BISFF2022 Reboot NOVA Competition Award
Gabriel Allard Gagnon
In this film, modern expressions are given to show traditional life. A snowy place and the cold weather, the lively electronic music, as well as some absurd scenes with dreams intruding into real life, all of these reflect that the director perfectly expresses the theme of this film in terms of form and content, that is, the torture and struggling between traditional and modern life of a young man living in a remote village, and the conflicts between two generations. In the end, family affection and love dissolve it, which makes people feel warm in the freezing weather. (Liu Min)
用幽默的手法描写了母女间短时间内无法解决的问题。表演与环境音的相融，带我们进入了母女之间共同无法忘记的永恒时刻。（大塚龙治 Ryuji Otsuka）
The director in a humorous way describes the problems that cannot be solved in a short time between mother and daughter. The blending of performance and ambient sound takes us into a timeless moment that mother and daughter can't forget. (Ryuji Otsuka)
Simon Maria Kubiena
In the deep blue twilight, calm and moving courage pervades the work. The care for pain is transformed into unsettling details, physical labour, choice and confrontational gestures. The director portrays the boy's journey toward himself and broader life through sensitive observation and light expression. (Zheng Lu Xinyuan)
刘敏 Liu Min
I personally think the films selected are all high-quality, but some have received relatively low scores from me. I have to say they are all good films, however, as a judge, I prefer those short films with some unique features in terms of lens language, or depth of content, instead of giving high scores just because it's not bad overall. For example, if a film gets a high score from others but a relatively low score from me, it doesn't mean it's bad in my mind. I just expect to see more innovation in film language. I will give relatively lower scores to films that are conventionally as good as the directors' other films without any innovation. (Liu Min)
大塚龙治 Ryuji Otsuka
I focus on the following points: One is the actors’ performance. Since there are a lot of young actors in this unit, how the director directs their performance is particularly difficult; Next one is the ideas of the film. Technically, I think these films are about the same level, but the directors' points of view are different. I will see how the director considers society and the opinions of the characters in the film; The last one is possibility. Some of the directors are still young and there will be some imperfections, but I will pay close attention to the power and possibility. (Ryuji Otsuka)
郑陆心源 Zheng Lu Xinyuan
I would like to see what spirit the work is celebrating. I know many films are very complete. So what I'm more interested in seeing is firstly how much confidence this director has in expressing himself or herself, even if his or her story may not be easily understood; and secondly whether the visual language the author is experimenting with gives me a sense of danger, or in fact the courage. (Zheng Lu Xinyuan)
刘敏 Liu Min
As a film critic-journalist who has participated in and reported on international film festivals for many years, I can say with great seriousness and pleasure that BISFF's selection of films is worthy of the word "international" in terms of region and quality. Since the themes of youth and growth are often explored during the early stage of young directors' film careers, the films produced with their sentiments are much more sincere than other themes. I really enjoy watching those films, for there's a kind of surprise to discover young directors from different countries telling stories about youthful angst in different cultures, and from the films, I can get their dedication and efforts.
The requirements for the narrative structure and character portrayal of short films are completely different from those of full-length films. Actually, I was surprised to see several Chinese films that attempted to narrate in different styles and camera languages. In Hold on Little Shark, both the director's smooth shots that contain a lot of information, and the convincing character's performance, left a deep impression on me. I believe this director has sufficient directing and control skills to produce more good films in the future. From the aspect of content, I found that the overall thinking of Chinese directors is more realistic, so fully using imagination to make films with stronger personal styles can be a direction for them to strive to. Of course, the uniqueness and the personal style of the shots are not the only absolute standards for an excellent film. Making things simple, or in other words, using the simplest camera language to capture the subtleties of human nature and explore the precise expression that goes deep into the mind of humans, can also create masterpieces, and it may even be more difficult. (Liu Min)
大塚龙治 Ryuji Otsuka
Since I am in Japan, it is a pity that I can’t feel the atmosphere of the film festival. This unit is set with reference to the Berlin Film Festival's generation, with a selection of youth-themed works. I think it's good for young people to make stories that are close to their age, and then to see young people through these films. When the directors grow up, they may lose the feeling of youth, have new feelings, and gradually become mature, so I am delighted to see youth-themed films from young directors.
About one-third of the films in this unit are in the style of the European Film Academy system. But when I look at it as a whole, I tend to focus on films that are more independent or individual and not in the system. Another key point is how to choose and present the actors. These films generally are well cast. With the right actors, it's like you've got 60% of the story, but you still have to think more about how to tell the story with the right actors.
As for the differences between Chinese films and international ones, I think Chinese films, such as Hold on Little Shark, Southern Afternoon and Summer Skeletons, are very distinctive and have detailed characters. In these three films, you can feel the background of the directors, where they were born and grew up, and you can also see their life experience. I think this is a feature of Chinese movies. But European films are a little bit vague, and it’s hard to feel where the director's origin is. In my impression, this feature of Chinese films is derived from Chinese independent films, which is an obvious feature. In fact, directors grasp this feature in the shooting and creation, and then spread it to the world. (Ryuji Otsuka)
郑陆心源 Zheng Lu Xinyuan
短片是一个特别自由的形式，所以我觉得每次看短片都很有意思。短片也是很多作者刚开始的时候可以有条件创作的，大家在这个阶段基本上是have nothing to lose，即使有些作品看起来不太成熟，但可以看到一些刚开始的锋芒。就是在有限的表达情境当中，到底什么对你来说是最重要的。
像《The Zoo》这样的片子，是在国内学院派的路线上，也许挺多人可以做出来。《Blue Noise》属于欧洲某种学院派，可能在欧洲看起来也已经相对常见了，但让很多国内的创作者看到、明白可以如此轻盈地讲述，保留这种自信，我觉得是很重要的。
Short films are a particularly free form of filmmaking. I find it interesting every time I watch them. It’s easy for many new directors to get started since they have nothing to lose at the initial stage. Though some of their works seem less mature, there are still some shining points. It’s important for directors to know what to express in a limited context.
I think the quality of Chinese films as a whole has improved significantly, but compared with those in Europe or America, there is still room for improvement. Short films do seem to be a product of the Independent Film era. Some are raw, some utilitarian. Some may be prepared for feature films or something like that. There are still some differences on the whole. Maybe it is because we haven’t formed a good community for creation. Nowadays, film festivals are becoming less and less common, unlike in the old days of independent cinema, when we could always get together and have an independent film context to discuss. Academism has its own context. They can communicate with each other and lay a more solid foundation. Now the Chinese film industry is not optimistic. I’m sad about that. But I’m still happy to see a number of people making short films.
The Zoo belongs to domestic academism. Maybe quite a few people can make it. Blue Noise belongs to some kind of European academism, which may look relatively common in Europe. But it's important for many domestic creators to see and understand that it can be told so lightly and retain that confidence.
I think it’s also because of their different living conditions. For example, the content of many Chinese short films is still focused on the plight of small-town swot, the suffering of the underclass, or rather a more romanticized misery, a romanticized youth. Of course, these are different from the so-called youth films on the market. But can we talk about something lightly that belongs to this age group, which may not matter when we grow up but is very important at this moment? We need to give the young creators the confidence to express what they believe most at the moment. Such courage to express is very important. (Zheng Lu Xinyuan)
translators翻译：季盈杰 Ji Yingjie、赵诗佳 Zhao Shijia、洪承熙Hong Chengxi
press-correctors校对：赵诗佳 Zhao Shijia、Yuchen Lu