With three out of five nominations, Netflix is pretty much making a splash in the documentary short category this year, but one of those three stands out. “Can be heard” directed by Matt Ogens, observed the high school football team at the Maryland School for the Deaf, directed one player, Amaree McKenstry. His senior year was an off-grid event, as he navigated a tentative relationship and reconnected with the father who left him.
McKenstry said that although he couldn’t hear the cheers, he could feel the vibrations when he ran. The players approach football with a different perspective. (“A lot of the hearing teams don’t want to play with us,” said the coach. “And most coaches don’t like to lose to deaf coaches.”) Ogens, without overdoing it, looks for ways to attract people. watch’ other senses, look for tactile moments, like teenagers dancing to explosive bass lines or team members slamming cupboard doors and flipping light switches when they return to the yard to shoot back yard.
School memories are also rushing back “When we were bullies.” In the early 1990s, filmmaker Jay Rosenblatt had a chance encounter with a former 5th grade classmate from the 1965-6 school year. Both remember an incident when they and others attacked a ostracized student. Years later, haunted by her former bully, Rosenblatt searches for other classmates and their 92-year-old teacher. Not all remember the dust, and Rosenblatt consciously leads the film into a dead end. However, “When We Were Bullies” still plays with structure and animation in ways that accentuate it.
Empathy is less successful than “Take me home,” a documentary about homelessness filmed in Los Angeles, San Francisco, and Seattle between 2017 and 2020. It is simply too commonplace at this length; Some of its 15 standout themes come through plainly, though it does have memorable moments, like when a mother explains why she buys groceries and cooks dinner for her. my child instead of taking meals. Many aerial shots of the prison camps inadvertently draw attention to the far-away perspective of the filmmakers, Pedro Kos and Jon Shenk, who misused time-lapse photography and unfortunately deployed Coldplay’s “Midnight” shows that dissolving poverty is easier than exploring it.
“Three Songs for Benazir,” directed by Gulistan and Elizabeth Mirzaei, about a dying father in a refugee camp in Kabul who aspires to join the Afghan National Army, but others believe his place. in the fields of poppies. The poignant epilogue set four years later confirms a dire fate, while also hinting at a great unrealized feature that might have been.
final New York Times Op-Doc “Basketball Queen” directed by Ben Proudfoot, featuring Lusia Harris, who died in january. Up close, she recalls her career as a breakout basketball player, being the first woman to officially join an NBA team. Released before Harris died, the film now serves as a simple yet moving memorial, interspersing Harris’s recollections with clips of the main games and titles. BEN KENIGSBERG
Short film nominated for Oscar 2022: Live Action
Not rated. In English and some other languages, with subtitles. Running time: 2 hours 1 minute. In the theater.
Short film nominated for Oscar 2022: Animation
Not rated. In English and some other languages, with subtitles. Running time: 1 hour 37 minutes. In the theater.
Short film nominated for Oscar 2022: Documentary
Not rated. In English and some other languages, with subtitles. Running time: 2 hours 39 minutes. In the theater.
https://www.nytimes.com/2022/02/24/movies/oscar-nominated-short-films-review.html ‘Oscars Nominated Short Film 2022’ Review: Small Stories, Big Ideas