Parallax Film Festival is a free independent festival which takes place on Saturday, 12th and Sunday 13th, November at the Collection in Lincoln. Follow @ParallaxFest or visit parallaxfest.com for more information and to book tickets.
Never After is a subversive and captivating tale about a young woman’s inability to escape her past romantic failures, yet manages to channel the trauma into a memoir bound for success. We understand the character’s past as we see glimpses of it with the character replaced by her 10 year old self who dons a princess outfit and a tiara.
It’s rather unique in how it goes about telling its story and chronology, and at the same time, it works very well. I must admit that it took two viewings for me to be fully in sync with what the short just did, as it is a comprehensive character exploration, especially when taking in the meaning of the smart finale. Overall, Never After is a worthy watch and not a short to miss at the Parallax Festival.
Never After will be screened on Saturday evening.
Eva is an extremely intriguing short film of the variety that you’re hoping to see at Parallax. It’s bold, challenging and unafraid to confront sexuality and gender fluidity as the main themes of the piece. It follows a shy young man whose first sexual encounter is with a transgender prostitute and it goes in a direction that neither of them are expecting.
It might instantly strike you as something out of a Pedro Almodóvar film, and it may come as no surprise that this film’s director, Florent Médina, cites him as a direct influence on his work. Eva ends up as a subtle work where the main character arc is concerned with the exploration of sexuality outside of heterosexual desires. It may be considered abrupt or too concise, but I believe that the character change is very distinctive, and it goes about its subject matter both tastefully and not in a preachy manner.
Eva will be screened on Saturday evening.
Tadareru/Becomes Sore is a short film melodrama about a marriage which becomes increasingly fractured when the wife’s sister comes to stay with them for a few days. Thematically, it’s easily distinguishable from the get-go as concerned with familial conflict. The director, Keishi Suenaga, said that he sees the film as about an ‘intense clash of female karma where human obsession is depicted and transcends relationships into gender binaries’. That is a fascinating analysis into what is a great short film.
It’s barebones, lowkey and dialogue driven. The relationships between the three characters is communicated very well across the 17 minute run time. It fully understands its scope and that a short film often works best when it’s a pivotal moment in character’s lives, rather than telling a long, time-jumping story. It doesn’t need feature length context to work, it thrives off of its format. The script is tight, the acting is suitably naturalistic and it makes for an engaging watch. If you’re a fan of Mizoguchi and Ozu, this short is not one to miss.
Tadareru/Becomes Sore will be screened on Saturday evening.
By Luke Compton