The following is but a select few of about 64 shorts you'd come to expect from the Singapore selection:
by Tomer Eshed, Germany, 6:02 (From Shnit Programme Block 07)
Beneath this story lies the very human trait of judging someone by the very cliche cover of a book, but it is this adage that gets so strongly translated for the screen, boosted by the very photorealistic animation of the animals, and its comedic timing. There's little dialogue here, at least some semblance which you can make out from its deliberate murmurs, that deals with one's existential and identity crisis in the hunt for one's true soulmate.
Now You Know It Anyway (Nu ken je het toch al)
by Schravendeel Bastiaan, Netherlands, 2:38 (From Shnit Programme Block 09)
The Voorman Problem
by Mark Gill, United Kingdom, 12:16 (From Shnit Programme Block 05)
Well acted by the two men who bring a certain rivalry to the table, with disbelief and disdain, giving way to a neat little revelation toward the end, that makes one wonder if it is indeed the act of a god, or a demon, at play. Would love to see how this could have been developed into a longer film, given the investments in the art department, and plenty of promise yet to be developed fully, making this seem like a calling card to a much larger movie.
by Martin Rosete, Spain, 9:48 (From Shnit Programme Block 01)
Narrated by Feodor Atkine, each of these different narrative threads is wonderfully shot, with an eye for detail, adopting various creative camera angles that one may feel an overkill for a short film, but in no lesser terms showcasing the filmmaker's ambition to make this film a force to be reckoned with. Combining technical brilliance with an emotional core, the highlight is the portrayal of one's last few minutes struggling with the feeling of inevitable death, before the eventual euphoric release of joy when near impossible objectives are reached. It comes close to perfection in the encapsulation of how that virginal experience revealed much later gets approached, jittery feelings overcome, and conquered. Bliss.
by Claude Barras, Switzerland, 3:26 (From Shnit Programme Block 08)
It Was My City (Inja Shahreh Man Bood)
by Tina Pakravan, Iran, 8:48 (From Shnit Programme Block 08)
You'd be forgiven if you'd think this had something to do with social ills and challenges faced by a bunch of people, who are seen in phone booths, talking in animated fashion to an unknown person at the other end of the line, with regards to topics involving children, schools, and even fuel. For starters, you may even think that this film deals with the complaints of the callers, trying to get and make their attention known to a third party, in phone booths that looks quite dilapidated. What's more, there seems to be yet another person, probably waiting in line to use the phone, who interrupts at an opportune time.
Then there's where the film shows its brilliance, when the camera pans out to show us the horrors that surround these broken down communication infrastructure, a war zone of sorts, and these suddenly aren't your usual complainers and moaners, but people displaced and affected by fighting, who have to find some means to regroup and reclaim some semblance in their lives. And the landscape gets messier, with the introduction of military personnel and hardware, and the fighting getting closer. One key highlight is the continuous tracking shot from start to end, that captured the horrors of war and the everyday common folk that war actually impacts. Powerful, as it plays on our narrow views of things, before the bigger picture comes into play.
by Victor Carrey, Spain, 10:39 (From Shint Programme Block 02)