I am a big personal fan of shorts, as they are the best training ground for up and coming filmmakers and a great way to see the new talent coming through. Sadly, the UK stopped screening shorts before features in cinemas many years ago now - a reaction to cinemas wanting to maximize profits, using the extra time to screen their main feature more times in a day. A terrible loss! I remember watching many wonderful films, from the documentary Rock Making Factory (1957) a fascinating account about the manufacture of rock candy with lettering, to Bob Godfrey’s ‘naughty’ Kama Sutra Rides again (1971) the first British animated short film to be nominated for an Oscar at the Academy Awards. It was and remains a terrible blow for young aspiring filmmakers, whose only outlet at the time was abruptly removed. Fortunately there are some countries that have not lost it, like Colombia.
During the Pandemic, online outlets have taken on more importance and developed a far greater global reach than ever before, so that Shorts have finally been given a new lease of life. Many short stories go on to become popular feature films, but longer is not always better. Shorts should always be appreciated for their important contribution to the world of cinema and, as seen in this festival at the BFI, they also give budding filmmakers who are, as yet, unable to attract big funds for a feature film, a chance to show their abilities.
There are three significant Latino films on offer this year: Mexican Luis Gerardo LoGar’s ¡Pinche Teorocho! (Damn Hobo! 2020), Venezuelan’s Paloma López’s Girls and the Party (2021) and Instructions to let Go (2019) by Mexican writer/director Gustavo Gamero.
Venezuelan’s Paloma López’s Girls and the Party (2021)
Venezuelan writer/director’s Paloma López’s fourth short, Girls and the Party (2021) is only 5:30 min long, and yet she manages to capture the sexual energy of adolescent girls, aged around 19, as they gather in the bathroom to put on their make-up in preparation for a party, building up a powerful undercurrent from the flirtatious sexual attraction they emanate. “Mercedes perceives and questions her attraction for Julia”, unable to act but overcome with emotion she tries to deal with her desires.
Maya Delmont
As López writes in her casting call-out: “Julia is warm and likes to embrace her friends, her favourite colour is red. Her favourite animal is the leopard. She likes the attention Mercedes gives her. She wants to explore the extent of her reach with people.”
Featuring Maya Delmot, Amber Wynne-Jones, Arianna López and Nayara Alexis, the film was shot by Matthew Chuang ACS, in what appears to be 16mm film. López has chosen to use big close -ups, focussing on lips, or a dangling earring that catches the light, emphasizing the tantalizing sensuality that permeates the film. Paloma López won the 2018 Ignite Fellowship for emerging filmmakers at the Sundance institute, having previously studied at the Savannah College of Art & Design.
Girls and the Party (2021)
Let Go ( Instrucciones para Soltar 2019) by Gustavo Gamero
Another offering is Instructions to Let Go ( Instrucciones para Soltar 2019), 8min, has attracted nominations for Best Director, Best International Film + Special Mention. With Leonel Dmitri Handal and Mafer Márquez, this gentle and sad ode to a girl having to let go of a dream, focusses on re-living the romantic encounter that she hopes to find once again. Shot in 16mm with a fine eye for details and vivid and emotional voice-off memories of conversations once held, Gamero recreates a minimal world of betrayal that is very moving. While Gustavo Gamero’s Instructions to let Go (2019)
Damn Hobo! (¡Pinche Teporocho!) Mexico, 2020
Last but certainly not least, is the exciting experimental approach of Mexican writer/director Luis Gerardo LoGar, expressed in his short film Damn Hobo! (¡Pinche Teporocho! 2020). Damn Hobo! (2020) by Luis Gerardo LoGar, has been nominated for Best Director, Best Experimental Film, Best International Film and Best Writer. No mean feat. With blended image mixing, combined with sound effects, music and fast editing cuts, LoGar has created a ‘happening’ or a ‘trippy’ film that takes us on a journey into the ‘nightmare’ of a homeless man, whose only guide to sanity is music. Immaculately played by Fera and shot by Enrique Arechavala, the experimental editing by Luis Gerardo Logar, uses this this 10-minute film to carry us into the hobo’s bewildering and painful world.
All films available free on the BFI Player
