Belize

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Short Films from the 2020 Pan African Film Festival

Here’s some quick fire reviews from the short films featured in the Pan African Shorts Program of the 2020 Pan African Film Festival.

My Father Belize

My Father Belize (Belize)

It’s great to see films being made in Belize, and My Father Belize definitely does the Belizean tourist board proud with shots of idyllic peninsulas where the jungle meets pristine beaches. The film focuses on Sean, a born and bred in Belizean that left the country in his teens for a life in the United States. He’s back in town for the first time in three years to scatter his fathers ashes; a father that was never there for him growing up. Sean has moved on from the death of his estranged father and is now engaged to someone from the U.S. However, during his visit he discovers he conceived a son last time he was in the country and must face his own future as a father and husband.

My Father Belize works because the gossipy reveals are backed up by just enough well timed humor to keep it tongue in cheek. Every time the film introduces a cheesy twist, Sean’s cousin is on hand to say exactly what is on the audience’s mind, thereby acknowledging the exaggerated turns of the script. This balancing act cleverly draws the audience into the script, opening up a space for My Father Belize to talk to us about the ordinary topic it really wants to: fatherhood.

A Handful of Dates

A Handful of dates (Sudan)

It’s also great to see more films coming out of Sudan. A Handful of Dates is shot from the perspective of a young boy that is ashamed to learn the truth behind his grandfather’s date palm fortune. He has grown up idolizing his grandfather, but when he sees the poverty his grandfather has nonchalantly plunged his neighbor into to achieve his wealth, he’s repulsed.

A Handful of Dates is a risk-free adaptation of a short story by Tayeb Saleh that fits perfectly into 15 minutes. It efficiently builds the arcs of the two characters the young boy interacts with (his grandfather and the neighbor) with just enough visual cues to support the limited dialogue. No second is wasted in depicting the grandfather’s transformation from idol to demon and the neighbors transformation from social pariah into a humble exploited man we can sympathize with.

Dolly (U.K.)

In Dolly, a white babysitter works on her laptop whilst the young black girl in her care asks for help with her maths homework. The babysitter ignores her until she finds out she’s got the job she wanted. To celebrate, she lets the young black girl put make up on her face, not knowing that the young girl is going to paint her face black.

There are a lot of issues that Dolly touches on but doesn’t explore, such as white privilege, racial privilege, black girls in STEM, discrimination in education, blackness, lack of black representation, being black in a white world and more. However, instead of exploring any of these issues that the film half references, it chooses to ultimately go for a punch-line ending of a white girl being found with blackface on. As a result, Dolly is left without much substance to add to a pretty bland performance from the white babysitter.

Songs for my Right Side

Songs for my right side (U.S.A.)

Rodger Smith is in pain. Every night he writhes alone in his bed because of a searing pain that has taken over the right side of his body. It might be the after effects of a bad break up, or the fate of two young black people recently murdered in cold blood. The only thing that soothes the pain is music.

Songs For My Right Side deserves a lot of credit for trying to do something different. Whilst the three short films above stick to familiar storytelling styles, Songs for My Right Side blends music, mystery, and Rodger’s thoughts together to create an almost psychedelic viewing experience. It’s as if you’ve been plunged into another person’s mind and forced to follow their roving stream-of-consciousness. There’s no room to step away from it and get a complete picture of what is happening, but that is kind of the point. You’re stuck with an untrustworthy, apparently crazy narrator, and you have to try and decipher what is true or not. Whilst the film does meander a lot, rendering it pretty confusing to follow, the experience is worth the ride.

Head to our Pan African Film Festival Hub for more reviews from PAFF 2020.

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Tragic Jungle (Selva trágica) – AFI Fest 2020

Tragic Jungle

Full disclosure: I’m a sucker for jungle movies like this. Films where the jungle slowly ebbs away at the ego of each character until it merges with the forest and they disappear. Embrace of the Serpent, Apocalypse Now, and The Mercy of the Jungle are three great examples of this. In each of these films, the jungle is expansive and labyrinthine. As every part of it looks the same, it’s easy to see how you can begin to lose track of place and time – did I pass this tree 15 minutes ago, this rock looks familiar, etc. And once you’ve lost your place in time, the jungle starts to consume you, slowly dissolving your ego away.

Tragic Jungle stands out from the bunch in bringing the jungle to life. It uses the sounds of the Howler Monkey and Jaguar to turn it into a threatening physical entity. Their constant roars and grumbles occupying the sonic space are unnerving. The unease is further emphasized by the videos of the two animals mixed in with the main narrative. It makes it feel like the animals are just around the corner, waiting for the inevitable demise of the human protagonists. This is their home, and the Director, Yulene Olaizola, makes that clear.

The only character that seems comfortable in the jungle is the anonymous runaway, a young black Belizean woman chased across the River Hondo into Mexico by her hunters. It’s not clear if she’s escaped the gun of her hunter or not. But once she appears to a group of Mexican rubber harvesters out of the forest, she assumes her role as the Ixtabay woman, a legendary Mayan demon that appears from the forest to lure men to their deaths with her beauty. From this point, she’s completely silent among her new captors. However, her stoical face and slight smile to all the men that approach her, make it appear that she’s always in control.

Her character is exoticized by the Mexican rubber harvesters because of her race. Unlike them, who are a mix of Mexican mestizo and Mexican indigenous heritages, she is a black creole Belizean woman. She’s as unfamiliar to them as the jungle they’re working in, so it’s not surprising that they link her appearance to the supernatural.

Her exoticization also reflects the erasure of Afro-Mexicans from contemporary and historical Mexico. In using a Black creole woman from Belize as the Ixtabay woman, Tragic Jungle further ‘others’ the Black creole women of Mexico. It portrays Blackness as something exotic and unfamiliar to the Mexican characters of both indigenous and mixed Spanish and indigenous backgrounds, which enforces the foreignness of Blackness in Mexico despite it’s own Afro-Mexican community and links to African slavery. Because the Black characters are not Mexican, because they are exoticized and made to feel foreign, and because of the context of historical and present erasure of Afro-Mexicans in Mexico that is slowly gaining recognition, Tragic Jungle contributes to the systematic erasure of Blackness in Mexico.

Head to our AFI Fest Hub for more reviews and short films from AFI Fest 2020.