Respect still in short supply for short films

Admittedly, expectations were low before seeing the entries of the short film competition for the upcoming Indonesian Film Festival (FFI).

Although it has never really faded from view, and notwithstanding its "boom" at the end of the 1990s, the local short film scene is still pretty much a could-have-been.

Save for the excellent works of Tintin Wulia and Lexy Junior Rambadetta (the latter is perhaps more of a documentary filmmaker), most short filmmakers continue to display inept storytelling, a resistance to exploration of technique and a penchant for trying to squeeze too many themes into one short film.

On the one hand, it is not exclusively the filmmakers' fault since there is barely any money for high-tech film material or extended education for filmmakers.

Appreciation is also low, as feature films still hold sway with audiences, making short films an underground phenomenon with barely any adequate venues to screen them.

Fortunately, many of the 90 entrants of FFI's short film competition did away with the preconceived negative assumptions.

As the prerequisites for entry are that the films are under 40 minutes in duration and were produced within the past four years, the quality ranges from poor to excellent.

The aforementioned flaws are still evident, but about a third of the entries offer impressive, fresh works.

Some are technically inferior, but still enjoyable, original and earnest, all of which are noteworthy.

Many films are still shortened feature-length vehicles, with a tell-tale dragging plot.

In the case of Yogyakarta-based director Eddie Cahyono's Air Mata Surga (Heaven's Tears) and Bedjo Van Derlaak, the plot and story work and they have decent technique. But they could have been much shorter and to the point.

A few filmmakers mistakenly termed a simple scene a short film, with no plot, story or point whatsoever.

For example, the "film" where two young men walk toward each other, pull out guns and fire. One falls dead, the other walks away. The end.

Other off-putting facts are the predominant themes, centering around drug abuse among teens and adultery, with histrionic storytelling a reminder of old school TV series.

Death (especially suicide) is the most common theme, conforming to the view that movies must be "dramatic" and "tragic".

Old habits die hard; apparently these aspiring filmmakers still take as their reference points bad local films and TV soaps, despite wide access to good foreign works.

With standard technique still a struggle, some entries present ideas that are too grandiose, overly philosophical or Guy Ritchie-Robert Rodriguez wannabes.

The results, of course, are disastrous.

Several of their peers manage to pass technical muster. The camera angles are good and creative, the use of animation -- whether in the entire film, like Wahyu Aditya, or partially, as for Tintin -- is accomplished as well as witty.

Some filmmakers realize their limited resources, especially in technical aspects, and make good use of the medium they have.

Examples are the experimental short film Dajang Soembi: Perempoean Jang Dikawini Andjing (Dajang Soembi: A Woman Married to A Dog), a gritty black and white silent film by Edwin, and Oleh-oleh (Gifts) by Freddy Aryanto.

The latter creatively turns a simple robbery story in a village into a Guy Ritchie-esque actioner with a Javanese flavor, which is enjoyable despite some shortcomings.

The stories are diverse, ranging from urban lives to a historical theme, like Eddie's work, set during the Dutch colonial era, or M. Aprisiyanto's Djedjak Darah: Surat Teruntuk Adinda (Trace of Blood: A Letter to My Lady), the touching story of a shadow puppeteer who is accused of being a communist.

Others borrow from local myths and customs, but transcend time and place for contemporary relevance.

It is also pleasing that the entries are from different places other than Jakarta, although still restricted to Java and Bali.

There is even an entry from the small Central Java town of Purbalingga, Peronika by Bowo Leksono, a surprisingly honest tale about a villager who, unfamiliar with the cell phone mailbox system, comes to believe his son-in-law is having an affair.

It's too bad that it's technically lacking.

There are also some entries which are visually outstanding, but are deficient in their storytelling.

Now, it is crucial to reach out to these budding talents, for guidance will allow them to hone their skills.

With the increasing number of excellent short films, it is also essential to appreciate the works by providing venues to screen them. Or, as in other countries, shorts can be screened before feature films.

The genre of short film is the training ground for aspiring filmmakers, a perfect medium to help them learn their craft. Their improvement and progress play an important role in reviving the film industry, whose development cannot be measured by the number of releases if the quality is still wanting.

-- Hera Diani