British Shorts and Finisterrae review (Leeds Student, 2011)

This year’s British Short Films compilation showcases 10 shorts. Ranging from gritty social realism to beautifully shot images of gymnasts, this collection is bound to impress.

One of the highlights was ‘Baby’, directed by Daniel Mulloy, that has already won over critics at the Edinburgh Film Festival. It is a film about conflicting desires and the pressures of individual responsibility. A young woman notices a stealthily-performed pickpocket in a bus queue, yet when she tries to intervene she inadvertently draws the attention of the mugger. The sudden build-up of sexual tension followed by the film’s concluding twist makes this a fine piece of work.

‘Fifty’, directed by Ryan Vernava, successfully deals with some of the same issues. Set on the top deck of the number 50 bus in Birmingham, it throws together a handful of differing characters as representations of the varied and sometimes conflicting communities of the inner-city.

‘Long Distance Information…’ is a tiny comedic burst that illuminates the end of the collection; a charming black comedy starring Peter Mullan (recently of ‘Tyrannosaur’) where an innocent Christmas day phone call goes wrong.

The collection featured few disappointments, but ‘The Fox’ and ‘Into the Garden of Glass and Steel’ were not of the same quality as the others. The latter was an unsuccessful attempt at a derisive visual take on capitalism in the City, however it felt misguided and somewhat amateur.

All in all, the selection was an interesting and good one. It highlighted the different styles of British cinema but ultimately served as a reminder that, within Britain, there is an innate sensibility towards hard-hitting urban realism.

‘Finisterrae’ is an absurdist portrayal of two ghosts who travel to the end of the world in the hope of becoming human again. Tired of a life in limbo, they embark on a road trip to Santiago, meeting a hippy and an owl along the way.

Essentially, this is an experimental road movie, sacrificing most of its dialogue for sparse images of unwelcoming lands. With music from Nico, Suicide and Bach, cinematography by Eduard Grau (‘A Single Man’), and critical acclaim at previous festivals the film was hotly anticipated. But what promised so much delivered so little. Adolescent in its tone and childish in its depiction of women, ‘Finisterrae’ was barren.

The notion of stripping away narrative is deeply appealing. Directors such as Tarkovsky, Bunuel and even Salvador Dali were crucial in the development of both non-linear and surrealist film. However ‘Finisterrae’ was almost lifeless due to its trudging pace and overwhelmingly pretentious attitude. A number of scenes felt like a poor imitation of David Lynch; the draped red curtains strikingly reminiscent of those used in Twin Peaks.

Moments of sudden hilarity do redeem it a little, for example a scathing criticism of Catalan art videos and a forest where the trees all had Mr Potato Head ears sticking out of their sides. But ‘Finisterrae’ was simply not done well enough. Its charm was lacking. With almost no characterisation, drawn out scenes of little merit, and an ill-fitting ending this is bound to alienate audiences the earth over.

Both first published in Leeds Student (18/11/2011)