So the shorts that stick with me, or at least offer the most value to me, are non-traditional narratives that, with a few key exceptions, aren’t tenable at feature length.
But if it lasted longer than six minutes and forty-five seconds? I’m reminded of Diane Keaton’s quote from Manhattan: “I loved it when I was at Radcliffe, but I mean … all right …” Peter Kubelka’s “ Arnulf Rainer” is cinema in a pure subatomic higher-dimensional form _ and it’s absolutely perfect. Shorts tend to lend themselves to full-throated formalist experimentation a little bit better for me than at feature length.
#The big short movie critic reviews full
For the full thing, check out Criterion’s essential edition. Note that the clip above is just an excerpt. Slicing up eye balls, ha ha ha ho.Īs tempting as it is always is for me to go with Don Hertzfeldt’s “World of Tomorrow” (regardless of the question, really), I’m sticking with Chris Marker’s 1962 masterwork “La Jétee,” if only because it has always been my favorite short, and - no matter what I do to change things - it will always be my favorite short (if you’ve seen the movie, you’ll know what I mean). My favorite, and one I will forever enjoy more than anything else, is “Un Chien Andalou.” Since I first saw it during my film school orientation week and going on 20 years, I haven’t experienced a greater feeling of not knowing what the hell I’m watching and also knowing totally what I’m watching at the same time. The most exciting American indie filmmakers I can think of have so far been mostly working in short form: Zia Anger, Dustin Guy Defa, Gillian Horvat, and Frances Bodomo.Ĭhristopher Campbell Nonfics/Film School RejectsĪs one of the people who separates best from favorite, I’d like to first note that the best short film ever made is “Night and Fog.” But I’d feel weird saying it’s my favorite.
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