Respect still in short supply for short films

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