More views of - or before - Cambridge Film Festival 2013
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2 October
The more that I think about the first in the sequence of Estonian short films,
Maggot Feeder (2012), the more that I believe that I have seen it before somewhere, somehow… (Probably on the screen in the bar at Festival Central, which had been showing a loop of clips.)
Not that it matters, because it said things to me with the stark beauty of its story-line, the Doctor-Who-like horribleness and ferocity of the maggots*, the faces of the man and the woman, motile behind the forms that contained them, and (again from science fiction) the stacked pairs of eyes of the spiders – inevitably, given the subject-matter, the frozen setting, I was reminded of the exquisite brutality of
Far North (2007), but this film ended with blossoming, fecundity, to replace the sterility of the man’s reign (over the woman and the creatures whom he bloodily kills).
A perfect fable of stagnation, destruction and renewal, inventively brought about in animation and foley where every squelch of blood and slurp of lightly stewed flesh was telling. A good way into another transgressive world, that of
My Condolences (2013) :
Without giving away the big twist, the delight of a crooked family, running a covert business, and how they respond to an outsider in their guilty midst. What better plan to hit on, worthy of
Fawlty Towers in its bonkersness, than devoting a page in the illicit journal of their activity to the wording of a tribute to a fictionally deceased neighbour ?
The stranger joins in with their desire to express their regrets, and is asked to assume the position of scribe and author, resulting in excruciatingly amusing awkwardness, because the family members continue to fear detection…
Olga (2013) has already, vaguely, been
accounted for, as well as the errantly provided
Happy Birthday played with the conceit that Marilyn might sing to Mr Jesus on Christmas Eve, and that Mr Jesus is a robot with a rival : it did not have much to say, from what I saw of it.
In
Triangle Affair (2012), cats, people with arms for heads (who, amongst other things, clean windows and cycle as a trio along high-wires), and trams converged spectacularly, overshadowed and overseen by chalk-wielding birds (crows ?
Krähen in German / chalk,
la craie in French ??), who are perhaps also the architects of this elaborate, futuristic city.
Maybe, though, they have bored of its having a function, and wish to subjugate that function to their desire to have fun (or to destroy) : crows and
Kafka (which means ‘crow’ in Czech) and Prague…
Finally,
Villa Antropoff (2013) uses animated full-frontal cleavage, sexual acts and drug use to parody the interests and attitudes of New Rich Russians, a freedom to be expressive since Estonia is no longer a satellite state, in the Baltic, of the Soviet regime.
Not unlike Shakespeare’s
Timon of Athens, one can prove to have outlived one’s popularity, if one’s actions are taken to excess, and it is then on to the next party ! (Oh, and a black man, whose home coast has nothing but debris on it, manages to crash the party, maybe in search of the same, but is not kindly received, but surely no denigrating stereotype here.)
End-notes
* Though, of course, maggots turn into flies, outside fairy-tales.
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
