth of what it means to be human. (Adam Symchuk)
18. Eyes (Nam Hyok-young and Choi Yoo-jae, S. Korea)
Nam Hyok-young and Choi Yoo-jae have shot a very interesting animation, which focuses on the concept of bullying, how unfair it is, how it generates, and how can the victims overcome it. Through a surrealistic approach that works quite nicely here, they seem to suggest that one must find the strength to move on within themselves, and that managing to overcome depression through perseverance can eventually have life- changing results. Granted, the comment is somewhat romanticized, but the message still echoes realistic and is well-communicated.
17. A Cleaning Service (Nguyen Duy Anh, Vietnam)
Nguyen Duy Anh directs a film that presents the concept quite thoroughly, essentially starting from how these women start their day, until the moment they finish their jobs and return home. Ms Lai is more hands-on, talking about the personal issues they occasionally face and the misconception about their job, while Kieu Anh focuses on her recipe. While the two women are talking, sequences from workers appear on the screen, through rather different approaches, as the movie combines the essence of the sci-fi, the comedy and the surrealistic, while retaining a subtle notion of drama throughout.
16. Holy Curse (Snigdha Kapoor, India)
In a short that soars with tension from the get-go, Snigdha Kapoor presents an impossible situation in order to eloquently portray her comments. The difficulties non-binary people face, particularly during adolescence is a central one, but is definitely not the only. With the uncle representing patriarchy, lack of understanding, conservatism and forced religiousness, the director essentially makes a comment for the whole of India. The same applies to the way the mother tries to be supportive but also does not understand or is even capable of knowing anything else than what was passed on to her. With the cousin representing the ‘boys-will-be-boys” concept, it becomes evident that Radha has nowhere to turn to, something that actually mirrors the circumstances so many individuals in their place face.
15. Vox Humana (Don Josephus Raphael Eblahan, Philippines)
The long shots highlight the beauty of the area, but also give an ominous and ritualistic essence to the film, in the way the unusual events are captured, with the 4:3 ratio and the occasional fog that appears in the setting, adding even more to this approach. The unusual staging of the scenes, particularly regarding the body stance, movement and communication of the the biologist and the ‘stranger’ remind of Le Bao’s “Taste” to a point, particularly in the scene in the room, although the way the dialogue is presented, also points towards a stage play. Overall, the work of DP Vincent Prochoroff is exceptional, with both his long shots and his close ups being of the highest quality, and Sam Howells coloring adding a lot to the quality of the visual aspect here, particularly in the way the greens and the dark/shadowy rooms are presented. Brandon Bunner’s editing results in a relatively slow pace that suits the ritualistic/otherworldly aesthetics of the short.
14. The First Film (Piyush Thakur, India)
What becomes immediately evident here, is that “The First Film” soars with a love for cinema, with every scene and every frame highlighting the fact in the most obvious fashion. The various types of film references is just the beginning, as the girl’s eagerness to actually watch a movie is the one that truly dictates this aspect.
13. Morlam (Tanaseth Tulyathan, Thailand)
In just 15 minutes, Tanaseth Tulyathan manages to present a multi-leveled narrative that both analyzes the two main characters here and makes a number of social comments. The lack of public care for children with special needs, which seem to have been also abandoned by their parents, expectedly ending up being exploited by people as Anuman, is the most central and most pointed one here. Tulyathan presents it in utter pragmatism, with the ending giving a harsh, but also realistic note to the whole concept. Police corruption and how the system works are also highlighted, with the interactions between the police chief and Anuman being quite indicative.
12. Yours (Shota Fukushi, Japan)
Although it starts in intense cinematic motion, with the change of settings being non-stop, Sota Fukushi soon moves into a dialogue-heavy, stage-play like narrative. The change of scenery continues, with the night shots on the street in particular being quite appealing to the eye, and the back and forth in time adding even more cinematic value to “Yours”. However, the dialogues between the two protagonists are definitely where the focus of the movie lies. In that regard, the antithetical chemistry of the two works quite well, with her being cheerful and emotive and him more closed up, with her actually being the one changing him.
11. Midnight (Takashi Miike, Japan)
Takashi Miike directs another audiovisual extravaganza, highlighting, once more, that when it comes to manga adaptations he is definitely among the top, if not the best. As such, through a frantic pace dictated by the intense editing, he manages to include a number of favorite tropes of the category, in an effort evidently aiming at entertainment (apart from showing what the iPhone can do). In that fashion, the short includes a car chase, a battle between a motorcycle and the rather high-tech taxi Midnight is driving, martial arts, beam guns coming out of toy bears, and as usually in films of the category, absurd humor and even more absurd characters and events. The inclusion of pages of the actual manga, which actually mirror what we are watching on the screen, the fitting heavy metal soundtrack and the end credits that show how the film was shot conclude the rather impressive short.
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