Short films we don’t want to see anymore

This is a list of short film archetypes we often see around social medias. These models usually result into bad short films or we’re simply way too tired to give them any support any longer.

1. Surrealist

This is like film school fresh-year. There’s ALWAYS a student thinking he’s superior or that he has a übermensch creativity and inner depth, whom decides that this kind of structure is the only one possible to organize his confused mind. We don’t care about your mind, we want a story. A film won’t set a truce between you and the world. There must be a reason why Buñuel haven’t explored this format so directly after L’Age d’Or achieving success. Tiny bits of surrealism are welcome, i can’t struggle how much i adore Svankmajer‘s work, which is certainly surrealistic, but the thing newcomers don’t realize is that the actual big guns work out with the external absurdity surrealism proposes, meanwhile, what we must repudiate are these surreal short films with inner developments, which will be written by someone whom possibly has never even read Freud, using a visual language only himself will find attractive and understandable.

2. Visual Masturbation or Poetic

Cinematography is a pillar of the structure, not the roof which shelters you from rain. It can’t hold the film by itself. These hipothetically poetic films, loaded with slow shots, cheap voice-over are all over the place. That’s another freshmen statement. You can determine what is a poem, since it is a predefined structure, yet you can’t define what is poetic, since it is not up to you. It’s up to the viewer. So trying to force the poetry into your spectator’s throat is not only unnecessary and rude, but you’re also limiting yourself into the wrong path for the right call. You can (and will, with dedication) achieve the same depth using the story. Also, several of these poetic short films come out after the student first contact to directors like Tarkovksy, which i admire truly, reason that bores me even further when i see these frustrated attempts. Have you seen that scene in Zerkalo, with the lady sitten in the fence and the wind creating a wave of grass in the background? He hired a helicopter to do that crap, how do you expect to place your camera in front of a tree and expect the same result? It’s so presumptuous it is offensive. You as a filmmaker must realize that, different than painting or photography, the film moves. The image is always in motion even standing still, the clock doesn’t stop counting until it is over. This makes movement an extremely important resource for a filmmaker which relies on years of experience to master. Poetic short films are like attempting to rape the spectator.

3. Powerpoint presentations

You know when your mother gives your email to that distant aunt and she daily spams your inbox with those cute ppts? Those messages that “God will serve us all”, “there is still kindness in the world”, “you must believe in yourself”. The public for this kind of film is exactly your distant aunt. Seems touchy in the first view doesn’t it? Yet, so did that bitch/jerk whom dumped you in high school. They’re cheap, this “today is gonna be the best day” atmosphere sounds good to kick off the day, however it is as deep as my cutting board. It doesn’t justify kindness, the guy in a suit is simply the Messiah. You can find good people at films, people whom inspire you, still they also have flaws and we will never identify with the qualities. NEVER. We want the flaws, we need the inner gangrene that consumes the good men’s life day by day. We all have our inner demons and we’re not looking after perfection, but solemnity. If this didn’t convince you, just keep your aunt in mind.

So, please, please, start a new work if you’re going through any of these archetypes, as they won’t develop you as a screenwriter. They’re short cuts to an end we all pursuit, the problem is that we’re watching a film to appreciate the road.


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