Both
couples could be safely described as imperfect, but in each case, their relationships
are complicated by circumstances outside their control. They are also happen to
be the subjects of visually distinctive short films. Frankly, nobody could
accuse the young princess and her eunuch servant of untoward behavior, because
obviously. Yet, their emotionally intimacy is still forbidden in Tingting Liu’s
First Bloom (trailer here), which screens as
part of this year’s Brooklyn Film Festival.
He
did not volunteer to serve in the palace. Money changed hands, but it would
still be misleading to say his parents sold him into service. Yet, one of the first
people he meets will be his royal mistress, who takes an instant liking
together.
Essentially,
the two young people grow up together, in intimate proximity. Yes, it is his
job to care for her, but he is utterly devoted to the Princess. Soon their
friendship evolves into something deeper, but still chaste. Unfortunately,
fraternization with the servants is rather looked down upon in the palace,
particularly in this case.
First Bloom is an absolutely
gorgeous film modeled on the look and vibe of Chinese watercolor painting. In
terms of style and tone, it would pair up nicely with Isao Takahata’s The Tale of Princess Kaguya, which is
high praise indeed. Despite its elegance, Bloom
also packs a real emotional wallop. It is only five minutes, but has the
feel of a potential Oscar contender (we can always hope).
Radically
switching gears, Arian Vazirdaftari’s Not
Yet is an Iranian domestic drama in the tradition of Asghar Farhadi’s work,
but it makes dramatic use of split screens. The awkward truth is Hasti’s
parents maybe should be divorced by now. They largely live separate lives, but
they keep up appearances during skype sessions with their daughter in America.
These return visits pain them both, for very different reasons. Yet, neither
believes it is in Hasti’s best interest to return anytime soon, so they both
intend to maintain the pretense.
Through
the split screen, Vazirdaftari visually represents how very different their
perspectives are, even though they are mere feet away from each other. Only
when they focus on Hasti do their POV’s merge into one. Vazirdaftari’s restless
cameras also conveys a sense of the claustrophobia she feels and the depression
that engulfs him in the flat they formerly shared. Farhad Aslani and Pantea
Panahina convincingly portray the sadness of the couple nearly (but maybe not entirely)
resigned to their separation, who clearly still feel something for their former
partners.
