Showing posts with label Adelyne Wairimu. Show all posts
Showing posts with label Adelyne Wairimu. Show all posts

Friday, February 9, 2018

Little films, big topics

2018 Oscar Shorts (2017) • View trailer 
Four stars. Not rated, with some of the live-action entries probably too intense for children

By Derrick Bang • Originally published in The Davis Enterprise, 2.9.18

The live-action Academy Award-nominated short subjects are an ideal bellwether of national and international anxiety, and this year’s crop is no exception.

Hollywood responds slowly to social angst and hot-button political topics; feature films can’t help their lengthy gestation period. Short subjects, on the other hand, can be planned, produced and released quickly enough to tap into current events.

Three of this year’s five nominees make it clear that violence — particularly racial and religious violence — remains a subject of deep concern to filmmakers.

The animated nominees, as also often is the case, offer the relief of gentle humor.

American writer/director Kevin Wilson Jr.’s My Nephew Emmett, the stand-out live-action entry, dramatizes the dreadful incident that took place in Money, Miss., at 2:30 a.m. Aug. 28, 1955, when 14-year-old Emmett Till was hauled out of bed by brutal white racists. The 20-minute film is anchored by L.B. Williams’ dignified starring performance as Mose Wright, the 64-year-old sharecropper and preacher forced to watch, helplessly, as his nephew was driven away.

Wilson relates the story economically, deftly sketching the loving relationship between Mose and his wife Elizabeth (Jasmine Guy), and their delight over hosting Chicago-based Emmett (Joshua Wright) for a visit. Laura Valladao’s cinematography is terrific; Mose’s early evening trek to a water pump is framed beautifully against the setting sun.

The script is subtle, with just enough foreshadowing to alert savvy viewers — even those unfamiliar with history — about what is to come.

The atmosphere of nervous tension morphs rapidly into full-blown terror during a savage climax, after which Wilson cuts to archival footage of the actual Mose Wright, while he begins to recount what happened that night (a clip taken from the PBS documentary Eyes on the Prize, and readily available online).