Reviews for the “2007 International Student Film Festival”

These films were seen Friday, November 17, 2007 between noon and 6pm.

By: Lara Berman

Dramas:

Title: I LOVE YOU MUM

Directed by: David Ockenden

Aussie student director, David Ockenden, tackled one of life’s most excruciating situations: the question of euthanizing the terminally ill. The film is led by a stereotypically, tough nurse whose tight-lipped expressions and fiercely drawn hair leave her face looking indomitably stern and enhance the viewers confusion as to whether this woman is an angel of mercy or a free menace playing god. Big questions are raised, but with the exception of some overacting here and there, the film works—the subject matter is handled delicately and gives the viewers a peak at both sides of the mortal coin.

Title: THE WHITE ROOM

Directed by: Carsten Kurpanek

What does purgatory look like? Well, according to director Carsten Kurpanek, it may be a white room. Two men synthesize their deaths and sort out a love triangle’s devastating consequences in this minimalist film. Standing out most was Kurpanek’s use of perspective in the space. Clever angles and creative film techniques allowed him to make a blank room seem to extend infinitely in all directions, mystifying viewers as they watched characters exit into endlessness.

Title: HORSES IN THE SKY

Directed by: Chris Hanke

A sophomore at Santa Monica Community College, Chris Hanke successful stars in and directs a romantic, artsy, bohemian flick that looks as though it could easily have been plucked from the archives of the 1970s. This hippie film takes advantage of beautiful landscapes and examines a young man’s search to rediscover love after terrible tragedy. Subtle and sincere acting allow this hippie movie to get away with moments of PSA-like moralizing, but overall serves to show that “people sometimes need a catalyst to jump out of a funk,” as Hanke says.

Title: FOUND

Directed by: Tiffany Taira

Do we lead life or does life lead us? This is the question raised by young director Tiffany Taira in her film, “Found” as an everyday occurrence of discovering  a lost item on the street catalyzes a life-changing event. Flashbacks hauntingly guide a young man to remember, grieve and finally, find an important loss—his family. Though it occasionally feels confused, Taira’s choice of clues was good and does not reveal too much too soon.

Title: SOMEWHERE IN THE CITY

Directed by: Ramsey Denison

“Change is hard” is a sentiment shared by many. But, young director Ramsey Denison explores the disappointment and frustration felt by those who dedicate their lives to helping others. The story revolves around a rehabilitated homeless man seeking to help others in the position he was once in, and coming to the tough realization that one can only help another if they also want to help themselves. Denison’s, sometimes funny, well-handled film encourages viewers to see people beyond their pasts or current situations, but as a whole person, merely living one moment in a greater story.

Title: SEVEN DAYS

Directed by: Tristan Tuckfield

A young girl’s coming of age story leads director Tristan Tuckfield’s film, “Seven Days,” in which mysterious abrasions and their frightful origins cause a young girl to confront her mortality. Though lashing out at friends and family, the main character soothes herself from the HIV scare by working as a documentarian, covering a garden threatened by destruction. The analogy does not hit you over the head, but adds a bit of color, personality and artistry to what might otherwise be a typical story of an irresponsible, angst-ridden teenager.

Title: EARLY SUNDAY MORNING

Directed by: Ong Caho Hong

Walls can talk in Ong Caho Hong’s film, “Early Sunday Morning” as a woman confronts the memories hidden in the empty rooms of a house. The story has mature themes, showing the stress and strain of caring for an aging parent and coping with a partner’s seemingly, self-involved behavior. Yet, the film has some problems. The aging mother’s portrayal seems false and the conclusion feels abrupt and incomplete. Still, moments of hopefulness appear allowing the viewer to postulate that the world does lift from the woman’s shoulders eventually.

Title: MY FATHER’S CHINESE WIFE

Directed by: Franklin Petersen

A narrator’s strong, determined voice leads the way. A great open, well-written story and convincing cast then take the reins; and artfully-organized flashbacks give context and meaning to ordinary items like wallpaper and pianos. The story introduces us to two women dealing with their abusive father’s second marriage to a mail-order bride. Young director, Franklin Petersen created a human piece with endearing characters that encourage viewers to share the journey of these sisters as they summon the courage to confront their father about his quick temper, both for themselves and their dead mother.

Title: NOTHING BUT THE BEST

Directed by: Roger Ramer

A father tries to figure out his role in his young daughter’s life after a new step-father figure threatens his sense of contribution. But, his fears are ultimately unfounded as we learn that the father’s most important contributions are not measured in dollars and cents, but in his ability to play, teach, support and inspire. The cast pulls off a realistic portrayal that by less skilled actors or a less attentive director might have reeked of Velveeta.

Title: THE OLD SON

Directed by: Jong Hwang

A mortal man confronts aging and his family in this alternate world where immortality is the norm. The film’s gentle pace at times verges on sluggish, but gives the audience time to reflect on the film’s application to our own society, highlighting our obsession with youth, our fear of change and difference and our stubbornness to consider others until affected personally.

Foreign Films:

Title: ABAJEE

Directed by: Maureen Bharoocha

A young boy plays with fire as he takes his beloved pet rooster to participate in a cock fight in this foreign film set in Pakistan. Based on a true story, the young boy morosely returns home, fearing his father’s reaction to his behavior, but the film twists unexpectedly. “I like the idea that the father doesn’t want him to go through the experience by himself,” director Maureen Bharoocha explained. The young director successfully filmed the movie herself, with only the help of her brother, and flew to Pakistan to complete the project without ever having been to the country before, without knowing the language or resources, and without even having a set cast. “I like cross cultural stories,” Bharoocha simply said. With good use of natural sound, colorful scenery and realistic portrayals, the film manages to teach lessons about life and pride and draws viewers in despite subtitles and cultural differences.

Title: MILAN

Directed by: Michaela Kazele

Wartime Yugoslavia sets the scene for this film about a young boy’s adventures as he naively navigates his way through war-time peril in the back woods of rural Europe while searching for his missing brother. Playful and endearing performances help the viewer feel close to the characters early on and a strong story illustrates several themes: life’s preciousness; luck’s seemingly arbitrary presence or absence and the devastating impact of war on civilians. Though the viewer after enjoying these characters longs for a happy ending, director Michaela Kazele has instead brought an honest look at the inadvertent victims of war and life.  

Title: PARAGRAPH 15

Directed by: Esad Ekinovic, Mirza Ekinovic, Jannik Tai Mosholt

A talented cast pulls off the story of a gifted professor and dedicated grandfather’s search to reunite with his orphaned granddaughter after their wartime separation in Sarajevo.  The wise man’s undying love for his only remaining family and steadfast determination to do whatever it takes to reconnect with her makes the viewer root for this unlikely hero. Humiliating lengths are taken, making the ending even more heartbreaking, but the film does effectively illustrate that there are many brave men during wartime who never receive plaques nor even succeed.