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Oscars 2019 Shorts Review: Animation, Live-Action and Documentary

Cinema

This year marked another year I was able to see the Oscar-nominated shorts in the Animation and Live-Action categories. This year was also the very first year I was able to see the nominated Documentary shorts. That’s my Oscar milestone for this year. Here are my reviews of the films:

LIVE-ACTION SHORT FILMS

Two films are set in Middle eastern countries. One is set in Central America. One is set in Belgium while one is set in New York City. Three are dramas from start to finish. One starts as a comedy, but ends in dramatic fashion. One is a comedy from start to finish. Here are my thoughts on the live-action shorts nominees:

Brotherhood: dirs. Meryam Joobeur and Maria Gracia Turgeon – This is a story set in Tunisia. Two brothers are awaiting their older brother Aladinne to return from Syria. The father Muhamad appears to be looking forward to this. The brother returns. However he reveals Aladinne’s now married to a teenaged Syrian woman who is pregnant. The father is suspicious of Aladinne, fearing he may have joined ISIL in Syria. Muhamad makes a phone call Over time though, truths come out from both Aladinne to his other brothers over by the beach and to Muhamad though the wife. Including the truth about her pregnancy. The ending will leave one asking questions.

This is a relevant story as it is a situation that’s possibly happening in families in the Middle East now. It leads one thinking which brotherhood Aladinne is part of: his blood brothers or the ‘brotherhood’ of a terrorist group. It’s a story that gets one thinking. That’s why I predict it as my Will Win pick.

Nefta Football Club: dirs. Yves Piat and Damien Megherbi – The film begins with two men in the hills of Algeria who lost a donkey. It then leads into two brothers on a motor bike arguing over who the best footballer is. Then to a group of boys playing in a nearby football club. The boys get into an argument where the out-of-bounds is as there are no lines. The younger brother has to stop to urinate. After he’s finished, he notices the stray donkey who has earphones tuned into Saharan music. The older brother notices bags of cocaine with the donkey. The older brother decides to sell it but keep it secret. The two men are baffled. Especially one man who put the music onto Hadel instead of Adele. The older brother tries to sell it but something goes wrong. The ending will leave all surprised, and delighted.

This short was actually the last of the five that were shown. Knowing how the previous four had dark or tragic stories, you will expect something terrible or tragic to happen. You might even anticipate a social message out of this. I think those of us watching all needed some comic relief! It will make you glad this film is last in running order. End on a positive note.

The Neighbors’ Window: dir. Marshall Curry – Alli and Jacob are a middle-aged couple with two preschool-aged children and expecting a third soon. They live in a block of apartments in New York. They notice there is a young couple that moved into the apartment right across from them. Their window is a view to their apartment and they notice the two naked and making love. Did they forget to put up the drapes already? Three months pass. Alli gave birth to their third child. Jacob works from home and has a perfect view to watch the couple from the window as he works. That gets on Alli’s nerves. During Christmas, the Alli and Jacob have a family Christmas while that couple have a big party. Soon Alli becomes the voyeur. She notices the man has a bald head. Jacob thinks she shaved it. Soon it becomes evident he’s sick as he can be seen from his bed. Eventually Alli and the woman connect, but through unfortunate circumstances.

This is a film of a story where time elapses over eighteen months. It starts simply as a story of two voyeurs. Then it leads into a story of a couple who get reminded how much they miss their young-and-stupid days when they see those two having fun. The fun ends when sadder truths become obvious. I think the point of the story is to remind us of our own judgementality and even how prone we are to compare ourselves to others and making ourselves feel inferior without knowing the truth. It speaks volumes.

Saria: dirs. Bryan Buckley and Matt Lefebvre – The film begins in an orphanage one day in March 2017 in Guatemala. The fifty-one girls are woken up by the leader. The leader acts as the teacher. Before classes Saria learns that her sister has fallen in love with a male from the orphanage named Appo. During class Saria says a comment of defiance. This angers the teacher so much, she commands her to the guard who has her raped and beaten. Ximena learns from Saria that she and Appo have a plan to escape and walk to the United States for freedom. The opportunity arises when the girls hold a protest over the dirty and unsafe conditions of the orphanage. During police action, Saria and Ximena make their escape with Appo. However it’s a hopeless cause as the police have then cornered by dogs. Appo decides to throw himself to the dogs for the girls’ safety. All the 51 girls are brought back into a single room with just mattresses and the woman guarding. Two girls plan an escape by using fire, but it fails as the guard ignores them all.

This is a story based on real events. There was a protest over the conditions of the orphanage on March 7, 2017 and there was a planned escape. The girls were locked in that room and there was an escape plan that involved fire. The guard, who was a female, ignored them all until after ten minutes. 41 girls died. There were only ten girls who survived and they exposed the story. It’s not meant to be a true story. Instead it gives the girls who were victims characters and personalities. It exposes a truth of what’s happening in Guatemala while also reminding us these orphan girls were girls with hopes and dreams. I like the humanistic approach to the story. That’s why I call it my Should Win pick.

A Sister: dir. Delphine Girard – The film begins inside a car. The man is driving and the woman appears to be a passenger making a phone call to her sister. The film then goes to the emergency call centre. A woman is picking p this very call. She sorts out the confusion. It’s evident the woman in the car is making an emergency call and disguising it to look like it’s a call to her sister. The woman on the other end tries to work with her and even poses as the sister when the man talks on the line. This sets up for a climactic, but positive, end.

This is a film that keeps the viewer in the moment. There’s what one knows at the start and then what one knows as time goes on. At the same time, it puts the viewer in the intensity of the situation. You know it’s an abduction but the last thing you want is the worst. Throughout the film it’s a case of scenes of the woman and the man in the car and the woman at emergency control. It’s a story that will get you interested once you fully understand it and then keep you in the intensity of the story until the end.

BEST ANIMATED SHORT FILM

Interesting how not a single nominated short is 3D computerized animation. Even the computerized ones are 2D. The 3D ones are all stop-motion. All of them are unique in the stories they have to tell and the styles of animation they display.

Dcera (Daughter): dir. Daria Kashcheeva – The daughter watches her ailing father from his hospital bed. Suddenly a bird crashes through the window of the room. That still bird reminds her of the time she saw a dying bird and tried to get her father to resuscitate it. He was too busy cooking. She was in tears, but it inspired her to make a bird mask. She then remembers the time she was on a subway to a festival where she had to wear red makeup. She refuted and left the subway. He has the mask she made and decides to wear it. Then the film flashes to the present. He’s not in his bed. She then notices he slept with the mask she made. She goes to meet up with her father, who is being taken to surgery. Suddenly he becomes all better and the bird that crashed through is alive, just like that bird in her childhood.

I think the motif of birds can be interpreted in one of two ways: either the girl loves birds or she want to be free as a bird in her life pursuits. The story is told with marvelous artistry through stop motion on knit dolls and paper eyes. The animation style makes the artistry of the film and magnifies the beauty of the story.

Hair Love: dirs. Matthew Cherry and Karen Rupert Toliver – A young African-American girl in an apartment wants to style her hair just like the woman in the YouTube video styles it. The man, a neighbor, however tries to style it differently. The girl leaves crying. It isn’t until he sees the drawing and learning that the woman in the instruction video is the girl’s mother that he agrees to do it that way. He watches and does her hair at the same time, and the result is perfection. Then he takes the girl to see her mother in the hospital, in a wheelchair, and bald from chemotherapy.

This is a story that starts as being entertaining during the first half. Then you see the human moments at the very end of the story. The story goes from fun to touching deep down inside with surprising results. This is definitely a heart-warmer for anyone. You have to be hard-hearted not to like it. It will touch anyone who has gone through cancer or knows someone close who is going through cancer. That’s why I give it my Will Win pick.

Kitbull: dirs. Rosanna Sullivan and Kathryn Hendrickson – The film starts with a black stray kitten going throughout the neighborhood. He finds an area near a house full of boxes and wood blocks to make his own shelter. He also learns the owners own a big vicious dog and they keep him chained outside. The dog first wants to make food out of the kitten, but the kitten shows the dog he stands his ground and can fight vicious when provoked. Soon the kitten notices the dog is being abused by the owner. The kitten then sends the message to the dog that he can help him find a way out. Then the two plan their escape together. Soon the dog’s wounds heal and they find themselves adopted by an interracial couple.

This is a film from Pixar that was on the Disney+ channel. I find it surprising that Pixar created a 2D story! Usually they do 3D, but I still like it nevertheless. I’ve seen stories in animation before of how the cat and the dog go from enemies to the best of pals. This is unique as it tells that story with the theme of interracial relations. I admire how they do that in this story. It makes for a story that crosses from the humorous to the serious. However it still ends on a happy note, as we all hope it will.

Memorable: dirs. Bruno Collet and Jean-Francois le Corre – A painter gets into an argument with his wife, or so it appears. It turns out he has either dementia or Alzheimers and his wife has died. The conversations he has with his wife are in his mind. He still continues to paint, but it’s not easy to do. Then one day he decides to do a simple painting of simple unattached strokes. The strokes come alive and it’s in the shape of his wife. They even speak with her voice. It’s like she’s alive through the painting. The two share one dance together and it’s a dance full of color.

This is a dark story. However it’s told in touching form and even through a positive tone through the animation. This animation style is claymation and brush-stroke on glass. It’s like the story about the painting is trying to be like paintings themselves. It’s as much about the style in which the story is told as it is about the story. I make this my Should Win pick because this is the most unique and colorful of the nominees.

Sister: dir. Siqi Song – This is a story told by an adult male of how he experienced his baby sister: when she was born and when she was growing up. Boy did she have bratty behavior. Then you learn this is just a story of his. The sister he was supposed to have was aborted because of China’s One-Child policy. The story is just his story of how he fantasizes of what his baby sister would have been like. Somehow the film ends on a positive note.

Some would rush to dismiss this story as pro-life propaganda. I won’t state my stance but I don’t consider this propaganda. Keep in mind the sister was aborted because of China’s One-Child policy. The abortion was not the mother’s choice. The story is told in a unique way as it’s told through stop-motion animation and through knitted dolls. I have seen similar animation. At first I didn’t think an Oscar-nominated film could come through this style of animation, but it does here. I find it unique for the animator to tell a dark story with some humor into it. It’s worth admiring.

BEST DOCUMENTARY SHORT SUBJECT

Some of you may ask why haven’t I seen the Documentary Shorts in past year? It’s hard to say. Money? Lack of interest? Time? Those were the most likely reasons. However I did have the time and money this year, and I made myself interested in them. So here are my thoughts of this year’s nominated documentary shorts:

In The Absence: dirs. Yi Seung-jun and Gary Byung-seok Kam – This is a story that focuses on the sinking of the Sewol ferry off the waters off the coast of South Korea on April 16, 2014. 304 people of the 476 on board perished. Most were high school students. The documentary shows a lot of film footage from the day of the accident which includes news footage, rescue footage and footage from passenger smartphones. The film includes hearing dialogue between the Coast Guard, the transportation office and President Park Geun-hye. The film also includes footage of the inquiry and of footage when the Sewol was raised out of the sea three years later.

This film is good in letting the moments of the accident tell the story as well as expose a lot of ugly truths that people already knew. The film showcases the root of the problem: negligence on many parts. It shows the negligence and lack of action of the coast guards, the negligence of the transportation board, the negligence of the captain who instructed passengers to stay in before he escaped, and the negligence of the government. There are some interviews with parents of fatalities, survivors, and volunteer divers who dove to bring bodies up. I liked how this film used a combined set of video, film and audio to expose the truth of the matter. It also proved insightful as I believe this is the first disaster I know of leading to the overthrow of a world leader. That’s why I pick it as my Should Win pick.

Learning To Skate In A Warzone (If You’re A Girl): dirs. Carol Dysinger and Elena Andreicheva – The film shows girls in Kabul, Afghanistan who attend a school privately after boys leave the school. This is in an area of Afghanistan that is strongly against girls going to school. Not only do they go to school, they also learn skateboarding at a park called Skateistan. The film interviews the young girls about their family background, what they like about school and what their ambitions are. The film also interviews the teachers and instructors throughout the whole year.

This is an excellent documentary reminding us of the threats women in Afghanistan still face. However it also shows us the hope of a better tomorrow. The film shows the girls as they learn the five basics of skateboarding over time. It also shows how their skateboarding lessons aren’t simply for fun. They’re life skills along with their education for a better tomorrow. The film includes the interviews as well as footage of the girls at school and at their skateboarding lessons. The film also includes audio of news stories of bomb blasts in Kabul reminding us that they still face threats to their future. The film then ends with an image of hope. Overall an excellent short documentary, which is why I make it my Will Win pick.

Life Overtakes Me: dirs. John Haptas and Kristine Samuelson – This film is of a dark subject matter: Resignation Syndrome. It’s a coma-like psychological problem that mostly happens in children and is common in Sweden. The film shows three children who have suffered this syndrome for many months. All lay in bed most of the time and are fed by tubes and syringes. The film also shows how the families work to resuscitate the child out of the illness by giving them exercises and taking them out in the open. The film allows the parents to tell the stories of what led them to flee their countries. The film also includes doctors showing their insights into the problem.

This film is good at exposing a problem that exists in many countries but is rarely talked about. It presents the examples and even shows how the syndrome happens most when the parents are facing a distressful situation regarding their refugee status. The film shows the children and their families in one time setting and the follow-up many months later. Two of the children show progress in their recovery while the other shows that her sister is showing signs she will soon suffer from it too. The main child at the start is given a third filming where she’s seen fully recovered. The film also presents a puzzling situation of why Sweden is the country with the highest rate of of Resignation Syndrome. This is a very insightful informative film that ends with a ray of hope.

St. Louis Superman: dirs. Smriti Mundhra and Sami Khan – The film opens with Bruce Franks Jr. talking with his son who’s about to turn five. The son was born on the same day African-American Michael Brown was shot to death by a white policeman in Ferguson, Missouri: a suburb of St. Louis. That event shapes Bruce into joining the St. Louis chapter of Black Lives Matter. That also made Bruce run as a State Representative and win. As Bruce is now a lawmaker and judges laws being passed in state congress, Bruce now has a new battle as he seeks to have passed laws labeling youth violence as a public epidemic and having Christopher Harris Day on June 7: the day in 1992 Christopher, his nine-year-old brother, was shot by someone using him as a human shield.

The film is a telling of Bruce’s life. It shows him as a congressman, a lawmaker, a rapper by night, an activist, a youth leader, and a family man. It showcases the many battles he goes through with getting his bill passed both by debate through the opposition and even other African-Americans who see him as a conformist to ‘the system.’ This film is also a ray of hope and a reminder at even in the days of Trump’s America where there appears to be a lot of ignorance and red tape, that efforts for the better can happen and that the marginalized can have a hope for a better future. Excellently done.

Walk Run Cha-Cha: dirs. Laura Nix and Colette Sandstedt – The film begins with a Cha-Cha lesson taught in a dance hall in a Los Angeles neighborhood. The students are Asian and middle-aged and the teachers are Ukrainian emigres Maksym Kapitanchuka and Elena Krifuks. The film focuses on the couple Paul and Millie Cao. Paul and Millie first met each other in Vietnam back in the 1970’s. Communism took over and both had to leave for the United States, albeit six years apart. They’ve become successful professionals but have taken dance as a way to rediscover themselves. Maksym and Elena even work with them privately for a competition dance.

This is a story where we get to learn about a couple and their life experience about what brought them to the United States. We learn about their love back home, their loss of connection as both left Vietnam at different times, their families who also emigrated to the United States to their dance number. This film reminds us that for many, dance is more than just a hobby or an activity. It’s a chance for one to rediscover themselves. The film doesn’t end with the Caos in a competition. Instead it ends with their performance to a cover of We’ve Only Just Begun. Even though the two were reunited decades earlier, the film makes the dance performance look like the two are truly reunited at that moment. Not just a delight to watch, but insightful.

It’s interesting watching the documentary nominees for the first time. They all tell a lot in their limited time. Even for those that focus on a certain issue, it makes its point very well in that time. It even adds the human element to add to their point. Usually I’m skeptical to documentary films because all too often, it shows an issue through one side and one side only. You can thank Michael Moore for that suspicion of mine. However I was impressed with what I saw. It was hard to detect them as one-sided. They all made their point well.

And there you have it! Those are my reviews and predictions of the short films nominated at this year’s Academy Awards. It should be interesting to see the winners. Also it will be interesting to see how far these directors go in the future.

VIFF 2019 Shorts Segment: To Live In Infamy

Cinema

Those who know my film watching during the VIFF know that I try to watch at least one segment of short films. I saw a segment of seven films by Canadian directors entitled To Live In Infamy. In each of the films, there is some element of crime or taboo. Even some things that don’t qualify as a penal code may be seen as a crime of some sort, or even a simple wrongdoing. All of them are interesting in their own way.

Delphine (dir. Chloe Robichaud): A woman named Nicole looks back to a girl she only encountered for two brief times in her childhood. Her name was Delphine and she was a Lebanese immigrant to Quebec. The first flashback is in a private grade school where Delphine could only say one word in French: ‘oui.’ The other classmates make fun of her. Nicole, who is Lebanese-Canadian, doesn’t participate with her peers, silently shares in Delphine’s ostracism. The vice-principal of the school however does scold Nicole and the girls for lewdness. The second meeting between Nicole and Delphine is at sixteen in a public school. Delphine has a bully named Aminata who appears to try to dominate over every female. She attempts to dominate over Nicole too, but Nicole is physically resistant.

The story leaves us with the necessary questions. Some may ask were Nicole and Delphine lesbians? However the story is reflective of childhood. It reflects on fun memories like of some mischief and of family warmth. But also of upsetting memories like of being made to feel different and facing nemeses either violent or non-violent. We all have those moments in our childhood where we’re reminded how the world is a cruel place. It’s a story many can connect with, even if they didn’t live it exactly.

I’ll End Up In Jail (dir. Alexandre Dostie): A woman named Maureen is frustrated with her life. She tries to cover it up from her son and his boyfriend, but she can’t take it no more. One day, she drives off on an icy hilly road hoping for an escape but crashes into a parked car. It appears the car is parked so that a teen boy and his girlfriend can get stoned in the trunk of a car together. The girlfriend is dead. The boy learns she’s the mother of his classmates. They work to hide the body of the girl, but while Maureen is stuck underneath a tree, she learns a truth. She acts out in a way where she really has to be on the run from the law.

This film is a dark comedy that makes a lot of humorous situations in crime and personal problems. Even the uncovering of a dark truth appears humorously surprising, if not disturbing. The ending however feels a bit incomplete or doesn’t appear clear enough. I know it’s about Maureen’s escape and how it doesn’t go as planned, but it still looks like it’s missing something.

Shadow Trap (dirs. Damien Gillis and Michael Bourquin): In 1909, a white bounty hunter is out searching for Gitxsan business man Simon Gunanoot who is wanted for murder. The bounty hunter stocks up with a lot of supplies ready to find Simon, a reputed trapper and fur-trader, for a big reward. However the frontiers of Okanagan B.C. prove too much for him and he is in danger of freezing to death, until he’s rescued and sheltered by an Indigenous man. Is it Simon in hiding? He returns to the town with hides to trade.

This is a fictionalization of a true incident in Canadian history that says a lot. The message I seemed to get from the story may be about the common perception of Indigenous peoples by whites at the time as ‘savages,’ and how wrong they are. Even now as we’re trying to make reconciliation happen, I feel this story has a lot of value.

The Beach Raiders (dir. Tyson Breuer): A teen couple– the boyfriend having photography ambitions– is savoring the last days of summer at an Ontario beach. They have one last summer goal: steal some beer. They try to get it from the kitchen of a restaurant. However their attempt is not only in danger of being stopped by the owner, but their own relationship as both have differing goals. However their pursuit ends with a bang!

This film is a bit of an ode to the ‘young and stupid’ days. What starts with stealing one beer leads to a chance for something bigger. The film does however focus on a reality, though it is resolved in light fashion at the end.

Main Squeeze (dir. Brendan Prost): It’s Christmas. Benjy and Kiersey, a couple in an open relationship, are having fun in their apartment. However the fun is threatened when a young drunk woman smashes their window. It’s not just any woman, but Jacqui: Kiersey’s ‘other woman.’ He is not comfortable about having Jacqui in, but Kiersey insists. Benjy had every reason to be nervous because Jacqui says things making it clear she’s his rival. This not only threatens the relationship but the Christmas spirit too.

It’s a story that makes good use of a single location. It consists of a lot of moments where you don’t know what will happen next. It surprisingly ends with all conflict over.

Ghoulish Galactic Grievances (dir. Josh Owen): Wanna have some weird fun? A ghoul lives in a swamp, but she has a desire to pursue her friends in outer space. Her swamp friends want her to stay.

This is a fun and entertaining story of ghouls and aliens and creatures. It is definitely a fun comedic story to watch, but it succeeds in delivering a smart message within the theme.

Finding Uranus (dir. Ivan Li): This is the one short of this segment that is animated. A man is lost in a sea of internet porn and desires to find real sexual satisfaction. He pursues it through a very unorthodox trip.

This was entertaining, but bizarre at the same time. However I admire how the animator is not afraid to go crazy and let his creativity tread in territories many would not touch!

All seven shorts were entertaining in their own way. Some had a story to tell, while some were more about the show. Many were dramatic while some aimed more for comedy. All were good at telling their story, even if told in a bizarre style.

At the end, I can understand why this shorts segment is called To Live In Infamy. All of them had an infamy of some kind, whether big or small. Nevertheless all of them told their story well.

VIFF 2017 Review: Félicité

Felicite

Félicité is the story of a Congolese singer (played by Véro Tshanda Beya Mputu) who life struggles mirror that of most African women.

Félicité appears to be a film about an African woman who sings in bars to make a living, but it’s a lot more.

Félicité is a woman living in DR Congo. The film begins with her waiting for the result on a repair for her refrigerator. It needs a new fan and it will cost. She then goes to the local bar to perform her music. That’s how Félicité makes her money, by singing. The bar is mostly locals. The repairman Tabu is one of those who catches her performance. However the bar has a lot of roughness and fights are frequent.

One day, her 14 year-old son is hospitalized. He was in a motorcycle crash. His leg is so badly injured, an operation is needed or else it will be amputated. Félicité is told she needs 1,000,000 Congolese Francs in order for the operation to happen. Singing from bar to bar is not enough. Félicité first tries locals who know her, but gets either little money or negative flack. Félicité then goes around the richer areas of Kinshasa posing as family members asking for money.

She’s close to the amount she needs, but it’s too late. The leg became so terribly bruised, amputation was needed. Félicité is shattered. However she develops a loving relationship with the repairman Tabu after he successfully repairs her fridge. He’s able to give the comfort she needs. She develops the confidence to start singing with an elite choir in a college as a hobby. Tabu is also able to talk to Samo and instill in him the confidence to live again.

Tabu again returns to one of Félicité‘s shows, but leaves with another woman. Félicité sees him the next day. She is very unhappy with him, but admits her heart is still with him. Félicité returns to singing in night clubs and singing with the high choir.

The way this film is made is common what one would have for a French film. There’s a storyline with a beginning, middle and end, but there’s also a lot in the background that adds greatly to the story. We see it in Félicité‘s singing. She sings the common African songs in the bars. She also sings gracefully in the elite choir. A lot of what she sings about in the night clubs is the struggle of African people in their daily lives and she belts out her emotions when she sings. A lot of what she sings in the high-class choir is graceful and gives acclaim to God and acclaim to life. Singing is not just a profession for Félicité; it’s a way of life.

Another background element of the film is Félicité‘s life and the lives of all those around her. She exhibits the struggles common of African women of trying to raise a child and trying to make pay. There are many scenes where you see Félicité walking down the streets of Kinshasa. Often the film shows about the difficulty of those living in the DR Congo, or Africa as a whole. We’re talking about a country with a very low wage and people struggling very hard to make ends meet no matter how much or how little they get. The 1,000,000 francs Félicité needs for her son’s operation translates to $650 American dollar. It may not sound like too much to you and me, but it’s almost two years income for the average Congolese. Even seeing how Félicité poses as a family member to rich people in their gated and locked houses shows the rich-poor divide in the country. Often I felt when I was watching Félicité, I was seeing a glimpse of African life.

Alain Gomis does a very good job of storytelling here in this film he directed and co-wrote with Olivier Loustau and Delphine Zingg. Gomis himself is a French director of Senegalese parents. You can see this story is personal to him too. He does a very good job of telling Félicité‘s story while giving people a god look at what life in Africa is like. Véro Tshanda Beya Mputu does a very good job in her debut role. She was able to play Félicité like she is the African ‘everywoman.’ Papi Mpaka also plays Tabu very well. At first, Tabu is just there in Félicité‘s presence, but soon becomes part of her life and her son’s life. It’s like he come from nowhere to be what Félicité needed. The music is one of the biggest elements of the film. The film may be about a night club singer but the music Félicité engages in says a lot about the film and about life in Africa in all its joys and heartaches.

Félicité is a four-nation film collaboration of Senegal, Belgium, France and Lebanon. The film is Senegal’s official submission in the category of Best Foreign Language Film for the 2017 Academy Awards. This is the first time the nation of Senegal has ever submitted an entry into this category. The film won the Silver Bear at the Berlin Film festival, won a Human Rights In Cinema award at the Istanbul Film Festival and was nominated for Best Film at the Sydney Film Festival and the Chicago International Film Festival.

Félicité is a film that doesn’t just dimply tell a story. It gives a glimpse into the difficulties of life in Africa.