The 36th annual New Orleans Film Festival’s Narrative Shorts collection titled “Muddy Waters” displayed six short films on Oct. 25 that navigate the duality between the calm and the chaos persistent within human relationships. Each highlighted what is realistic versus what is heightened by the many lenses of human emotions.
The short films were all 15 to 20 minutes long, and despite the short runtimes, they left me with a whirlwind of thoughts that could leave me pondering for a lifetime. From dialogue to camera shots to symbolism, they all offered worthwhile aspects to analyze and dissect in the film medium.
Cherry-Colored Funk
Directed by Chelsie Pennello, the first short film centers around a man, Roberto, and his confrontations with various people he has wronged on the opening day of his Italian ice business. As the film grows more intense with yelling and the increasing loudness of techno-like music, the audience gets a taste of the reality behind the pursuit of the American dream.
The most prominent directing characteristic is the use of close-up shots. Throughout the film, the camera picks up extreme details on the actors’ faces because of its proximity to the subject, and in doing so, it leaves no room for error in the interpretation of the many emotions felt. While anger is the recurring theme, viewers can see the disappointment, confusion, exhaustion and even joy within the characters.
A CCTV’s glow is not the only thing reflected off Roberto’s face. Rather, it is also the distinction of what he has done to get into his position. In dissing other Italian ice businesses, scamming business partners and even changing his full name, his dealings take a toll on his spirit. However, it is clear his love for Italian ice is fueled by the nostalgic joy of childhood and the spread of it.
★ ★ ★ ☆ ☆
Hiawatha
Rachel B. Joyce’s “Hiawatha” follows two lovers, Claire and Robbie, navigating the daunting end of their 20-year-long love affair when Robbie plans to sell his grandma’s house. Using that house as their getaway home since high school, the couple must come to a conclusion about whether their love stems from memories or if it has already slipped beneath the cracks of fantasy.
The combination of realistic dialogue and a lack of background music emphasizes the naturality of human interactions and captures the true human experience of uncertainty and doubt within ourselves. The turbulence of life is not coated with exaggerated dialogue or upbeat music, but is raw because of countless experiences and even a hint of cringe.
The film ends with Claire getting cut off in the middle of a sentence, adding on to the theme of reality. Most of the time, life does not wait for a satisfying conclusion; it stops you in your tracks, interrupts your way of life and forces you to change course.
★ ★ ★ ☆ ☆
Learning to Eat Cake
“Learning to Eat Cake” focuses on a woman at her birthday party where she is retelling the seemingly humorous events of a date. However, as the true events are shown through flashbacks, it becomes clear how the woman changes the details to hide the truth of the strangeness and uncomfortableness of the night.
Juliette Strangio’s film deals with the harsh truth of having to lie to your friends to downplay odd experiences in order to avoid difficult conversations. On her date, the woman undergoes instances of discomfort and coercion, such as the pushiness of her male companion and eating sweet desserts even though she is diabetic. It conveys relatability to the audience and an understanding of how people go to greater lengths to be appreciated in a public setting.
★ ★ ★ ☆ ☆
The Incredible Sensational Fiancée of Sèyí Àjàyí
Abessi Akhamie’s tale of deceit and redemption revolves around Dr. Constance Moumie’s discovery of her fiancé of eight years getting engaged to another woman. Wanting revenge, she seeks to humiliate him as he did to her with the help of her friend. Once she executes her revenge plan, she is left with a greater understanding of her standards in life.
Bathed in vibrant colors and splashes of humor, the film stands out with its radiant, intricate costume design. The multiple dresses and suits covered in pink, the gold detailing in Dr. Moumie’s dress and her friend’s top and the eye-catching head pieces stand with their own characteristics because of the great attention to detail.
★ ★ ★ ☆ ☆
The Smoker
Alexa Economacos’ “The Smoker” follows a friend group’s Greek island vacation after their college graduation. With a focus on a woman in the group, Celeste, the film follows her uncertainty with her love life as well as her future when she becomes focused on the presence of a mysterious, local woman.
The film encapsulates what it is like to be disconnected from social pressure to find a lover, whether it is on vacation or back at home. It paints a picture of how when you’re on vacation, you exist in a whole other world, free of responsibilities; however, it also shows how life will not wait for you once you’re back, meaning you cannot always become lost in the waves.
Seeing the mysterious woman swimming toward the film’s end, Celeste comes to a realization about how she does not need to conform to a certain way of life when she is only just beginning to live it. The final shot is her jumping into the water with the woman.
★ ★ ★ ☆ ☆
There’s a Devil Inside Me
Directed by Karina Lomelin Ripper, the final film of the collection focuses on a teen girl’s journey within Catholic confirmation. After class and while waiting for her mother’s arrival, the teen dives into mischief and nonsense when she tries on a nun’s habit. The mischief quickly spirals when she gets her hands on the church’s offering basket.
While the film focuses on the confusion of religion and a bond between two sisters, the use of lights and shadows stood out to me the most. The shadow of a tree on a door, a cross’ shadow on the girl and a nightlight’s shadow on the little sister’s face all play a role in the characterization of the church and the two sisters.
