Just as a writer will use the short story format to address a topic too narrow to fill an entire novel, directors use the “short subject” as a medium of exhibiting distinct film ideas that would otherwise go overlooked. The Oscar-nominated short films of 2009—all of which are showing at E Street Cinema in an exclusive engagement—demonstrate that much can be accomplished in a very short amount of time. With a total run time of just over an hour and a half, the five Academy-approved live-action films display staggering cultural and emotional breadth, leaving not a single moment of boredom.
From the opening frames of Germany’s first film in the showcase, Auf Der Strecke (On The Line), a sense of surrealism overtakes the screen. The storyline—which tells of a department store security guard’s affection for one of his co-workers—is simple and relatable enough to provide the backdrop for a fateful episode of drama. As a simple working man, Rolf (Leonardo Nigro) makes a regrettable decision not to lend a helping hand to a man in need. Nigro’s character develops profoundly over the course of just 30 minutes, visibly deteriorating from within.
Denmark’s Grisen views the idea of affection through a different lens: a sickly man’s attraction to the painting of a smiling pig hanging on the wall of his hospice. The content pig is said to have the smile of the Mona Lisa, and it serves as the guardian angel of Asbjorn, the sick man, keeping watch over him during his two surgeries in the ward. Comic encounters ensue as a Muslim man moves in and asks that the painting be removed. Henning Moritzen’s sly smile mimics that of the pig, displaying sparks of hope in an old man physically worn down by age and health problems.
Germany’s Spielzeugland (Toyland) and Ireland’s New Boy both bring a decidedly adolescent focus to the screening. Spielzeugland tells the story of a young German boy who builds a deep relationship with a neighbor boy of Jewish descent, who will very soon be taken away by the Nazis. The childrens’ exuberant friendship and the separation for which they’re unknowingly destined tears at the audience’s heartstrings. New Boy is less histrionic, showing a group of predominately white school children who initially ignore their new African peer but then, after a humorous tumult, welcome him into their culture.
France’s Manon sur le bitume (Manon on the Asphalt) closes the showing in a disarray of emotion. The film characterizes 20-something Manon through her own eyes, as she sees her life fade slowly away being hit by an automobile. Her eyes gaze skyward to embrace a calm wind sweeping through the trees, and the rush of strangers to her aid. Manon is aware of the fate chosen for her, and in the short time allotted to her she reflects on what could have been, what should have been, and what was. Manon’s story closes in reflection of her love left behind, drawing in her last breathe in remembrance.
While each film culls from a unique well of motivation, they each share in a supply of talented acting and writing, wrapped in beautiful camera work and scenery. It’s no surprise that these shorts are the best of the best, but it doesn’t soften their impact in the slightest.
