by Gary M. Kramer, Staff Writer

The five numbered Shorts Programs at the Sundance Film Festival featured a variety of live action, animated, and documentary films. Here are some highlights from this year’s programs.

Hoops, Hopes & Dreams
Directed by Glenn Kaino

This fabulous documentary short illustrates how basketball has the ability to unify people—specifically the Black community around political and social movements. Ambassador Andrew Young recounts seeing Dr. Martin Luther King Jr., play basketball—wearing a tie and in Florsheim shoes, no less—back in the 1960s. it prompted Young to become a “point guard” for civil rights. Animated footage shows how King played ball well enough to incite a movement. Likewise, Michael Strautmanis and Reggie Love talk about how Barack Obama’s game help him on the campaign trail. It is the commonality of the game, says interviewee Jemele Hill, that appeals to folks, indicating, “how you play sports is a character reveal.” Hoops, Hopes and Dreams emphasizes how these leaders used sports to win hearts and minds. The film is winning, too. 

Azi
Directed and Written by Montana Mann

Azi is a fantastic short, told with precision and economy and just enough ambiguity to make it sizzle. Azi, a (Dior Negeen Goodjohn) accompanies her best friend Morgan (Emma Filley) on a weekend trip with Morgan’s dad (Dan Thiel) and his new girlfriend Elizabeth (Breeda Wool). Azi scrutinizs Elizabeth perhaps out of loyalty to Morgan, perhaps because Azi is also an outsider. There may even be a hint of attraction. Writer/director Montana Mann ratchets up the tension when Azi has an awkward exchange with Elizabeth. It escalates into a game of payback and one-upmanship that leaves viewers to decide what is really going on between these two strangers. The visuals are outstanding; Mann frames each shot carefully—some, such as Azi looking upside down at Elizabeth are haunting —to reveal the psychology at work. Goodjohn and Wool are pitch perfect rivals. This short is a gem.

Full Month
Directed and Written by Ash Goh Hua

Full Month is a sensitive, absorbing drama about Jing (Tess Pang), a lesbian living in New York who returns home to Singapore for a family function. A title card informs: “In the Chinese tradition, mother and baby spend their first month in house rest. Only on the 30th day is the birth celebrated with the rest of the family, marking the beginning of the child’s life in the community.” Writer/director Ash Goa Hua captures the joys and tensions of Jing’s visit in observational scenes. Her mother (Doreen Toh) is worried about how Jing will answer questions about dating, prompting a fight. Her father (Goh Gim Choon) tries to keep the peace, and is sympathetic to Jing, while also hoping she can understand her mother’s attitudes about family and honor. His tender exchange with her is lovely. There are other precious moments, from a scene of Jing asking her mother if she can hold baby Juliet, to a fun interaction Jing has with her brother-in-law Tong (Timothy Wan) where they set off party poppers. Goh lets the story unfold with a gentle but assured hand, never overplaying the drama or forcing a big climatic moment. She also intercuts home movie images and clips of the Singapore National Anthem to provides an extra layer of meaning to the family and cultural dynamics. Tess Pang’s expressive performance conveys all of Jing’s conflicting emotions, which drives home the film’s messages about community and acceptance. 

B(l)ind the Sacrifice
Directed and Written by Nakhane

B(l)ind the Sacrifice is a mesmerizing, auspicious directorial debut by the South African singer/actor (The Wound, Two Eyes) Nakhane. Set in the African desert, a family prays around a campfire. The father (Treasure Nkosi) speaks reverently about God, while the mother (Nandi Nyembe) leads everyone in song, and tells a story about listening to God’s voice. However, their son (Sihle Mnqwazana) sneaks off to drink and is sick the next morning. His mother scolds him about sin and tells him to repent. She also encourages him to join his father to go worship; she and her son must obey the father—it is their duty. But there are tensions between father and son that come to light. B(l)ind the Sacrifice draws its power from this conflict, and Nakhane uses percussive music to evoke the discomfort and build suspense as a sacrifice needs to be made. Shot with an austerity that is appropriate for the subject matter—the firepit sequence is luminous—but it is the emotional authenticity that makes this short so potent. 

We’re Not Done Yet
Directed by Sofia Camargo and Joseph Longo
Written by Joseph Longo

This terrific mother/son drama derives some of its pleasures from watching writer, codirector (with Sofia Camargo), and costar Joseph Longo spar with his real-life mother, Barbara Sukowa. Spending a weekend at a beach house Alex (Longo) and his mom, Bettina (Sukowa), are constantly at odds with each other. She nags him to do better; he nags her not to do bad. When Bettina has an awkward encounter with a neighbor (Lauren Norvelle) and her new baby, Alex tries to de-escalate things only to make the situation worse. When Alex expresses his concerns about his mother keeping company with Doug (Danny Mastogiorgio), or finds an adoption application Bettina has started, she gets defensive causing a bigger rift. We’re Not Done Yet is wonderfully embarrassing and distressing in every scene which is why the film is so compelling. The issue is not will the characters ever reach the boiling point, but the inverse—will they ever reach détente? It is a nifty conceit, and both Longo and Sukowa are enjoyably stubborn and passive aggressive; their performances do feel lived in. Moreover, the friction between them (and others) is delicious because of what is not being said is as important as what is. One could see this fine short being fleshed out to feature length.

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