Shorts
Reviews, previews and highlights of features and shorts from the myDylarama team and guest writers.
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Q&A with Sofia Alaoui, dir. Qu’importe si les bêtes meurent [So What if the Goats Die] - Clermont 2020
14 February 2020, by Abla KandalaftIn the heights of the Atlas mountains, Abdellah, a young shepherd, and his father are snowed in. As their animals start to starve, Abdellah goes in search of supplies in a village more than a day’s walk away. With his mule, he arrives in the village and discovers that it has been deserted because of a curious event that has left all the believers baffled. The product of a truly incredible mix of genres, this short is a mesmerising oddity shot amongst the stunning, other-worldly landscape (…) -
Q&A with Paul Howard Allen, dir. Mega Sexy Robot Dinosaur - Clermont 2020
12 February 2020, by Abla KandalaftINTERVIEW VIDEO TO COME A silly (in all the best ways) short very much made for fun that certainly made me laugh! Glad it made it into the Clermont competition. How much do you enjoy artistic experiments? Cinema audiences these days are incredibly smart and cinema literate so it’s really fun to be mischievous and play with people’s expectations. This is the beauty of short film, it allows you to explore your weirdest ideas without having to satisfy a commercial agenda. Why was the (…) -
Q&A with Ross McClean, dir. Hydebank - Clermont 2020
11 February 2020, by Abla Kandalaft, Clotilde CouturierForced onto the Northern Irish countryside, Hydebank Wood Facility currently houses 104 young male offenders. Four years into his sentence, Ryan is still coming to terms with the cause of his imprisonment. The unlikely catharsis to his inner demons? A flock of sheep living inside the prisons walls. Hydebank has certainly stood out in this year’s festival competitions for its particularly uplifting tone and heartwarming depiction of its subjects, human and animal. Director Ross McClean (…) -
Q&A with Baloji, dir. Zombies - Clermont 2020 PRIX FESTIVALS CONNEXION AUVERGNE-RHÔNE-ALPES
11 February 2020, by Clotilde CouturierThe film "Zombie" is a journey between hope and dystopia in a hallucinated Kinhsasa, from the culture of the hair salon to futuristic solitary clubbing, from the urban parade to the glory of a dictator in campaign (Papa Bollo) to modern western in the Takeshi Kitano style. In parallel, the film is based on the almost carnal relationship we have with our phones. The device becoming like an outgrowth of the hand and giving us the talent of digital ubiquity... Baloji is a multidisciplinary (…) -
Q&A with Aurélie Reinhorn, dir. Raout Pacha - Double winner - Prix du rire « Fernand Raynaud » & Canal+ Award for the National Competition - Clermont 2020 Grand Prize
10 February 2020, by Abla KandalaftTwo lost souls are required to undertake community service in a small town in Normandy. As it happens, the clean and tidy beach resort doens’t actually need any of the work they’ve been assigned and they start making up a series of absurd tasks to carry out. A proper laugh-out-loud short, Raout Pacha is also a damning indictment of the world of work. Reinhorn specifically questions the validity of this sort of compulsory unpaid work that ultimately benefits nobody. Her portrayal of the (…) -
Q&A with Anthony Nti, dir. Da Yie - Clermont 2020 Grand Prize
9 February 2020, by Abla KandalaftA foreigner in Ghana gets an assignment from his gang to recruit kids for a risky job that will take place later that evening. He finds Prince and Matilda, two lively kids and good friends, and plans to hand them over to the gang. After spending the day with them, he starts to question his decision and how it will affect their future. Shot on a very low budget, Anthony Nti’s Da Yie (good night)’s style is uncannily reminiscent of City of God and indeed the Brazilian film is one of his main (…) -
Q&A with Farah Nabulsi, dir. The Present - Clermont 2020 Audience Award
9 February 2020, by Abla KandalaftOn his wedding anniversary, Yusef and his young daughter set out in the West Bank to buy his wife a gift. Between soldiers, segregated roads and checkpoints, how easy would it be to go shopping? British-Palestinian Farah Nabulsi is relatively new to filmmaking, which can come as a surprise given just how adept she is at provoking the most rousing emotions in her viewers by telling a fairly simple story. The audience award that she deservedly won in Clermont clearly highlights just how (…) -
Q&A with Lars Vega, co-dir. Väntan På Döden / Awaiting Death - Canal+ AwardClermont 2020
7 February 2020, by Elise LoiseauA son arrives at the hospital to watch over his father’s death bed. When the son wants one last nice moment, his father would rather find out what to do with the two opened cans of mustard. Awaiting Death is a deceptively simple and sombre short. Through minor exchanges and limited dialogue, the directors manage to convey a nuanced and very human relationship with characteristic deadpan humour, getting a delicate balance in tone just right. More on the film... How did you come up with (…) -
Q&A with Thomas Vernay, dir. Miss Chazelles - Clermont 2020
7 February 2020, by Elise LoiseauClara and Marie are rival competitors for the title of Miss Chazelles-sur-Lyon. As Marie is declared winner of a local beauty pageant, tension escalates between both girls’s families and supporters. Miss Chazelles, Aesthetica 2019’s Best Drama award-winner, is a warm, irreverent and somewhat terrifying look at the word of regional pageants and the resulting drama. Despite the absurdity of the situation and its more ridiculously over-the-top behaviour, Thomas Vernay’s portrayal is never (…) -
Q&A with Gabrielle Stemmer, dir. Clean With Me (After Dark)
7 February 2020, by Abla KandalaftThrough a very clever and revealing video montage, Gabrielle Stemmer not only sheds light on somewhat depressing phenomenon of cleaning videos on YouTube but silently and subtly unearths the loneliness and neuroses that often underpin it, in a society in which women are homemakers and the home is their gilded cage. How did you discover the “world” of YouTube? I’ve been a heavy YouTube user for seven or eight years now – it’s TV for me. I’d say that from the beginning I’ve been watching (…)