Tag: relationship

Tallinn 2022 Kids Animation Programme – part 3

Posted on by Jeremy Clarke

QUICK SNAP: LIVE FROM TALLINN

Self-contained fable Birth Of The Oases (Marion Jamault, France, 9 mins) is a near-perfect portrayal of a symbiotic relationship. The cold-blooded hilltop snake struggles to keep warm while the two-humped camel is constantly exhausted by the desert’s heat. They come to a mutually helpful agreement whereby the cold snake takes up residence on the camel’s humps. This warms up the snake and cools down the camel. After the camel dies from old age, the snake moves around the sand dunes – here designed to look like a never ending series of camels humps – to create first water and later full blown oases which, according to the armadillo revealed as the narrator at the very end, to this very day.

In the black and white classroom of the black and white world of The Boy And The Elephant (Sonia Gerbeaud, France, 7 mins), black and white kids taunt someone who is different – a boy with an elephant head who is coloured blue. One kid, though, takes an interest – a boy who is coloured red, and the two embark on a playground friendship which could be read as a gay relationship, a state threatened by the red boy’s need to conform and revert to fit in with the black and whites. Eventually, a black and white girl takes pity on the elephant head, accepts him and he is subsumed into the group.

Marea (Guilia Martinelli, Switzerland, 5 mins) is another self-contained fable about a family living on an island within an hermetically sealed dome.

Stop-frame marvel Laika & Nemo (Jan Gaderman/Sebastian Gadow, Germany, 15 mins), arguably my favourite film in the programme, again concerns an outsider – a boy who lives in a lighthouse who is regularly tormented by fellow pupils and local fishermen at the harbour for wearing deep sea diving gear. When an astronaut crashes his spaceship near the lighthouse, the two helmet-wearers bond which puts them in a good place for when one of those local fishermen drops a key into the harbour.

Last but not least, The Queen Of The Foxes (Marina Rosset, Switzerland, 9 mins) is a French tale about the saddest member of a group of foxes who is, perhaps for that reason, made their queen. The other foxes’ inability to write hampers their attempts at writing such a letter to cheer her up. Instead, they steal from the nearby town all the love letters people have never been brave enough to send, delivering one which results in the uniting of a happy human couple who write their own letter to the fox queen thanking her for their efforts, which finally does the trick. The foxes then deliver the other letters, and the town windows suddenly become full of lively couples, straight, gay, even a threesome.

Which goes to show that programmes of kids animation can be a lot dirtier than you might expect.

The third of three programmes of Kids Animation shorts plays in the Tallinn Black Nights Film Festival.

Scattered Night (Heuteojin Bam)

Posted on by Jeremy Clarke

Their dad Seung-won (Lim Hojun) hasn’t been around much recently. Then he and their mother Yoon-hee (Kim Hye-young) break it to their two kids Su-min (Moon Seung-a) and her slightly elder brother Jin-ho (Choi Jun-woo) that they’ve decided to split up and live apart. The question is, which of the two parents will either or both of the kids live with afterwards? Rather than fight over them, the parents leave it up to each of the kids to decide that for themselves.

Their mother is an ambitious teacher who pushes her students hard. Their father is much more relaxed aboutsuch things, so that’s one difference between the two right there. Jin-ho is studying with his mum at her school for his own exams, so it’s likely that he would move in with mum rather than dad. That just leaves Su-min, but she’s totally conflicted about which way to go.

If she lives with mum and elder brother, she has the advantage that she and her sibling are living under the same room. The two kids get along pretty well, so ther’s no reason why she wouldn’t want that. On the other hand, she likes dad a lot too. And she has problems understanding the fact that the relationship has broken down. Can’t they just get back together again?, she asks.

We never see Jin-ho that much outside the family unit (although we see him studying for exams with mum) but we see quite a bit of Su-min playing with Yu-chan, a boy of around her own age. Dad has given Jin-ho a drone for his birthday, but he’s so busy with exams that it’s Su-min who borrows it and plays with it.

After the overbearing Yu-chan takes the remote out of her hands to have a go then gets distracted and crashes and damages the drone, the understandably upset Jin-ho shows remarkable patience and forebearance to his sister, even going so far as reapiring the damaged drone so she can play with it again. He seems to be good at dealing with people and we suspect that he’s goig to be okay dealing with his parents’ break up.

Su-min, however, finds it all much more difficult. She’s very keen to go on a trip to Lake Park with the family if a bit miffed that her brother will stay behind to study. A family discussion goes in her favour, perhaps taking a little it too much advantage of Jin-ho’s good nature: the parents decree that whoever Su-min decides each of the two kids should live with, that’s the way it’ll be. She can see that her brother will likely end up with mum, but as for herself she finds it impossible to decide one way of the other.

All of which leads to a family trip in the car where she goes missing and parents and elder brother search for her. There’s no point in a spoiler to explain how it all works out – or doesn’t – but this is not really the sort of film where that’s a big deal – it’s a drama based around the characters, particularly the little girl, not a plot in need of resolution. Suffice to say, the film ends at a very interesting place which is utterly consistent with what it’s about.

The shooting style is deceptively simple – a handheld camera following characters around their home or in odd locations like the school, the car, the park, or playing in the nearby streets. It unfolds at a gentle pace yet you can feel the issue of the impending separation pressing in on Su-min and affecting her young life. In the end, it’s a striking portrait of a young girl dealing with issues she’d rather she didn’t have to face at all. It played prfectly well to an audience of adults as the closing LKFF film, but this is also a film that some children might well enjoy with their parents too – although it’s a long way from being a children’s film as such, confronting as it does with some quite tough, grown up relationship issues.

Scattered Night plays in LKFF, The London Korean Film Festival.

Thursday, November 14th, 19.00, Regent Street Cinema, London – book here.

Tuesday, November 19th, 20.20, Glasgow Film Theatre, Glasgow – book here.

Thursday, November 21st, 18.20, Queen’s Film Theatre, Belfast – book here.

Sunday, November 24th, 13.15, Broadway Cinema, Nottingham – book here.

Watch a clip below:

River’s Edge (Ribazu Ejji)

Posted on by Jeremy Clarke

A Tokyo high school. Haruna Wakakusa (Fumi Nikaido) is seeing Kannonzaki (Shuhei Uesugi) but not sleeping with him. So behind her back Kannonzaki looks around for someone more compliant and finds Rumi Koyama (Shiori Doi) who, with the aid of a line of coke or two, is as enthusiastic about having sex as he is.

Kannonzaki is also a bully who frequently targets the quiet Ichiro Yamada (Ryo Yoshizara) with whom Haruna strikes up a friendship. Despite the fact of his dating Kanna Tajima (Aoi Morikawa), more as a cover than anything else, Ichiro is actually gay.

Ichiro is full of surprises. He’s raising a couple of kittens in a cardboard box outside a local building and deigns to show Haruna his “hidden treasure”, a skeletal corpse lying in the reeds near the river that runs through the city. He’s only shared this secret with one other person, Kozue Yoshikawa (Sumire), who takes time off from school as a working child model for photo shoots. She’s also a binge eater who throws up after overeating, thus maintaining her figure.

When a rumour spreads that there may be money buried in the reeds, Ichiro enlists Haruna and Kozue to help him bury the corpse so that none of school’s treasure hunters will discover it.

As much as the movie is shown from any one character’s point of view, it’s Haruna’s. But it’s a film punctuated by character vox pops, as if it were a documentary, wherein a character is responding to questions both trivial and large. The large questions leave most of the characters with nothing to say.

There are also hints of plot to come, as for example with Haruna’s explaining in an early vox pop why she saved her teddy bear from a fire, an event which doesn’t occur until the closing minutes, although then we only see its aftermath and that only briefly. These little interviews to camera appear to have been conducted long after the events depicted have taken place.

Although it contains graphic scenes of teen sex as well as occasional bursts of violence, this is primarily a drama about teenagers relating to one another in a world where adults, while they impinge on it, are outsiders and never more than minor characters. It’s based on a manga by Kyoko Okazaki.

The characters remain fascinating throughout and if a variety of relationships straight and gay are to be found both within and on the fringes of the proceedings, at its core this concerns a deep friendship between a straight girl and a gay boy. There’s something really refreshing about that.

River’s Edge played in the London East Asia Film Festival (LEAFF) in 2018, when this piece was originally written. Available on Netflix in March. Watch the film trailer (Japanese, no subtitles) below:

Mad World (Yat Nim Mou Ming)

Posted on by Jeremy Clarke

Lorry driver Wong (Eric Tsang) lives in a cramped apartment block in Hong Kong. He collects his estranged adult son Tung (Shawn Yue) from the hospital. Tung is bipolar and the doctors say there is nothing more they can do in order to help him. He must return home.

But “home” is less simple than it sounds. His mum (Elaine Jin) was bipolar, too. Dad walked out on the family years earlier. Tung resents him for it just as he resents his brother, his mother’s favorite, who impressed her by doing well in school and getting himself a lucrative job in the US where he now lives. As he pointed out to his mother while she was still alive, it was Tung – and not his idolised brother – who stayed behind to look after her. She was incontinent and he had to help her wash and shower regularly. In the end, that didn’t work out because following a heated argument between the two of them, she had a fatal accident in the shower – an incident which keeps coming back to torment Tung.

Then there’s the matter of Tung’s former girlfriend Jenny (Charmaine Fong) who left him the night of their engagement when he unexpectedly and violently turned on her. He wants to find her and get back together. But that may not prove possible. When Tung tracks her down, Jenny explains that although she’s paid her share of their mortgage, if he can’t pay his share she stands to lose everything. She’s also managed to pay off the debts he got the couple into which she only discovered after they split up. Determined to make the relationship work, he accompanies her to the Christian church service she now attends where she goes up to the front and explains to the congregation how he destroyed her life and she hates him, but God will help her to love him. Not exactly the best basis to build a relationship, Christian or otherwise.

Tung’s one friendship which seems to work is with the trusting 10-year-old (Ivan Chan), who lives with his mother next door to Tung and his dad. She doesn’t want her boy to get his hands dirty since she thinks manual work is beneath him, but unbeknownst to her, he loves gardening. Tung helps him grow plants on the roof – until the boy’s mother discovers he’s bipolar and bans him from seeing Tung. But the pair secretly communicate through the paper thin walls anyway.

The script, co-written with Florence Chan, really gets under the skin of those living with bipolar disorder. Director Wong gets terrific performances out of his cast too, particularly Tsang and Yue. Hong Kong cinema is not generally noted for sharp movies about social issues, but this is one of those films that bucks that trend. It’s pretty obvious that none of the characters here, from Tung himself through to the housing block residents around him, are coping well with Tung’s bipolar condition. There are lots of complications and no real solutions offered except the implicit suggestion that Hong Kong society has failed to deal with this difficult issue and it might be a really good idea if people were at least to start openly talking about it. Clearly this film is a welcome nod in that direction. Wong and his team are to be congratulated on putting this extremely dirty and largely taboo issue out there in such a compelling way.

Mad World played in Creative Visions: Hong Kong Cinema 1997 – 2017, which took place in London between November 17th and 19th. This is a filthy genius movie worth keeping an eye on, and we will let you know about any further opportunities to watch it. Just follow us on Twitter!