Oscars 2017: Thoughts on the Animated Shorts
There is no doubt that the Oscars are the biggest film awards ceremony of the year, that time where the vast majority of the movie industry is treated to a spectacle of glossy advertisements for elaborate dresses and overpriced jewellery. In amongst the maelstrom of glitter and the flash of paparazzi bulbs the “craft” categories are also honoured. Although animation exists outside of the world of the Oscars the Academy shine a spotlight on the handful deemed worthy enough to get a slither of the attention.
Comparing the nominees to the films exciting at international animation festivals this year the academy seem somewhat removed from the consensus that these festivals agree on and so this years nominees seem to belong to a dated past that celebrates North America (all the films this year were created in the USA or Canada) or still views well rendered CG as an accomplishment rather than a standard, which is weird for an award that has a supposed purpose to congratulate the advancement of the art form. Though to the credit of the academy they have nominated a VR short and short funded by a video on demand platform, so it would seem the future is being recognised in terms of the way films are presented.
With the worlds biggest award ceremony looming and short animation being thrust once more, blinking into the limelight I thought I’d give my view on the films in the running.
Blind Vaysha
Dir. Theodore Ushev
Alongside Robert Valley’s contribution the NFB provide this years nominee list with the one of only two films not to have a Disney lineage. Blind Vaysha offers a concept that influences the viewers experience and a story that stays with the audience after the film has ended.
Vaysha isn’t blind, far from it, she has a bizarre condition that makes her see the past out of one eye and the future out of another, making her interactions fraught with confusion. Theodore Ushev is not a man bound by a singular visual style but he weaves the films concept through a colourful and vibrant woodcut style which is close to his film Gloria Victoria, though less abstract. Keeping the camera relatively still allows the audience time to enjoy the technique.
Films like this offer a glimmer of promise to the selection, almost legitimising the awards and casting a wider net than the CG flavoured standard. Ushev’s style coupled with the perplexing narrative make for a film that stands out from the rest in this category. If the academy selected more films in this league it would would not only give the proceedings a bit more variety but also demonstrate a better understanding of animation and make the Oscars a fairer representative of the art form.
Borrowed Time
Dirs. Andrew Coats and Lou Hamou-Lhad
The film has been created and produced by ex-Pixar animators Andrew Coats and Lou Hamou-Lhad and has had a decent run on the festival circuit which it’s shimmering array of laureates testifies. The story about a man coming to terms with his past indiscretions make for a powerful story of guilt. The setting of this film adds to the spectacle as this is a film placed squarely in its genre. The action flashbacks and character animation are to be applauded as there is a potent mixture of the excitement of a chase, the devastation of loss and a real cliff hanger finale.
As an animation Borrowed Time it is incredibly well accomplished, but as an Academy Award nominated animation it delivers nothing that hasn’t been delivered before in this category, the story, whilst thrilling, sticks very close to its genre. It may well be celebrated because two Pixar alumni are making a film dealing with suicide, but this demonstrates a problem with the Academy and their belief that the standard bearers for animation are the big studios and variations on their general output are ground breaking. This is not the case. As well crafted and as delightful as films following the big studio formula are, they rarely advance the artform or offer anything beyond a moments delight. This criticism is not aimed at Borrowed Time, a sincere work of love from a talented team, but at the academy. Whilst Borrowed Time deals with dark issues it is just one film out of hundreds that has done so in the past year. Why the academy hasn’t explored beyond the Hollywood studio bubble for films to add some variety to the nominees is rather frustrating.
Don’t let my disgruntled rant against the faceless academy detract from the work of Andrew Coats and Lou Hamou-Lhad, their film is already a success, with legions of fans online singing its praises.
Pear Cider and Cigarettes
Dir. Robert Valley
It isn’t all that often that an animated short in a personal documentary style ends up for consideration for an Academy Award. Of course, films have varying methods of telling personal stories through allegory such as last year’s winning film A Bear Story, apparently, an allegory for injustices suffered during Chiles Pinochet era.
Pear Cider and Cigarettes wears its heart on its sleeve. Based on a graphic novel by the director Robert Valley this personal tale is taken from life, chronicling his journey to rehabilitate his wayward friend Techno who’s excessive living took precedent over his desperate need for a new liver. Reminiscing Techno’s back story through Valley’s stylish approach is a pleasure to behold. Though the animation is in some places repetitive and simple, Valley’s unmistakable style make for mesmerising viewing leaving the viewer hooked through the bumpy story which gives everything away but still manages to surprise.
Notable about this film is that it is “Vimeo Original”, content created not for a TV channel but for a video on demand platform which is witnessing something of a boom as it becomes less of an outsider and more of a preferred platform of entertainment. Where film bodies and TV channel are increasingly cutting funding for animation projects perhaps we will begin to see Netlifix, Amazon, Vimeo and others recognise, promote and produce animation talent like the fledgling Channel Four once did? We can but hope.
Pearl
Dir. Patrick Osborn
The Feast director has always had a grasp on the audiences point of view with a keen eye on staging a shot. The cute Boston terrier yipping around at kitchen table in Feast demonstrated just that. Osborn has glided seamlessly into VR providing a front row, or at least a passenger seat view of the lives a single dad and his daughter busking around the country, growing, learning and not tidying up their bloody car.
Given the simple story, this film becomes more of a musical experience rather than a VR one as the sounds echo the acoustics of the car, or the noise of busking from outside the car. This almost binaural sounds bring the film to life. Although this film is notable as being the first VR film to be nominated, it was graded by the academy as a 2D film and not using a VR headset such as Google cardboard. It’s great to see a VR film up for consideration and as the medium advances, perhaps as the platform grows it will be awarded it’s own category.
Pearl certainly is a film that can be enjoyed in VR and as a standalone, if only to gawp in amazement at the reckless behaviour of the dad driving the car whilst playing the guitar. More details on the music produced for the film can be found on our Animation Composed Podcast.
Piper
Dir. Alan Barillaro
Whilst the animated feature award is no stranger to the firm grip of a Pixar director, in the shorts category Pixar hold thirteen nominations and a mere three wins, the last being in 2001 (For the Birds). It is difficult to say why Pixar continue this run of bad luck as their films tend to focus their premises around something rather delightful. Could that be it? Are the academy fatigued by the Pixar approach? If so, why do Pixar-esq films continue to win? If you could explain why films like Bear Story, Mr Hublot, The ChubbChubbs or The Fantastic Flying Books of Mr. Morris Lessor have no problems in winning where Pixar keep failing I’d be interested in your theory.
What makes Piper stand out from the usual Pixar crowd? The story of a sand piper learning to be independent is a cute tale that takes caricature through the motions of the character as opposed to the design of the characters which is a delightful masterclass of caricatured animation through an inoffensive story. In spite of being an enjoyable watch the film has difficulty standing out from the Pixar crop (admittedly a good crop to be in amongst) let alone the other films in this list so if we consult our Pixar animated short history book, it’s chances seem slim.
Though this article is not intended to offer any indication as to which film should win it must be considered, that is after all the point of an award ceremony. What I think should win and what will actually win are likely to be two very separate camps and ultimately this is the problem, I hold the Oscars, with its grandeur, showmanship and attention in too high a regard and apply my own rules to it that have no bearing on the reality of the situation.
I foolhardily believe these awards to be a crowning achievement of the art form and so is obligated to celebrate accomplishment and advancement, but I’m blinded by glitter and fail to see this awards show for what it is. Simply an awards show.
Nonetheless there are five films in this selection that, although some of them may seem detached from the consensus of the festival circuit or my own personal taste, they are still works of art. One will win the award, and you can find out which one this Sunday.