Review: Dummy (2020)
Laurynas Bareisa shows to which extent the human ability to show empathy, or to be generally shocked by atrocities has weakened.
Laurynas Bareisa shows to which extent the human ability to show empathy, or to be generally shocked by atrocities has weakened.
Gender roles, social issues and the mighty discrepancy between the small catholic community and its biggest source of income, it all comes together in a skillfully rounded short documentary.
The story penned and directed by Irmak Karasu benefits from its completely female perspective, driving over a couple of taboos such as nudity of aged, imperfect bodies, facial hair and the natural curiosity about one’s own naked image.
The archive footage is connected with vignettes dedicated to the key members of Kalas Group, shot in vintage style and masterly edited to a a smooth-flowing story of strong friendships and clever, humor-loaded, performance-filled battle against politics of hate and intolerance of minorities.
The film stars young talents Prince Agortey and Matilda Enchil playing more or less themselves – children from the same neighborhood who spend days outside, inventing new ways to have fun.
Five-year-old Michelle is grieving after her grandmother who has recently passed away. To cope with the old woman’s absence, she believes her to be reincarnated in her pet turtle.
If there is a feel of renaissance painting in Jaro Minne’s drama A Sister and A Brother (Da-Dzma), this comes from the often used one-point perspective that lets us peek through the doors standing ajar or curtain-clad windows.
A terminally ill single father is feverishly trying to provide his son with a loving home before he dies.
Mizaru was the thesis film by Sudarshan Suresh, awarded Best Film at Columbia University School of the Arts’ last year, and this film happens to be one of the strongest contenders in Dokufest’ s International Short Film Competition.
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