Editor’s note: Welcome to the twenty-ninth of a 33-part series dissecting the 83rd Academy Awards, brought to you by the Large Association of Movie Blogs and its assorted members. Every day leading up to the Oscars, a new post written by a different LAMB will be published, each covering a different category of the Oscars. To read any other posts regarding this event, please click the tag following the post. Thank you, and enjoy!
Though the Academy Awards have always had a rather frivolous and shallow history when it comes to handing out awards, as well as its obsession with the gorgeous gowns on the red carpet (not that there is not a place for such things), the Oscars have always been quite politically topical when it has come to the documentary categories - both feature length and, the topic of this essay, the short subject, alike. With Oscar winning titles such as Churchill’s Island, The Battle of Midway, December 7th, Hitler Lives, Why Korea?, Nine From Little Rock, Czechoslovakia 1968, Interviews with My Lai Veterans, Karl Hess: Toward Liberty, Twin Towers, Chernobyl Heart and The Blood of Yingzhou District, we get a serious look at what is in the people’s hearts and minds and consciousnesses of the day. This year’s batch of five Documentary Short Subject nominees, with their subjects of terrorism, the effects of war on soldiers, climate change, pollution and the education of our “lost” children, are no different - no matter which one ends up taking home the Oscar. Let us look at these nominees now.
Strangers No More - This is the fourth Oscar nod for directors Kirk Simon and Karen Goodman. Taking a wishful Utopian look at both the world’s education system and the larger idea (and ideal) of different cultures coming together in a harmony that will probably never be fully formed, this doc looks at a unique school in Israel. Perhaps it does get a bit preachy for everyone’s tastes (my own included). Bringing together kids from 43 different countries, including Jewish, Christian and Muslim children learning and playing side-by-side, we are given a brief glimpse of what could be, if only.
Poster Girl - Probably a bit whiny at times (more on behalf of the behavior, no matter how rightfully so, of its subject than on the content of its issues), though full of great subversive imagery (both iconic and ironic) but still touching importantly on an important subject - that of the government and/or military not taking care of its soldiers, its warriors. Sara Neeson’s film shows us another side of war. Having put her life on the line for said country, and becoming one of the “faces” of women at war (hence the title), an Iraqi vet now must fight and struggle for the disability compensation she has coming to her. Another sad reality in the face of war.
Killing in the Name - A provocative work produced by the great, Oscar-nominated filmmaker Liz Garbus, Killing in the Name, takes a look at terrorism from a different perspective - that of the non-extremist Muslim populace. Showing the face of true Islam - it is NOT the great evil so many have vilified it into being since 9/11 - this doc takes us into how terrorism (and counter-terrorism) affects those living inside the Middle East. How it affects those who are just trying to live their daily lives, without the extremist views of those rightfully vilified Islamists.
Sun Come Up - Directed by Jennifer Redfearn, this doc takes on the all-too-true tragedy of climate change (though I am sure some of those in the righter side of the political spectrum may argue the validity of such change) and tells the tale of Pacific Islanders who are literally losing their homes to rising waters. Set on a smaller scale (though still set inside a much larger scale) we come to feel for these people who have nowhere to turn. In this critic’s opinion, this is the most emotionally draining of the nominees - even if some may say it is somewhat manipulative.
The Warriors of Quigang - Director Ruby Yang and writer Thomas have already won an Oscar in the short doc category, for 2007’s The Blood of Yingzhou District. Now they take on an environmental horror movie, looking at the vast (and getting worse) pollution problems of China. Only here, neither Bruce Willis nor Wil Smith comes rushing into the last minute cliffhanger rescue. This is the most likely winner come Oscar night, if not for its tragic story (others in the competition may be my emotionally wrenching to many) then for its political stance.
