Jimmy Olsson’s latest short, “Notes,” is the cathartic relationship movie you didn’t know you needed.
One of the most difficult parts of living alone is the silence. If it weren’t for FaceTime lunches with friends, work calls, and daily conversations with my cat, there might be days where I didn’t even hear the sound of my own voice. When my TV is off, my phone stops buzzing and there’s no sounds coming from outside, there’s this brief terrifying moment where I wonder if everyone else on Earth has disappeared. Even if I break the silence by talking to myself, it feels like I’m just sending my voice out into an empty void where no one will ever hear it. Writer/ director Jimmy Olsson captures this kind of loneliness in his short film, Notes, in which he offers a hopeful answer to the question that appears on the poster, “how can you speak when you have no one to talk to?” In Notes, a man moves into a temporary apartment after his bathroom floods, where he proceeds to work on a song he’s composing for his girlfriend’s birthday. He’s a little rusty on the keyboard and can’t quite find the right notes, but his neighbor chimes in through the wall to help him out.
Samarth Mahajan subverts expectations with "Borderlands", a human-focused documentary illustrating the effects of political borders on the Indian subcontinent.
I don’t think that anyone has ever convinced me to change my mind about my political or moral beliefs by using academic theories and 25-cent vocabulary words. However, when someone tells me a personal story, I can’t help but open my mind to new thoughts and ideas. As I participate in and observe political battles on social media, I’ve also learned that it’s easier to communicate with others via storytelling rather than through theoretical explanations filled with progressive buzz-words (which will just make people mad unless they already agree with you). Naturally, then, a narrative film can easily garner sympathy from a wide audience, while a politically-charged documentary will struggle to communicate with audience members who don’t already agree with its message. This is unfortunate, since many narrative films about social justice issues often go all-in with the drama, making the audience feel like they’ve done their part just by displaying an emotional response (as in, “I thought The Help was sad so clearly I’m not racist.”) So, what are some effective strategies that filmmakers can use to educate their audience about social justice issues? Samarth Mahajan gives us some ideas with his human-centered documentary, Borderlands.
Originally published on Elements of Madness.
According to the press notes for Call for Dreams, Israeli director Ran Slavin started the project in pursuit of a “new cinematic form.” Slavin began with the idea to collect dreams from strangers that he could use as inspiration for his film and he ended up incorporating this idea into the plot of the film itself. Call for Dreams revolves around a young woman named Eko (Mami Shimazaki) who posts a “Call for Dreams” advertisement in a Tokyo newspaper. Strangers can describe their dreams to Eko by leaving a message on her answering machine, and if she approves of the dream, she’ll visit the customer and act out their dream for a fee. Meanwhile, an investigator in Tel Aviv (Yehezkel Lazarov) listens to old tapes on Eko’s machine as he investigates a murder. The two stories overlap in abstract ways that blur the lines between dreams, memories, and reality. Although the film flew under the radar for its international streaming release in late 2020, Call for Dreams is an intriguing film that deserves praise and critical attention.
“Dara of Jasenovac” (Dara iz Jasenovca) is a technical beauty, but leaves us wondering about the purpose and effect of Holocaust films moving forward
Serbia’s official submission for the 2021 Academy Awards, Dara of Jasenovac, reminds us that no matter how many Holocaust films are made, there are important details and individual stories that have not yet been represented on the screen. Directed by Predrag Antonijević, Dara of Jasenovac is the first film about the Jasenovac complex in The Independent State of Croatia during the 1940s, which was run by the fascist Ustase government and used for the systematic murder of ethnic Serbs, Jews, and Roma people. While the film’s protagonist, 10-year-old Dara (Biljana Čekić), is not based on a specific historical person, the filmmakers chose to tell the story from a child’s perspective to emphasize the fact that there were specific camps in Jasenovac for children. The film begins when Dara is first transported to the complex along with her mother, infant brother, and other people from her village. She is subsequently moved through different facilities, gradually coming to understand the evil unfolding around her as those who entered the camp with her are killed one by one. Taking on more responsibility than she should ever have to bear, Dara resolves to do everything she can to keep her brother alive.
Psychological thriller “The Night” masters the familiar haunted hotel setting with technical excellence.
Originally published on Elements of Madness
Kourosh Ahari’s psychological thriller, The Night, is a stellar example of a film that may not have the next best original ideas within its genre, but is so well done that it is nonetheless entertaining and worthwhile. Despite a handful of predictable plot points and stereotypical gendered conflicts, The Night’s talented cast and distinct style create a spine-chilling, mind-bending, what-did-I-just-watch experience that reminds us why the horror genre is so exciting.
"Our embodied spectator, possibly perverse in her fantasies and diverse in her experience, possesses agency...finally, she must now be held accountable for it."