Covid-19 has come and not gone, but the Tribeca Film Festival presses on. What is great is that Tribeca can be seen as a return to normality—with some consideration—for filmmakers and filmgoers alike. The festival can be attended in-person for filmgoers, while attracting critical attention with virtual screenings.
Shorts happen to be a critical feature here at The Movie Buff, as we believe they deserve equal attention to features. Tribeca has a tremendous short program arranged this year, with films ranging from narrative, to poetic, to introspective.
For our opening coverage of the short program, we look at two films that made an impact, as outlined below.
The first film I will start with is “Nando,” a poetic short directed by Alec Cutter. Cutter tells the film emotionally through the eyes of a young boy in Rio de Janiero, Brazil (Luis Fernando Fernandes). Nando looks across the road from the slum that he lives in toward the famous football stadium, The Maracana, and wonders if he will ever see a game there and escape the confines of his impoverished existence. The film is also narrated by Seu Jorge, who appeared in the intriguing and relevant dystopia film “Executive Order,” which recently showed at SXSW.
“Nando” has several things about it which make it appealing, the very least of which is its comparison of its lead, Fernandes, to that of a caterpillar. The film is basked in the kinds of things which make great indie cinema. Fernandes looks out at the stadium in the distance, which he narrates is just a 3-minute walk away; he looks at it with that kind of closed dream he realizes will never come true. It’s also startling the way Director Cutter compares the harsh realities of slum-life with that of the stadium (or promise) in the distance. How is it that riches and rags are so close in proximity? The film doesn’t provide an answer, but makes you think, like good films do.
The film is also emotional due to its production value. The cuts and editing are seamless, and I found the transition from Fernandes’ observations to Jorge’s narration appropriate. Additionally, the film has a beautiful piano score underscoring its rumination that adds to the short’s bittersweet take-a-ways. The film, at only 6 minutes, is a high recommend and one of the more apt at Tribeca 2021.
The second film I watched for this first capsule review is “Cherry Lemonade,” a sweet film about growing up in a lower-income neighborhood, but more importantly about brother and sister love. The film stars Eris Baker and Skylan Brooks and is directed and written by Aisha Ford.
This is a good film. And honestly it’s a fresh approach. There have been many prolific films made about growing up in low-income neighborhoods, such as “Boyz n the Hood,” which focus on crime and the push-and-pull of making the right decisions. However, less have been made about young children living in these neighborhoods who simply want to be kids, but find limited access to resources stymie them. Kurt (Brooks), very much focused on the immediate present, tries in vain to teach his sister Phoenix (Baker) to fight. But she’s not interested. She sees two cheerleaders walking down the street drinking a cherry lemonade, and that’s all she wants. The rest of the film is what happens when she finally gets the money to buy one. Smartly, the film alludes to dangers in the neighborhood and coming of age.
What is good about “Cherry Lemonade” is that Director/Writer Ford basks it in normalcy instead of going for the dramatic. This is to be expected of independent films. But what works about the movie is the acting chops brought from both leads, and how much you feel the desires of this young girl as she navigates her way through film.
What’s good, also, is how Ford sets up a dramatic film and then allows the work to be anything but. There are a couple of times where I thought the film was going in a darker direction; but Ford brings it back, and sets up emotional lessons that I thought were appropriate and easily-accessible. So many films have their characters grow up so fast. It takes an indie film like this to allow its characters the time they need to grow. The closing shots of the film are beautiful and sublime, made all the more lasting by the chemistry that Brooks and Baker have together.
Follow us this week for more Tribeca coverage and reviews from the short program.
