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CCMA is a monthly live screening film competition. So each month highest scoring films from each category are officially selected and out of them at least one per category is awarded. Most of the award winning films are screened in Calcutta at the end of each season and have a free academic and detailed review published at our international film magazine CULT CRITIC, shared at respective IMDb pages (if applicable). All these monthly winners are automatically qualified for programing at the annual live screening gala in the City of Joy and are nominated for the prestigious JEAN LUC GODARD AWARD (the best of the best).
Please submit your film on: https://www.wfcn.co/festival/ccma
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Agnus Dei (2012)
Agnus Dei
Gnus Dei deals with all the themes that ensure a film has an everlasting impact upon the viewer. Against the backdrop of the Kosovo war, the tragedy of two lovers separated by it and the inevitable repercussions sets the gears of this heart-wrenching drama in motion. By placing the viewer amidst the brutality of a war that has not been portrayed on screen enough, we are immediately swept away by the tragic faith of the protagonist, wondering what he will do in order to escape it.
Peter was born from a love that shouldn't be, raised by a mother he loved to the point of sacrificing his own life and setting out to become a soldier in a war that he initially deeply despised. The war sees him change. He becomes vindictive and almost unrecognizable from who he once was: A sensitive teacher who tried to run away to Budapest so that he wouldn't have to join the army. "Oh Light may I behold thee never more, I was born from the ones I shouldn't have. I live with those I mustn't have. And I killed the one that I shouldn't" is what he confesses at the end upon realizing his tragic faith.
From the very beginning of the film the viewer witnesses a scene which sees Peter's mother cheat on his father. When Peter finds out about his mother's infidelity, she confesses to him that their family was destroyed by the Albanians, and that after being forced to leave to Serbia, her relationship to Peter's father just wasn't the same anymore. "We became like brother and sister", she says, while crying, hoping that her son will understand.
"So we abandoned our property and immigrated to Serbia", she continues.
When Peter learns that his mother found a lover for herself for the one and only reason not to abandon Stoyan, his father, and therefore keep the family intact, he forgives her. It is a brilliant scene in which the actors reach the peak of their performances. The motives of each one of the characters are all too clear, and the complexity of the situation is revealed with such honesty that the viewer can empathize with each one of them, remaining curious on how this complex family construction will affect the overall narrative of the story.
During the war Peter ends up killing the man he thought to be his enemy, only to find out, later on, he was the centrepiece of his life. It was the tragic love story, which echoes the all too familiar plot of Shakespeare's Romeo and Juliet, between Peter's mother and Didi, the man she told her son to be responsible for their escape to Serbia, which sets all the other events in motion. We witness a mother lie to protect her son and herself from a past which won't stop haunting her and a secret love that she was told to be ashamed of because it unfolded during the wrong time and the wrong place. It was a love that "simply shouldn't be" and we understand her for being the way she is. And it is precisely this understanding which gives us insight into the film's core tragedy: A family torn apart by lies and protagonists that were forced to deny their true feelings because war didn't allow for them to be themselves, and love the ones they wanted to.
It sees a son desperately trying to revenge what he thought to be his family's tragic destiny, only to find out later on that his revenge brought nothing but more pain to their lives. As if this weren't enough, faith wanted him to also fall in love with the daughter of the man he just killed. When he realizes the final truth, he can no longer bare the pain and takes his own life.
The dialogues are perhaps sometimes a little too direct, revealing too much of what could otherwise be told by mere action. But this is only a small detail and the only critique one could point out in an all in all magnificently unique film that will keep you on the edge of your seat while watching one conflict-laden scene after the other. Director Agim Sopi has to be praised for the extremely realistic battle scenes, excellent cinematography and the delicacy with which he describes the layered conflicts among family members, as they battle with a tragedy they did not ask for. One can, in fact, say that in this breathe taking drama which takes on the proportions of a real epic, the war becomes a character in itself, by indirectly orchestrating the whole plot and influencing the character's decisions.
All in all "The story of a War," as tough to watch as it can be, can be an extremely rewarding and disquieting experience if narrated with such great depth and complexity as this one.
Directed by Agim Sopi
Review by Nora Jaenicke
Faded Love (2015)
Faded Love
With dark themes, crime and thrills at its core and morally ambiguous characters including a femme fatale and doomed heroes, neo-noir films are full of style and Faded Love by David Leidy certainly gives this genre full justice. The filmmaker is unafraid to delve into the murky territory and to address head-on dark subjects.
The acting, directing, script editing and cinematography are uniformly well executed in a short film that feels half real and half dream-like. An aspect that further emphasizes these elements, as well as the suspended nature of the film, is the music score- given by how well it suits the visuals. It didn't just accompany the film, it created its own reality, and as a viewer one feels twice as invested precisely because of this reason. From the very beginning of the film the visuals and the music contribute to a sense that something sinister is lurking behind the surface of what we see: A sense that nothing is ever what it seems and that in order to grasp the truth, the protagonist will have to dive deeper into her own psyche, into what up until now feels like a labyrinth of smoke and mirrors.
As the story unfolds, we follow the woman, quite literally, as she jogs around a fountain, initially caught between two mindsets: To accept and continue with the treatment that her abusive therapist is forcing her to undergo or to liberate herself and fight back.
Right from the start, she is having destabilizing memories and intrusive flashbacks: Hints of a narrative that she can't quite grasp, which have a different overall tonality from the present setting. The more we are given access to her inner, vulnerable self, the place where her childhood memories reside, the sweeter the music becomes - the colors acquiring a nostalgic sepia-like tone. Right after diving into the depth of her subconscious we meet her therapist, a charismatic yet dominant man. "Flooding is the term. We flood your fears in order to get rid of them!", is the treatment he proposes, in a voice tone too suave not to suggest hidden intentions. He is a con man who has probably talked endlessly about wanting to improve her mental health and that his are only the best intentions; meanwhile he is manipulating her and damaging her in the first place. What follows is a very graphic sex scene in order to execute the seemingly therapeutic technique.
The lighting ranges from blueish to purple tonalities and the overall scene is extremely uncomfortable to watch. The shots fade into each other, further evoking the protagonist's traumatic experience: Now it feels as if the woman is removed from herself, the mark of the smeared lipstick, as a perfect symbol for the violence just witnessed. Immediately after watching this brutal scene, we follow her on a quest moving through what seems like a dreamlike setting - the aesthetics abstracted and stylized, creating the perfect place for the plotting of a bitter revenge.
Taut and full of noiresque flourishes Faded Love never wastes a second. The violence smoothly interwoves with a strong sexual tension, which creates a unique atmosphere.
The film gives us great insight into the protagonist's inner torment and the ending sheds light onto yet another aspect of the woman's complex personality, never portraying her as a one-dimensional victim but always leaving room for ambiguity. While we are being offered a gloomy worldview with notions of good and evil muddied, ultimately no crime can go unpunished.
All in all, Faded Love is a brutal and slick short film with great visual flair. A film that will mostly appeal to the fans of the dark and dangerous. An erotic and deeply unsettling exploration of manipulation mixed with the all too human thirst for revenge.
Directed by David Leidy
Review by Nora Jaenicke
Skin Creepers (2018)
Skin Creepers
Sometimes real life doesn't follow a perfect structure. Things aren't always wrapped up and resolved how you'd like them to be and all of us at times prefer leaving things open-ended.
From its demonic possession storyline to its found-footage format, Skin Creepers is nothing horror film aficionados haven't seen before and can well connect with the conspicuous ad nauseam throughout the 1 hr 27 mins journey. But despite its overwhelmingly stale air of familiarity, this feature by Ezra Tsegaye manages to impress thanks to its technical expertise and the compelling performance by Nicolás Artajo and Barbara Prakopenka in the lead roles.
Like certain prescription drugs and amusement park rides, the movie should come with a warning label for some ghastly yet gripping moments of sheer horror. It's a dark, gruesome plot about the actress being possessed by the devil entrapped in the hotel room wall portrait, is certain to cause some nightmares, pushing the boundaries of taste in the process. Despite its subtlety - the gore and exploitive elements being relatively low-keyed - "Skin Creepers" is out and out a "furrowed brow" movie. Evil with monstrous force, creeping into a new skin every time, intensifies the well-knit plot. Content is assuredly designed to disturb and provoke a response. Its primary modus operandi for generating cringes is, of course, the uncanny feeling of its ominous presence and smears a general sense of discomfort across the film, and broods over her malign faith conjuring up weird images of blood-curdling fright.
The writing is sharp, the premise is unique, and the performances are spot on. What begins as an awkward search of two unsuccessful filmmakers quickly becomes a haunting, slow burn of a film that will keep you on your toes from start to finish.
Play of light and shadow is both immersive and unsettling. The film also boasts one of the most iconic performances in this genre's history in the immortal portrayal of Sasha Blue.
Overall the directing of the movie is excellent, all the pieces fit together well and you understand the story. A lot of horror films fail in the directing as things are mismatched and no one knows what it is going on. A very well told story that develops into lots of thrills and scares.
I think you have to give the filmmakers a lot of credit for tackling a familiar sub-genre and being able to make it work without resorting to cheap, loud noise scares that seem to be attached to all horror movies nowadays.
Barbara Prakopenka is terrific in her bit as the young actor who finds herself falling apart. The limited special effects are good for what they are, but we also get an incredibly effective music score. I didn't care for some of the style given to the film including the fast cuts to a black screen, but this was just a minor issue. Still, Skin Creepers gives a shot of energy to a genre that has so far delivered a trove of memorable movies one after another.
Landuris is impressive in the pivotal creepy role. If you're a fan of the genre you'll probably get a big kick out of its style and the enormous promise it makes with the material it experiments on.
It is an incredibly well done, intricately put together and thoroughly thought out the movie! It is about what'd you expect and quite a bit more too! Even so, there's plenty of character building, maturing of the plot, and overall depth throughout the movie.
Also, the movie is very atmospheric and while similar sounds and feels are repeated throughout, this simplicity only strengthens the tension and depth of the movie.
A movie where the character randomly blacks out and wakes up in the dark only to discover she's there because a spirit has taken control of her mind, therefore her reality. A possession movie that makes the demon, two-sided, gives it a reason for the evil, or maybe have the demon feel connected with the character. The film offers a wide spectrum of avenues for experimentation in the predominantly horror genre.
A film that generates a fair amount of suspense during sizable swaths of its familiar but serviceable exorcism-centric scenario is home to moments that will shock, scare, disturb, and leave you gasping. It's after all a trip to the dark world that's well worth taking."
Directed by Ezra Tsegaye
Review by Moumita Deb
A Singular Garden (2017)
Bringing in the essence of the history of a town and the quantity of its rich culture
Bringing in the essence of the history of a town and the quantity of its rich culture, which is then, weaved into celluloid using a collection of before and after pictures of the transformation of it, is a beautiful tell-tale, to begin with. Where we come from, our sole existence and evolution and how we tend to construct our surroundings have a lot to tell about the natives, the local inhabitants that currently reside in the city and the immigrants. Monica Klemz has thought through this whole process of integrating this into a film, more so bringing into it the complete soul of the town. The colossal heritage of Rio de Janeiro and its constant change in the city landscape, public spaces and the population expansion marks an era, whose nature is questionable. The city's beauty, however, has left all spellbound. This film enhances and highlights how the city's inhabitants have contributed to the conservation of its architecture, helping it evolve but keeping its patrimony alive.
"A Singular Garden" puts up the colonial images of the city, its ports, public spaces, the buildings and the ever-changing face of the town's people. What is interesting is the point of view, which this film has been assembled. The picturesque and sublime interpretations through tilt-shift images and bird's eye view that take you down to a walk-through to the city.
Before we begin enjoying the picturesque monuments, the architectural extravaganza, and roads of any town, we often ponder over its existence over time. The smell that an ancient town carries with itself can bring in a lot of memories for those who have lived here and this history is then passed down to the next generations through stories. The director Monica Klemz has made a successful attempt at bringing out this rich heritage through her film.
Being a seaside city, it hosts a large number of different cultures, all of whose influences can be seen through the buildings and roads. The direction has used a very interesting element through the use of background sound. The depiction of its slave history and hierarchy of the Portuguese rulers are amalgamated through pictures of the past rulers, the sounds of hammer clinking on metal and the slashing of whips on the bodies of slaves. A major part of the film is in filmed in monochrome which sets a classic mood for the audience. The music sets in a sense of melodrama and nostalgia.
With changing times and values, human beings lose their value of objects and spaces. They learn to mold themselves into spaces with lesser needs. A singular Garden tells the story of one such valuable space. The modes of communications have changed. Public places are now seen empty. What was once ladened with Old Portuguese houses has now high rise buildings standing there instead. This singular garden which once hosted large gala parties for eminent members of the town now stand stranded, messy, hopeless and forlorn. People now don't socialize. Globalization has led to warmer climates. People don't stay out much. What was once a lively old garden, fluttering with the sounds of children playing and the distant flying birds is now left in ruins. The director's nostalgia is clearly reflected in this film and leaves us with questions of our own existence. Our nostalgia will always be trapped in our memories. If not them into pictures and paintings that will take us back in time.
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Review by Nabadipa Talukder/Cult Critic/VSC
Festa de Quintal (2012)
Festa de Quintal - Angolan Home Theatre
All cultures are different in their own way. Some are uniquely peaceful, while others are not. Some don't show their social side and some do. But what is common among all of them is the desire to keep the values of their community alive. They are celebrated in order to get relief during the times of exhaustion and conflicts. Festivals are usually celebrations that mark a particular time of our lives when people from a community come together to celebrate a common cause. But "Festa de Quintal" or Backyard parties are the celebrations of happiness and life, unique to the people of Angola, who are a Southern African nation.
In this documentary, shot by Coréon Dú, we see a personal perspective of this festival from a different point of view. It includes the participants' nostalgia, their perseverance to continue the tradition of these parties, keeping alive the cultural integrity through genuine performances, dances, drinking and eating. What I found extremely intriguing is the amount of personal engagement these parties offer. No wonder there is a stupendous amount of nostalgia attached to these events.
While watching this film, I began wondering how simple these people are and how generously they contribute to these parties with no bias at all. These events are celebrated amongst people from all strata of their society. Be it artists, dancers, musicians, politicians - you will find them all on one platform. "The Quintal" brings everyone together and they all become performers.
All the world is a stage and all the men and women merely players; these parties are a classic example of the Shakespeare's quote. These parties are full of childhood memories of the participating Angolans. They are the packed with powerhouse performance where music plays a vital role. This film is a cultural brochure for the Angolans and for the rest of the world. It also heightens the role of "protagonism" in every culture but not in a dismissive way. It is actually considered to play an important role in shaping the social presence of an individual. This theory has also been reinforced by a study called "bangology", which is the study of style. People dress well to stand out in the society.
Various dance instructors and scholars have studied these cultural practices for years and what they have deduced is the intricacy of this art. The performers know that no matter where they come from they will be valued for their talents. These dances portray the nature of Angolan people. Although their urge to stand out in the crowd becomes a necessity, coming together in a circle and finishing off the dance is also a common practice, redefining unity in a cultural family.
With social values soaring, the Angolans have made a niche for themselves individually and globally. They organize these parties every week, causing higher social interactions between these folks. It is full of life, sweat, and euphoria and you can experience all of this while watching the film. Every individual is important to these parties and everyone's contribution is very personal.
In our everyday world where we are being divided each moment into different strata whether through religions or socio-economically, the Angolans have found a way to end this discrimination. The bourgeoisie and the proletariat - everyone joins hands and creates a fiesta in these famous Backyard parties.
There is a lot to learn and be inspired by throughout this film. The main essence of life is weaved through music and nothing can be better than this. The amount of creativity and zeal that life asks of us should not go unnoticed. After watching this film, if there is one thing I am going to do, it is to follow up more on the Angolan culture and learn about the various dance forms they have created through this extravaganza. It also showcases the various customs that have evolved through this practice. It is a must watch for those who are interested in cultural studies.
Review by Nabadipa Talukder/Cult Critic/CCMA
Soft Sun (2017)
A distinctive theme of a hypothetical outlook to positive emotions and its constant conflict with negative emotions
Mohsen Shwady delves into a distinctive theme of a hypothetical outlook to positive emotions and its constant conflict with negative emotions. He seeks to strike a harmonious balance between an optimistic attitude to life pitted against the pessimistic that manifests itself in diverse situations.
This pessimism is deeply embedded within the strongly emerging field of positive psychology brought forth through the brilliant portrayal of typical characters that sync perfectly with the storyline. The film centers around four characters... Life being most ironically the 5th one.
The experience of positive emotions broadens thought-action repertoires for one of the characters, which in turn serves to build upon his great conviction in the positive aspects of life. He rejoices at the sight of life's simple pleasures, symbolized here by the lofty mountains. The picturesque landscape offers a source of eternal joy to him. He climbs higher and higher, willing to conquer all the impediments he encounters on the way. He wants to command a better view of the captivating vista, not plagued by negative emotions such as anxiety, anger, and despair. The capacity to experience positive emotions serves as an excellent source of strength in him that teaches him to accept life's simple challenges with a smile which is the key to optimal wellbeing.
Uncompromisingly happy in all situations and inherently soft by nature, he derives an outlandish joy even at the darkest hour of defeat. Essentially mild in disposition and always displaying an upbeat attitude, he, however, lacks the fire of rebellion to strike back against injustice that he conjectures being done on the captive lady. This lady is seeking emancipation from the clutches of the apparent tyrant whose smart strategy survives as he wins in every situation because of his overpowering attitude of dominance. Being manipulative as well he readily imposes this attitude on the other two, after keenly observing their fragile nature. The lady surrenders to the absolute authority of her exploitive master. She gradually falls prey to his hypnotic persuasion.
The seeker of positivity ultimately emerges a safe player, who is contended, seeking happiness only in the simple pleasures of life and is reluctant to jeopardize his life in the apprehension of any impending danger that might create waves of turbulence in his otherwise peaceful life. This is, in fact, a reflection of profound weakness and lack of moral courage and conviction in his capabilities.
Yet positioned in the sharp contrast against him is the other character to whom life always remains a journey of endless obstacles. Negative emotions, though he seemingly has no control over them, exert a strong influence on his conscious actions and narrow down the realm of his fleeting thoughts. Steeped in extreme negativity and viewing life from a narrower perspective, he lacks a clear vision of what he wants and fails to appreciate the pristine beauty of the hills. Unlike his friend, he lacks the slightest inclination to obtain joy from simpler aspects of life... Hence climbing up the rough terrain of the hill seems to him extraordinarily cumbersome and tiring. He is always carrying a frown and an air of displeasure on his face and he is in a state of constant dilemma centered around uncertainty and confusion. He lives under the never-ending perplexity, and sadly enough to him life is nothing but a bundle of unsolved situations and intriguing challenges. Yet this character, most amazingly, reconciles to his fate and subjugates to the overshadowing personality of the oppressor.
The film continues to create its impact by exploring the far-reaching consequences of this subtle avenue of human contemplation to the ultimate survival strategy, viewed from different perspectives. It invokes some pivotal questions as to whether positive emotions are worth cultivating or is it the off beam approach to a socially acceptable successful living.
The maker sums up most efficiently the underlying philosophy that we're undeniably complex beings. Often, there isn't one singular self that makes us who we are but many multiple selves that are tugging away simultaneously. Sometimes our "positive self" wins. Sometimes our "negative self" wins. Whichever "self" wins the tug of war is the one that gets to choose how we respond to any given situation.
Moumita Deb/Cult Critic/CCMA
Swipe Right (2018)
A heartwarming story of a mother-daughter relationship
Des Matelske's "Swipe Right" is the story of a girl who is constantly struggling with her sexuality and her romantic life and her mother's acceptance of her homosexuality. Liv's (Dani Matelske) mother (Leigh A. Peterson) is driven by the urgency to find her a man so that she would finally lose her interest in women and settle down with a man. She even disguises herself as Liv, talks to men and arranges dinner dates for her daughter on a dating website. The story goes around how Liv finds love and how a date unexpectedly turns into a friend and maneuvers her to finally achieve what Liv always wanted through a series of witty as well as emotional events.
The story begins at a restaurant where Liv with all her existential angst meets few odd dates with a blasé attitude. She meets a stud, a stoner who tries to sell her some weed, a creep, an awkwardly quiet man and she even goes on to meet two gay men who show up on the date as a couple and take her by surprise when they start kissing. Not giving up, her mother sends her to yet another date where she meets Carter (Lance Still). Carter is both flabbergasted and disappointed when Liv tells him that she is gay. It gets even worse when she tells him the person who has been messaging him all this time was her mother. For the rest of the night, she is pretty ruthless leaving him perplexed.
On returning from the date her mother rushes to her with the thrill to know about the date but Liv's disinterest in meeting these men disgruntles her mother. Having been disappointed she seeks the suggestion of her gay best friend Jason (Cody Kilpatrick Steele) and gets a makeover and asks her to meet Jason again on a date just to continue with this "balderdash" while he finds a girl for her. But Carter comes up with another idea when he mentions his sister Cassie (Julia Langholt) who happens to be gay. Eventually Liv meets Cassie but at the same time she pretends that she's dating Carter, for the sake of her mother. This marks the beginning of Liv's happiness because she can finally do what she always wanted, to be with a girl and to her utmost surprise being helped by Carter to top it all.
This uncomplicated plot with a complicated twist reveals a heartwarming story of a mother-daughter relationship with a sensitive backdrop reflecting the horrors of the past and their impersonation in today's events. Films like this connect its audiences and encouraged them to open up in a social portal through media helping them to change their perspective on socio-cultural taboos. It also portrays how self-identity and its recognition are so important and change of situations or circumstances can never hamper what one truly feels. What we are and how we are born cannot be changed and the orthodox, biased and prejudiced mentality of people can be wavered and comprehended with time and patience and love most importantly. We need more films like this to show a personal outlook which would create a niche amongst us to understand the LGBTQ community and its acceptance. The story unfolds various perks of having such a light comedy and why a strong message sometimes doesn't need a heavy storyline. It also shows how we should step outside our comfort zone and explore and define something that could be perceived differently by different strata of the society.
Nabadipa Talukder/Cult Critic/CCMA
A Christmas Carol (2017)
Genuinely touching
We are used to shock and sadism in movies. More than not, we experience it at a very young age, in the form of war, abuse, fights, wordplay displayed in various movies. Even cartoons and children's stories are filled with those little hints at the not-so-subtle cruelty that permeates our world. "A Christmas Carol" is no exception from this. However, it is not a movie about cruelty and death, but instead about the destruction that it brings forth.
It's Christmas Eve. A family of three, mother, daughter and father, are warm asleep in their beds. Or maybe not. Maybe something terrible has happened. A fight. A robbery. A betrayal. A loss of innocence. Lory, a cute young girl writes a letter to Santa Claus, asking him to fix her father. In a touching finale of the story, Santa Claus does fix her father, in the form of death as a sacrifice he did not make. "A Christmas Carol" is genuinely touching - the story is not told only by the talented screenwriter, but also by an equally great director, cinematographer and actors. Not to forget the eccentric lighting, score and set design that it offers.
This is one of those short films where details matter; where it makes sense to look for hidden clues and meanings not only within the words of the story but also within the setting surrounding the actors. A great example is a quote from it: "I wonder once again what ghost I am. Christmas Past? Present? Or yet to come? Maybe I'm the three of them. Does it make any difference?" In Christian culture, the trinity usually symbolizes Holy Trinity. In the story, the Santa repeatedly questions if he's one of the ghosts in the Charles Dickens story's "A Christmas Carol".
He eventually comes to the conclusion that perhaps it doesn't matter. The story will tell itself regardless of his knowledge of the past, present and future. Similarly, there are three core characters at play in the story: Santa, Nicholas (the father) and Lory. Arguably, we could say that all three of them represent a period of time: Nicholas is the cruel past, the destruction that we experience through memories and trauma; Santa is the present, the judgment day and the bringer of justice; and Lory is the future - uncertain, but bright and ready to embrace what's to come.The mother is the only true character of the story, the observer.
Perhaps she's the one who holds the answer and the key to the story's question of morality and passion and the magic of Christmas Eve. Or maybe it's Lory, who's the future of her family's legacy and her father's cruelty. Similarly to the writer, I don't think that the answers are something we should look for in this story. It's the lesson of morality - be good or Santa won't bring you gifts; he will bring you coal.
In this case, the coal is death. Going beyond the story, one should note the touching performances delivered by Santa and Nicholas. Santa is not represented traditionally in this short film. He still wears a red coat and a hat and sports a handsome white beard, but he's not here to deliver our usual gifts. He's here to bring justice and peace to those who need it the most. Nicholas, on the other hand, comes off as a usual abusive father, who pretends to know no difference between good and bad, but eventually, he gets his redemption as well in the form of death. In his "sacrifice" he gives strength to his daughter Lory - the girl who wrote the letter. One could argue that even though she appears only through flashbacks, Lory is the core of the story. Without her, it would have never happened.
Other aspects of this film are equally incredible: the cinematography is truly outstanding, showcasing and adding to each minute of the film the weight that it so desperately needs. Acting is superb and casting is excellent. The music and audio mixing only adds to the haunting element of this magical Christmas eve and the editing should be praised for the choice of shots and incorporated inserts. Overall, this is a beautiful film and a must-see for many film students and the rest of the world. After all, we should learn to be better to each other and try our best to eliminate the violence from the world that's powered by cruelty.
Rimute Terra Budreviciute/Cult Critic/CCMA
Structures of Nature (2017)
The scientific explanation of life and meaning through the camera eye
The scientific explanation of life and meaning through the camera eye.
If I were allowed only one sentence to summarize "Structures of Nature" by Martin Gerigk, that would be it. Luckily, I'm allowed to use more than a single sentence, so let's dwell on the experimental film that "Structures of Nature" is.
We can confidently say that almost everything vital in the world was discovered by chance - from x-rays to microwave. And the closest humanity has ever come to engage in the perplexing laws of chance is by experimenting. Thus, it doesn't come as a surprise that a film that lingers over the nature of science is an experimental one itself.
In "Structures of Nature", Gerigk covers a broad scientific specter; starting with natural science such as physics and switching to sociology, a purely social science. And really, if you want to discover what humanity is about, you need to explore all the discoveries it has made thus far. No matter what happens, the laws that seem to be out of humanity's reach, state that energy must be balanced; it can never disappear or increase. It's a zero-sum game where if you take something, you must give something of equal value in return. This brings us to a logical conclusion that no matter if you are more dedicated to one type of science or the other; the fact is the value is equal as we create it. So, is the life always the same? Is it true that in a much higher sense, one that goes beyond what you or I find essential, every action we take is an equally important one? No matter if it's trying to wake up in the morning or doing something we find "useful"?
Dynamic visuals combined with beautiful shots that last only a few seconds create an almost interactive experience for the audience. The attempt to present cold yet vigorous scientific facts through a camera's lens is exhilarating. It has been attempted since the birth of cinema as cinema itself sprung out of science. But how to present the general truth in a way that's more than just a trite definition?
The dynamic plays a vital role here. As a viewer, you have barely enough time to experience everything presented in a single shot. Nevertheless, it's precisely the right amount to make you wonder what's coming next. The film describes cohesion as an action to, move towards the center point of those that you see around. If we imagine our eyes were the camera - this product of science made to create art - then in the case of "Structures of Nature", our object is nature and science. Making it simple - our object is the subject of the film. The way Martin Gerigk manipulates the eyes of the audience is by creating an interactive connection and allowing us to see what we need to see. And thus, a successful cohesion between art and science is established.
When you think of science, you most likely picture it as something that's stripped of emotions. On the other hand, when you think of art, you imagine is as something packed with emotions. Many philosophers, sociologists and psychologists have rightly asked if our actions are exclusively determined by our feelings or if us humans are free of these supposed shackles? Neuroscience has shown that brain makes decisions before we are even aware of them. In this scheme, emotions are just a single aspect that manipulates who we as individuals are. So, no matter if it is science, art or life in its entirety, does it even matter what we do?
Let's end how we began; with a summary. "You don't need more to become more" and you can't even have more; no matter how much many of us would like. Why? If we put it bluntly, it's because someone or something more significant than us has decided so; simple as that. But no matter if this god, universe, laws of nature or however you want to call it, is really there, there's that final, crucial fact. All we need is already here and everything else... Well, everything else is up to us. Nature doesn't mind what we do as it will continue no matter if we're here or not. A message you'll receive with this film has a comforting yet bitter taste at the same time. Take it as you will.
Antonio Rozich/Cult Critic/CCMA
Setback of the Spirit (2017)
The fact that this is a student film makes it more impressive
Sa'ed Arouri's "Setback of the Spirit" takes us on a journey with Jeddeh, (a grandmother) who returns to her home somewhere in Palestine, after the demise of the occupation. Ancient stone walkways lead the woman and her grandson to the place where she had a "setback of the spirit," the day she and her family were forced to leave their home and all their belongings. Her husband went off to fight for their right to stay and they have never seen each other again. Together, grandmother (Nibal Al Awadi) and grandson (Monther Khaleel Rehaneh) enter the house and find it untouched, everything just as she had left it so long ago. The old woman's memories of her husband (Ishaq Ilias) and the last day she saw him overtake her when she finds his mailbag and bicycle.
Haddadin's bittersweet story is filmed on location in Jordan and exudes an authenticity that is tender in the way in which Arouri allows the woman's experience to unfold. He draws us in, and we are forced to consider the lives of these people who may be foreign to us, but who are none-the-less familiar. Historically, the Palestinian people have been oppressed by Israel, and the human rights violations continue today. Stories such as this need to be told, so the world may begin to empathize with a group of people who are forced to move, time and time again.
The film is a straightforward narrative, for the most part, with a twist that plays well into the idea that Jeddah has come home to reunite with the life she once lived. It is as if her husband never left; as if his spirit has been here waiting for her all these years. The relationship between grandmother and grandson is touching. There is a tremendous amount of love exuding from the simplest movements and the easy way the pair interact. Awadi is especially triumphant in the way that she portrays the moments when she is experiencing the past, with the natural ease of going between the memory and coming back to the present. Her skillful acting keeps the audience informed of what is happening in the story.
When I review films about refugees, I often feel as if I have no right to comment on such a piece. Instead, I feel as if I am getting an education, having my eyes opened to another perspective and this, to me, is why I get excited about seeing films from other countries. "Setback of the Spirit" has won numerous awards, including the Calcutta International Cult Film Festival 2017 Golden Fox Award for the Best Student Film. The fact that this is a student film makes it more impressive to me. There is a maturity to the cinematography, the sound is clean and crisp, and the music is perfect in the opening scene. The attention to detail in the set design is impressive, as well as the lighting, and the heaviness of the air from dust adds to the feeling of a distant past. There will undoubtedly be more awards in store for these talented filmmakers.
Helen Wheels/Cult Critic/CCMA
Mind Games (2017)
Simple, realistic, and efficient
"Mind Games", directed by Charles Mawungwa, had all the potential of being a breathtaking movie till three fourth of its duration. However, as the saying goes: too many cooks spoil the broth. The plot became predictable with too many twists and turns. The film hits high notes with two mind wrenching murder sequences in the very beginning, inducing a sense of mystery in the audience. Soon, everything shifts to Sam, who's a successful businessman, divorced and has a beautiful daughter with his ex-wife, who he meets on the weekends, and loves more than anything in the world. Sam's girlfriend dislikes his connection with his daughter, so does his ex-wife. Things turn topsy-turvy when Sam is taken hostage by a shrewd murderer, who identifies himself as Ex.
The man tells Sam that he's taken his daughter hostage and shall leave her if Sam follows his instructions. Ex makes Sam do bizarre things, confess some of his criminal activities, and his role in his son's death. After, the audience is hit with the big twist that's at the same time amusing but also predictable. It's not predictable storywise (although some viewers might figure out that element as well), but more in the terms of the overall mood. We had so many films of this kind that our brain somehow learned what emotion to accept. We can say our brains finally learned to expect the old Chekhov's Gun... at least to a certain extent.
Mysteries unfold one after another raising the expectation of the audience, and ultimately ending up in a predictable pattern of two geniuses playing mind games with each other.
The movie is simple, realistic, and efficient. It does not grab your immediate attention with overwhelming sound, light, set; which is the 101 list for many crime thrillers; a cold blue tone, drony, deep music & you got yourself a thriller. The places and events are more like what we see in real life, and this toned down mise-en-scene is the strongest element of the film. Very well crafted realistic art direction, subtle background score, realistic light adds up to the storytelling.
The direction is decent, until the point the film falls in the redundant trap of repeated attempts for the two main characters to check-mate one another. That is where the film stops being a 'mind game'. The editing could have been a lot crisper. As far as the performance goes, most actors play their role really well, except for the fact that the protagonist did not live up to the mark. But then again, that's as much up to the actor as it is to the creator of the character. His expressions and dialogue delivery didn't have variations through the mountains of emotions; from fear to anger, to anxiety, to hatred, to revengeful attitude, which his character was subjected to. The other actors however delivered their best shots. The child actors do deserve a special mention.
Panchali Kar/Cult Critic/CCMA
Between Seconds (2017)
A powerful visual tapestry of tear-jerking emotional experience
Nora Jaenicke weaves a powerful visual tapestry of tear-jerking emotional experience through this passionate saga. It's a saga that reveals the story of two musically talented lovers who meet when they are both stuck in a professional rut. Both Alicia and Adrian have grown out of sync with their music and ultimately themselves. Alicia, a struggling opera singer, loses her ability to synchronize and sing in harmony when she realizes she is letting go her long-nurtured dreams. At the same time, Adrian, a classically trained pianist, loses the ability to play in sync with music when thoughts of his conflicting past cloud his mind. Both musicians happen to discover mysterious red envelopes which lead them to a surreal clock world. Here they must figure out how to synchronize themselves or they risk being able to play music again. Eventually, the two manage to indulge in a world of self-exploration and learn how to make music once again.
With its anachronistic aspects and timeless feel, "Between Seconds" pulls you in with a sense of romantic mystery. It also keeps you wrapped up in the story with its symbols and intelligent use of visual motifs. These motifs deal with the themes of love, loss, introspection and mysterious influence of the mere passage of time. Adrian realizes the time is his main enemy. He spends weeks alone in his loft, trying to erase all the memories of a woman he lost due to various time-related circumstances. But no matter how hard he tries he is unable to move on. He's scheduled to perform at a neighborhood cafe, where he's expected to perform a song that reminds him of his lost love. However, he's promised not to play this song for anyone else.
The feelings of compassion and humanity shine through this movie. It is a demanding film from an artist who is determined to make the audience experience something beyond their regular expectations. In this dual protagonist story, the two intersecting characters may or may not spend the time of their lives together. However, both of them have their distinct transformation arc. In "Between Seconds", Alicia and Adrian experience parallel paths and each of them has their unique influence on both the plotline and the transformation of character. However, in a deft bit of storytelling, the big lesson they learn is that sadness is not an emotion to be ignored or restrained. Instead, it is an authentic state of mind to be felt at times. This is pretty much where the plot ends up - in other words, their journeys co-align at the end. There's a sophisticated balancing art between the protagonists in their external and intrapersonal worlds.
"Between Seconds" has a complex approach when it comes to the internal world dynamics - intricate emotions of protagonists are unfolded layer by layer. The conflicting thoughts and experiences pave the way to the transformation of Alicia and Adrian. Alicia's inner voice is telling her to be strong and not to allow her true feeling of sadness to emerge and overpower her sheer positivity. She struggles with both throughout the movie. The idea that us humans can be multiple selves, an ever-evolving product of conflicting emotions and painfully-gained insights, is readily understandable. A battle between these emotions is personified and clearly manifested throughout the film. Alicia is certainly not passive but reactive, struggling with emotions, finding new ways of handling her sadness.
Psychologically speaking, there's one thing I found truly engaging in this movie - the interplay between the character's internal and external world, the conflict between reality and fantasy. To this day, there is no unanimity of opinion among scientists about the nature of consciousness, so the questions like "why we do what we do" and "who we are" remain mysteries. "Between Seconds" takes a whack at these issues in the form of Alicia's particular story. Throughout the movie, what happens in her inner world influenced by Adrian's traumatic emotional experience lends a colorful take on human consciousness. This is how I experienced this movie but of course, there's no right or wrong in interpreting a film. Each of us brings an entire lifetime of experiences, memories, feelings, knowledge, and everything else to a story when we watch, read or hear it.
Moumita Deb/Cult Critic/CCMA