June 15, 1998

Showings:
June 18 - Colonial Promenade, 3pm

In its effort to accommodate movie fans riddled with attention deficit disorder, the Florida Film Festival continues its short film programs in this year's lineup. The first of five such programs - aptly titled "Body Parts" - premiered to the Enzian-adoring public this past Saturday. Linked by their anatomically-inclined titles, the selection of six short films proved to be an interesting juxtaposition of genres.

As the first regular show in the FFF98 schedule, the movie-loving masses packed their way into the theater expecting something different. They did not leave disappointed. From heavy themes of racial bias and cultural traditions to light and quirky comedy, the sum of these 'body parts' proved to be greater than the whole.

WORLD UPON HER SHOULDER directed by Dani Minnick
Set in suburban L.A. in the late 60's/early 70's, "World Upon Her Shoulder" starts with the dreamy, poetic reminiscence of a young girl riding with her mother in their "Aquanova" automobile. The entire film is seen through her innocent perspective as she witnesses her mother - a kinetic ball of chattering, fidgeting yarn - quickly unravel to reveal her incurable psychosis within.

Minnick's short takes a very a naturalist approach to the question: How do you respond when a close family member loses her mind? There are no melodramatic monologues or boo-hoo-hoo sessions, here. On the contrary, humor, amusement, and mild embarrassment characterize the emotional reaction to mom's auctioneer-speed tirades about "suing Jackson" or her belief that she is Saint Bernadette reincarnated.

Prognosis: This 'shoulder' is in excellent health.

ONE HAND, LEFT directed by Corky Quakenbush
One might think that a film, featuring nothing but a pair of hands and the voice of only a single narrator might be a little dull or monotonous - even if it is just a short. But Corky Quakenbush accomplishes this difficult feat in his hilariously written and seamlessly directed short about a pair of hands that rise to the top of the entertainment world and come crashing down as the 'one hand, left' destroys its partner in a jealous rage.

Directed in a pseudo-noir style, the film shows how the film's narrator, the left hand, always has to settle for second best: the left hand holds the steering wheel, while the right hand is cradled lovingly in a woman's lap; the right hand gets access to the ATM, while the left must sit blindly by the hip. The left hand takes matters into his own . . . uhm . . . hands, revealing a hilariously dark fall from grace.

Prognosis: "One Hand, Left" will make you put both hands together.

FACE directed by Bertha Pan
Some short films make you glad they were only SHORT films. These were the exact sentiments of your loyal reviewer as he saw the final credits roll across the screen at the conclusion of "Face." Excruciatingly slow-paced, "Face" explores the cultural and generation gap between a Chinese mother and her daughter (Tina Horii) living in 1990's New York City. While Horii escapes to the city for romantic weekends with her black boyfriend, hip-hopster MC JJ, her mother believes she's running errands and shopping for food in Chinatown. The noodles hit the fan, though, when mother's elusive network of Chinatown informants "make her lose face" with the news that her daughter is having relations with a black man.

While the noteworthy dynamics of Chinese racial and cultural relations are touched upon, here, the attempt isn't deep or interesting enough to elicit emotion or feelings towards the characters. I found myself daydreaming: "Hey, are those Starbucks people still giving away free Frapuccinos out front? Great! I'll be back in a sec."

Prognosis: This was one 'body part' that needed plastic surgery.

PHIL TOUCHES FLO directed by David Birdsell
Perhaps the most charming, most original, and most enjoyable film in the 'Body Parts' program, "Phil Touches Flo" is instantly captivating. The opening slow-motion shot of Phil running full speed down a quiet L.A. block, cradling a tiny dog in his arms, sets the quirky tone for this all-too short film. The story centers on the so-cute-you-could-hug-her-to-death dog, Flo, and her overprotective, stun-gun-wielding owner who brutalizes anyone who touches her.

Birdsell's unique approach to flashback - "6 minutes earlier," "9 minutes earlier than that" - coupled with sparse dialogue and simple, fluid camera movements make every moment of "Phil Touches Flo" a joy to watch. Prognosis: Although one of the shortest films played, "Phil Touches Flo" was the most entertaining 'body part' in the program.

ACCIDENT directed by Peter Besson
A dark, yet implausible tale, "Accident" focuses on a family's seemingly accidental loss of a child on a stretch of lonely country road. An eerie sound mix adds to the film's morose mood, as a family handles the loss of their child by suing the guilt-stricken driver in a sterile, unforgiving courtroom setting. With a six and-a-half minute running time, Besson's film is too sparse to capitalize on the dark ideas it tries to present.

Prognosis: This 'body part' needs serious medical attention.

WAITING FOR WOODY directed by Grant Heslov

Definitely the most "Hollywood" of all the 'Body Parts,' "Waiting for Woody" flaunts cameos from George Clooney and Jennifer Aniston, along with a bevy of other recognizable faces that rivals even Robert Altman's star-gathering ingenuity. Written by, directed by, and starring Grant Heslov (you might remember him on Schwarzenegger's team of good guys from "True Lies"), the story centers on the struggling actor as he waits for Woody: Woody Allen and . . . well . . . you know . . . the other kind of "Woody."

Echoing Ferris Bueller's talk-to-the-camera technique, Heslov parallels the famous filmmaker's quirky, worrisome, self-conscious mannerisms by explaining his bedroom and career problems to the audience. Besides mimicking Allen's nervous persona, Heslov reveals other blatant nods to the auteur's work - including an immensely funny movie-within-a-movie sequence echoing "The Purple Rose of Cairo."

Prognosis: This 'body part' stands up very tall compared to the other short films in this program.

Jonathan Figg After graduating Rollins College in 1997, I plummeted into the real world as a writer and editor for an international business and finance publication based out of Altamonte Springs. I've written three feature-length screenplays and will direct my second short 16mm film this July. I look forward to having one of my own films reviewed in The Slant in the not-too-distant future. I welcome your hate mail, love letters, and anything in between at jonbug@ix.netcom.com. Other Articles I've Written