For 15 years Encounters has been flying the flag for short films. Held in the comforting environs of Watershed in Bristol, the festival not only manages to bring a large amount of new and exciting films for people to see but is an important base for the UK and International film industry, with a large number of delegates from across the world eager to discuss filmmaking. And, of course, sample the occasional free drink. Whilst the industry presence and events were lively and informative it was, as always, the films that – on the whole – managed to impress.
The packed UK competition threw up a few gems, even if the general theme across the films seemed to indicate a vein of darkness and depression. Whilst we are admittedly not exactly living in the happiest of times, it would be nice for some UK filmmakers to – well – lighten up and show that the world is not totally made of council estates and feral teenagers. Having said that, films such as Gardens With Red Roses (main picture) were extremely affecting. A damning indictment of the Thatcher era and the ‘greed is good’ mentality, the film follows two teenagers as they – seemingly – attempt to better themselves. With a black undercurrent and some dreamlike cinematography, it’s engaging and powerful work.
Sidney Turtlebaum
The same can also be said for Tristram Shapeero’s Sidney Turtlebaum, which sees Derek Jacobi give a towering performance as an aging conman/lothario. A meditation on growing old with a very sharp edge, this is Jacobi’s film all the way as he evokes both sympathy and anger as the titular character. Also powerful was Pictures, a film that I must admit that I approached with trepidation as the inclusion of Andrea Coor screamed ‘gimmick casting’. But she gave a surprisingly strong showing as a mother whose child is forever in and out of hospitals. Whilst the story and its denouement are slightly predictable, there’s enough conviction here to make this a compelling drama.
1000 Voices
On the documentary side, ID was a lovely 90 second piece about a girl exploring her identity through photographs. Poignant and perfectly pitched, it was very good idea that was executed beautifully. As was 1000 Voices, a tremendously affecting animated documentary about asylum seekers in the UK. Using the actual voices of those who have been subjected to some appalling treatment, it’s both amazingly thought provoking and stylishly done. After the generally dark tone, it was fun to see something such as Edward’s Turmoil, a really funny two-hander about a teenager who can’t handle the ‘F’ word. There is some really funny interplay between the central character and his foul mouthed grandfather, and it provided some welcome light relief.
La bohème
The International Competition provided a bit more variety with a number of excellent experimental films amongst the dramas and documentaries. These included the bright and breezy How They Dance, a really interesting piece following three different people and their dancing techniques. Werner Herzog’s La bohème is a typically strange yet compelling film that sets up a Puccini love duet alongside footage of the Mursi people of South Ethiopia. The juxtaposition between the imagery and music makes this oddly moving affair that has the surreal yet human quality that we have come to expect from the German filmmaker. Also moving is Mama, To Life! a lovely documentary about a 6o plus year old living with his mother, herself a survivor of the Holocaust. This is a paean to familial love and responsibility and celebrates the resilience of both protagonists in the face of adversity.
Every Day Is Not The Same
Onto fiction, Hanoi Warsaw was a well told story about a Vietnamese girl determined to enter Poland. Whilst the plight of immigrants is fast becoming something of a tired thing in shorts, there’s an energy and power here that holds the attention whilst some strong acting keeps everything rolling along. Martin Turk’s Every Day Is Not The Same was a variation on the theme of ‘interconnected live’ that is has become popular in cinema over the past few years. A number of disparate characters and points of view converge onto a single narrative point in a film that is engaging but never feels tricksy.
Shockwaves was one of my favourite films in the competition, with the story of a loud mouth talk radio DJ in a small Australian town delivering some highly effective tension and drama. Slickly shot, it’s reminiscent of the recently released feature Pontypool without the overt elements of horror. Finally, Lost Paradise was a beautifully simple affair about two lovers in a hotel room. Elegant and with an ending that is just stunning, the film was an excellent example of just how amazing short films can be when they are done properly.
The Cube Microplex, Bristol
Whilst Watershed was an almost perfect venue for the festival (cinemas, delegate lounge and bar. I mean, what more could you need?) it was good to see Encounters utilised other spaces during the festival, including The Cube Microplex where I caught Jack Stevenson Presents: Warped Visions of the Future. To put it simply, The Cube is ace. A non-profit making organisation, the cinema is run by a group of enthusiastic volunteers who put together a brilliantly eclectic programme of events and screenings. Hell, they even make their own cola.
Warped Visions of the Future was perfect for the venue, an esoteric collection of old films that aimed to predict the future and – often – managed to miss the mark quite a bit. Curated by Jack Stevenson – an American writer and collector of film prints – it included a wonderfully optimistic look at the family of the future (with the usual machines that would provide a perfectly balanced meal at the touch of a button – why couldn’t they predict rising crime rates and obesity, huh?). A strange drama starring a young James Cromwell and Orson Welles, Future Shock in an intriguing documentary based on the 70s novel of the same name. With a brilliantly put together programme in a fantastic setting, it showed the willingness of Encounters to experiment with different kinds and films and experiences.
Encounters reputation is well deserved but it’s ironic that its 15th year came in the days when the UK Film Council announced massive cuts. For many it cast a pall on proceedings, with the future of many film festivals and organisations in the UK under threat. It’s a shame as Encounters shows the importance that such events have for the film industry not only on national basis but to the international community as well. Giving audiences the chance to see new films and giving those in the industry a chance to network are the vital functions of a film festival, and Encounters does this with aplomb. One only has to look at some of the luminaries who have passed through the doors over the past few years (including Tom Harper whose debut feature Scouting For Boys was previewed at the festival) to see just how important Encounters has been. Let’s hope funders and sponsors continue to recognise the excellence of the festival and the – rare in the UK – opportunity it provides to celebrate short filmmaking and filmmakers in all their various guises.
For more information about the festival go to www.encounters-festival.org.uk
Laurence would like to thank all the crew at The Cube, Dan, Daniela, Jan, Kasia, Liz, Mark, Niclas, Rich, Sarah, Sophie, Vlad and Will for everything. A special thanks to Chris and Urszula for their hospitality.
