đánh giá oscar wc

From starving children to a Nazi concentration camp visit, the subjects may sound depressing, but the treatments offer uplift and inspiration.

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For decades, the three Oscar shorts prizes — live sầu action, animated & especially documentary — have confounded those who watch the awards. Shorts were all but impossible to lớn see & subject to lớn a different set of rules. That was until ShortsTV came along lớn distribute the nominees, but even then, at the qualification stage, virtually every other category had to lớn play theatrically, whereas the shorts didn’t, causing some khổng lồ question whether they even belonged in the Osoto telecast at all. And then the pandemic hit: In 20trăng tròn, hardly any features opened in cinemas, whereas short films enjoyed more exposure than they had previously, thanks to lớn the rapidly expanding number of streaming platforms that carried them — from Netflix lớn Paramount Plus to lớn outlets like The Guardian and The New York Times. Suddenly, the doc shorts category seems more accessible & relevant than ever.

When it comes lớn topicality, it’s hard khổng lồ beat Sophia Nahli Allison’s powerful 19-minute “A Love Song for Latasha,” which played the Tribeca & Sundance film festivals before the deaths of Breonna Taylor and George Floyd galvanized the Blaông xã Lives Matter movement. Now streaming on Netflix, the short revisits one of the catalyzing tragedies of the 1992 L.A. riots — the shooting of 15-year-old Latasha Harlins by a liquor store owner over a bottle of orange juice — through the eyes of her cousin Shinese & best friover Tybie O’Bard. Allison presents a sophisticated, semi-experimental visual essay, using VHS tracking effects to rewind audiences lớn the early ’90s. Her original approach interweaves emotional interviews, evocative reenactments & various artistic touches, including animation và Stung Brakhage-lượt thích abstractions. Most audiences are aware of what happened khổng lồ Harlins, but relatively few know her story. Allison’s poignant short brings the loss inlớn fresh focus.

A bracing eyewitness account of the Hong Kong protests of late 2019, Anders Hammer’s “Do Not Split” represents a courageous act of vérivấp ngã filmmaking, as the director embeds himself ahy vọng the crowds of activists fighting baông xã against Chinese control. The helmer alternates between interviews with young demonstrators — many of them women, all explaining themselves in English — & potentially dangerous maneuvers, as they infiltrate Chinese banks và set their ATMs on fire, or launch coordinated attacks on police forces, braving their way through clouds of tear gas. The movie delivers a front-line look at a resistance movement, although there’s more than one way lớn see these actions, much as Americans realized last year, when peaceful protests were characterized as riots. But the footage shown here is anything but peaceful, as students throw Molotov cocktails at cops. The 35-minute running time doesn’t seem adequate to contain this story, which could easily support a feature.

More typical of Osoto winners such as “Saving Face” và “Period. End of Sentence,” Skye Fitzgerald’s grueling 40-minute “Hunger Ward” asks audiences khổng lồ confront a devastating humanitarian crisis, as Saudi air strikes và blockades on Yemen leave countless children on the brink of starvation. This isn’t a crisis that gets much attention in the West, which no doubt explains Fitzgerald’s strategy of using suffering kids lớn make her case — and who aước ao us can look away when malnourished infants are dying before our eyes, or as devastated relatives react to lớn the news on camera? Seeking some sense of uplift, the film celebrates the work of two women, Aidomain authority Alsadeeq và nurse Mekki Mahdi, who are fighting khổng lồ save these collateral victims of an ongoing civil war, but it’s a lot for any audience to take.

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Fourth in ShortsTV’s release package, Anthony Giacchino’s “Colette” opens with the warning “Viewers may find the nội dung of this film distressing” (although the same can be said of the three shorts that preceded it). The Colette in question is a strong-willed 90-year-old Frenchwoman whose brother died in the Nazi concentration camp Mittelbau-Dora. All her life, she’s avoided visiting Germany, finally agreeing to vày so now at the suggestion of a young historian, Lucie Fouble, who accompanies her khổng lồ the town of Nordhausen. It’s a strange project in that this emotional trip seems to exist for the sake of documentation (indeed, the local mayor uses the opportunity to deliver a speech, which Colette brusquely cuts short, about how the Holocaust can never be allowed lớn repeat itself). Still, there’s something poignant about watching the younger generation swear khổng lồ keep alive the memories that Colette has tried so hard to lớn forget.

The feel-good cherry on top, “A Concerkhổng lồ Is a Conversation” can be viewed as the upbeat alternative khổng lồ the four brutal shorts that have come before. Produced by The New York Times, the film captures an inspirational exchange between two generations in a Blaông xã family, as jazz composer Kris Bowers (who did all the piano playing in “Green Book”) sits down with his grandfather, Horace Bowers. Decades earlier, Horace hitchhiked from Floridomain authority to California, Jyên Crow be damned; today, the 91-year-old shares stories of the racism and resistance he overcame khổng lồ make Kris’ music career possible. Kris (who co-directs with Ben Proudfoot) models his camera rig on Errol Morris’ “interrotron,” so that the two men can gaze directly inlớn the camera as they connect with one another. Kris calls his lathử nghiệm concerlớn “For a Younger Self,” though it may as well be dedicated lớn those whose sacrifices paved the way.

‘2021 Oscar-Nominated Short Films: Documentary’ Review: Seeking Transcendence in Tragedy

Reviewed online, Los Angeles, April 23, 2021. Running time: TK MIN.

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Production:A ShortsTV release. Producers: Carter Pilcher, Stephanie Charmail.Crew:With: Music By:

Chuyên mục: Kiến thức