Review: Cramps (2020)
‘Cramps’ had an online life on the festival circuit since 2020, but Vienna Shorts, where it was screened in Nightmares – The Little Ones slot of the Late Night programme served as its physical premiere.
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Review: Dar-Dar (2020)
Urkijo Alijo does a very cleaver trick to add an artificial layer of patina to the story, by filming it in stark black and white contrast and in boxy 4:3 aspect ratio, highlighting the feeling of an old, old movie with the textual cards of rhymed material replacing the dialogue completely
Review: The Criminals (2020)
Serhat Karaaslan creates a unique atmosphere and walks seamlessly through the genres, employing just the right solutions in just the right places.
Programme overview: Vienna Shorts Austrian Competition 1 – The Eye Unlocked
In 2021, as the lockdowns were multiplying, the initial emotions and movie-making reactions got more eloquent, and films inspired by our new reality managed to find their niche not only in festivals’ special segments, but also in main competitions.
Review: Between Earth and the Moon (2020)
‘Between Earth and the Moon’ works both as a smart light-SF mystery-thriller ideal to be shown as an introductory film at a midnight slot…
Review: Animalia (2020)
Animalia is clearly a mood piece a portrait of a wounded soul, so the unclear plot and relations between the characters are not the critical flaw.
Review: Bussi, Baba (2020)
Bahare Ruch’s autobiographical documentary Bussi, Baba that currently plays at the Shortfish competition of Stockfish deals with her growing up in the midst of her parents’ divorce.
Review: Blindsided (2021)
Plot-wise, Blindsided walks on the fairly familiar territory, but Bjarnason is a competent storyteller to make it interesting.
Review: Dalia (2020)
Ólason embraces the clichés of the festival-friendly Icelandic cinema in order to tell the ages old story of fatherhood and turns them into the film’s strength.
