Future Shorts ONE: May edition

As a queue formed outside Inspace (part of the University of Edinburgh’s informatics building), passers by must have been baffled as to what sort of event was taking place. Best guesses may have included: some sort of hipster lecture on chequered shirts and cardigans or, judging by the broad age spectrum, perhaps some sort of art scene focus group.

In actuality, the converted gallery space is currently hosting indie film label Future Shorts’ ONE series. The May edition, the second month of ONE’s Inspace residency, sees the global film project showcasing the same selection of short films from around the world in 18 countries throughout the month.

Not exactly the darkened theatres that are the natural habitat of the film journalist, latecomers were unfortunate enough to discover that the pillows provided for sitting on the hard floor had run out. Yet there was plenty of alcohol for lubrication and no one appeared disgruntled in the friendly atmosphere as they pitched up amongst mounds of coats and bags.

Perusing the programme prior to the live performance by choreographer Maité Delafin and violinist Poppy Ackroyd, the old ‘save the best to last’ adage seems appropriate in the form of Shaun Tan and Andrew Ruhemann’s The Lost Thing, the Academy Award winning Aussie short narrated by comedian Tim Minchin. Whilst certainly the most well known and thus most anticipated of the evening, the preceding seven films are far from mere opening acts.

On first short El Extraño (dir. Victor Moreno Rodriguez), the programme notes says essentially all that can be said: ‘A documentary on rural Spanish life. Goats are herded down a crowded country lane.’ That is exactly what it is, a brief single shot comprising of goats, and what is apparently a Spanish country lane.

Things begin to get going with Incident by a Bank (dir. Ruben Östlund), a Swedish single take film about a failed heist. The camera zooms in and out of the scene, focusing on various onlookers perplexed by a bumbling pair of armed would-be robbers. Very well received by the cross-legged audience, the film’s short runtime is filled with elements of documentary-style slapstick and witty observational dialogue.

Taking us towards the half way mark is Ce Soir (dir. Christophe Collette), a wistful, debatably Michel Gondry-esque, stop-motion music video for Montreal band Monogrenade, and Electric Light Wonderland by Susanna Wallin. The latter is the only UK film of the night and is a sentimental and articulate portrait of a single father attempting to connect with his two sons through his passion for his mobile disco business.

Following an opportunity to shake any pins and needles from your legs, Youth (dir. Tommy Petroni) kicks off the second half and is met with some derision. Its sentimental alt-rock soundtrack and shots of American teenagers running around in Converse, partying, and skateboarding, would easily lend themselves to a lifestyle brand commercial. The film’s only line, ‘Don’t waste your youth growing up’, spoken by an elderly man to camera is responded to by an audience member with ‘Cheese anyone?’

Ben Briand’s Apricot is the most obvious proponent of the night’s increasingly prevalent nostalgic theme; a dreamy, soft focus flashback recalling first loves. Interestingly shot, and wearing its heart very clearly on its celluloid, any lingering cynicism dissipates and the audience seem to warm to it. This leads easily into the Romanian Derby (dir. Paul Negoescu), which definitely gets the most laughs of the evening. A father struggles to deal with his teenage daughter’s emerging sexuality, and, exacerbated by their supporting rival football teams, bucks horns with her young boyfriend.

Finally The Lost Thing does not disappoint. Its sleek animation is set to a yearning, childlike narration by Minchin, particularly reminiscent of the old spoken word Belle and Sebastian songs by Stuart David. Easily the most polished and mainstream short of the programme, it more than lives up to the anticipation of its ‘Academy Award winning’ prefix.

Another successful edition of Future Shorts’ ONE series over, the global aspect of the project is highlighted by the seemingly disparate contributions from across seven countries all connected by a common nostalgic theme. With some goats in a lane thrown in for good measure.