Sanza Hanza (King Surfer)
Slamdance 09
Dir: Nadia Hallgren
The ghetto of Soweto outside of Johannesburg offers only one way out: the freedom of surfing on trains. This documentary short focuses on a band of young men named V.I.R.U.S (Very Intelligent Riders Usually Survive) in the largest ghetto in South Africa, population: 1 million. They find emancipation on the rails by either running alongside or on the tops of trains. Think Slumgdog Millionaire-style with less hustling and post-apartheid poverty. These cats do it for love of the game. They even refer to it as a sport, albeit a deadly one, even as they recount how one of their mates was there one second and dead the next.
The cinematography, courtesy Hallgren (Fahrenheit 9/11), is well framed and puts the viewer into the faces of the young men as they literally run between life and death. They do it for one reason as a young man nicknamed Tupac explains with a sneer, life is “bullshit” in Soweto and surfing the trains is a brief respite from the reality of the situation. Admittedly, I was unaware of this slum’s existence, and seeing the men as they vie for the title Sanza Hanza (Zulu for King Surfer), simply because they have no other options, is a sobering, enlightening, and exhilarating experience.
5 out of 5 *s
by Jon Paxton
1.29.2009
1.28.2009
Immersion, a review
Slamdance 09
Dir: Richard Levien
A young boy struggling to learn English in an elementary classroom as a recent immigrant to the U.S. may not seem like much of a concept but it works in this short. The young character of Moises was apparently based on the experience Director Levien's wife had as a teacher at a school in Los Angeles, where the story is based. The piece was shot in the same location at his wife's school, as well. This authenticity cuts through and the character of location plays a silent role as we see LA peeking its political powder keg head into every scene. The children aren't allowed tests printed in their native tongue of Spanish, instead they are forced to jump ahead schooling levels in one year in what realistically should take five to seven, experts say. Moises' teacher tries to find old tests printed in Spanish to let the capable mathematician in him work through the language barrier. Her struggle is one rarely focused on in the issue of immigration education but one that finally gets a critical view here.
The protagonist's family is very supportive of his education and young Moises studies in almost every scene. His test days are greeted by a small graphic character that aids his mathematical word problems. The graphics are very interesting, almost a Ghostwriter effect but less silly, if such a thing is possible. The short is very provocative and ends on an unanswered note: letting us wonder if Moises will acquiesce to unhealthy peer pressure and not work the system, or if he will continue studying and conquer his new environs. I, however, left with a positive impression.
4 out of 5 *s
by Jon Paxton
Slamdance 09
Dir: Richard Levien
A young boy struggling to learn English in an elementary classroom as a recent immigrant to the U.S. may not seem like much of a concept but it works in this short. The young character of Moises was apparently based on the experience Director Levien's wife had as a teacher at a school in Los Angeles, where the story is based. The piece was shot in the same location at his wife's school, as well. This authenticity cuts through and the character of location plays a silent role as we see LA peeking its political powder keg head into every scene. The children aren't allowed tests printed in their native tongue of Spanish, instead they are forced to jump ahead schooling levels in one year in what realistically should take five to seven, experts say. Moises' teacher tries to find old tests printed in Spanish to let the capable mathematician in him work through the language barrier. Her struggle is one rarely focused on in the issue of immigration education but one that finally gets a critical view here.
The protagonist's family is very supportive of his education and young Moises studies in almost every scene. His test days are greeted by a small graphic character that aids his mathematical word problems. The graphics are very interesting, almost a Ghostwriter effect but less silly, if such a thing is possible. The short is very provocative and ends on an unanswered note: letting us wonder if Moises will acquiesce to unhealthy peer pressure and not work the system, or if he will continue studying and conquer his new environs. I, however, left with a positive impression.
4 out of 5 *s
by Jon Paxton
1.27.2009
Only at Slamdance 09
Dirs: Ingrid Veninger and Simon Reynolds
This movie was one of the most honest pieces of cinema I have seen in a very, very long while. Due, almost entirely, to the main actors: two tween kids. They deliver completely honest performances in the way that only unaware children can. Daniel (Jacob Switzer) and Vera (Elena Hudgins Lyle) play two kids stranded together at a slow moving hotel in Canada that Daniel's parents run. They share only one day together but create a bond in their innocent, ready to burst into jaded maturity, lives that could last forever. This film does not play to the short-attention spanned, it is one of solitude and the scenery of the great white north.
Snow crunching underneath the children's feet, their voices bouncing off trees and the hush of fresh snowfall create an atmosphere of anticipation and eagerness. They openly ask each other questions they will ask of future lovers, but ask for the first time here as curious children playing in the woods. Their questions range from ones on death, cancer, and what they desire out of life. And their reactions range from fully comprehending life's mysteries at a time when their brains are opening up to the larger world outside themselves, and the awed looks of those first figuring life out.
I can be a hard-hearted sonofabitch, but this movie worked for me. It reminded me of more innocent times, like my first kiss: a moment captured truly and faithfully in this movie. I hope this flick gets major distribution to art houses for those who enjoy thoughtful and well-paced films. If not, I highly recommend you find it on DVD.
4 out of 5*
by Jon Paxton
Dirs: Ingrid Veninger and Simon Reynolds
This movie was one of the most honest pieces of cinema I have seen in a very, very long while. Due, almost entirely, to the main actors: two tween kids. They deliver completely honest performances in the way that only unaware children can. Daniel (Jacob Switzer) and Vera (Elena Hudgins Lyle) play two kids stranded together at a slow moving hotel in Canada that Daniel's parents run. They share only one day together but create a bond in their innocent, ready to burst into jaded maturity, lives that could last forever. This film does not play to the short-attention spanned, it is one of solitude and the scenery of the great white north.
Snow crunching underneath the children's feet, their voices bouncing off trees and the hush of fresh snowfall create an atmosphere of anticipation and eagerness. They openly ask each other questions they will ask of future lovers, but ask for the first time here as curious children playing in the woods. Their questions range from ones on death, cancer, and what they desire out of life. And their reactions range from fully comprehending life's mysteries at a time when their brains are opening up to the larger world outside themselves, and the awed looks of those first figuring life out.
I can be a hard-hearted sonofabitch, but this movie worked for me. It reminded me of more innocent times, like my first kiss: a moment captured truly and faithfully in this movie. I hope this flick gets major distribution to art houses for those who enjoy thoughtful and well-paced films. If not, I highly recommend you find it on DVD.
4 out of 5*
by Jon Paxton
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