Muscat
Philippe Grenier
2024, 17 mins.
Love at first sale
A 16-year-old Moroccan fisherboy, Samir (Ilyes Tarmasti, a promising nearly silent début), suddenly has his world turned upside down when a touring couple (Alexandre Bergeron as furry chested Louis; Aline Winant as no-nonsense wife, Marie) haggle at the family fish booth where the only catch is Samir’s sudden infatuation with a potential family client.
Obsessed, Samir quietly stalks his hopeful lover, only to be cruelly put in his place by “you can’t love men” elder brother, Nassim (Mahmoud Zabennej, readily a lying superior for the sake of the family).
When Marie suddenly finds herself near life’s end at the beach, Samir is torn between wanting to use his meager English skills to help (and thus earning the undying gratitude of his life’s desire) but has to settle for what could have been instead of what should have been, as his unrepentant sibling turns the tables for all involved. JWR
Motorcycle Mary
Haley Watson
2024, 22 mins.
Take a big breath and drive
With all the very serious, doom, gloom and catastrophes around the planet just now, how refreshing and invigorating to come across a wee portrait of Mary McGee—the world’s first female motorcycle racer.
Told largely through her own, ever-enthusiastic words, the film chronicles the Alaska-born “I’ll try anything” woman whom, urged on by older brother Jim, nervously, soon defiantly steps into the man’s world of racing all manner of vehicles, and then having the audacity to win!
A particular highlight was her performance in the Baja 500, finishing 17th (a feat in itself, so many others never seeing the checkered flag), but also becoming the first [solo] person to complete the perilous journey.
No longer with us, (just a couple of weeks ago at 87), we can all be assured that McGee is racing around the heavens oblivious to any of who her competitors might be. JWR
The Prey Within
Hironori Jougawara
2024, 22 mins.
What it takes to be normal
The second part of a series from Japan’s One Frame Studio, the production lifts off with Eri (artfully carrying the film from quiet surprise to warlike cry is Ayuko Tsutsuji) receiving a mysterious package following the acrimonious breakup of Yohei and Hana (first episode for the details). How the comely young woman fit into that failed relationship remains a story (or yet another episode) for another day.
Being raised by a single, ultra conservative mom (Iku Kondou, readily no nonsense with every unfollowed command) brings on daily tensions and scoldings: “Eat fish, not meat”: “Pink lipstick, not [flamboyant] red”; “Do up your work blouse to remain modest”; “Use your chopsticks properly”; “Be home by 9”!
What’s a harassed girl to do? Marriage, of course, is the key to escaping tyranny.
One evening after work, Eri opts once again to defy Mom and be taken to a steakhouse dinner thanks to current beau, Yamazaki (Kuyna is completely believable as the hopeful groom). Apparently, all goes well as the hungry carnivore offers her man a special bracelet only to be presented with a “Will you marry me ring”. But the silent camera betrays the potential bride-to-be soundlessly flirting with another young man at a nearby table.
Once back home—especially after discovering Eri has supped on prime rib—the mother-daughter relationship slips into another world, where only one of them is likely to survive.
Curiously, an ordinary hammer finds its way into the visual mix in both a probable murder of a 30-year-old on a nearby street and the weapon of choice in the familial battle of who is truly normal (a hot pair of hidden-way red panties coming to light further adds fuel to the simmering household angst).
No worries, three months later—in what can only be described as one of the cinema’s most outlandish coincidences—Eri seems to pass out on the street only to be rescued by the flirting bar boy from the months ago steakhouse (Hayato Yoshioka dutifully doing his part, even as the end is near). If viewers can, er, swallow that, be sure to check out the new paramour’s wrist with a bracelet of its own.
From there, another modest proposal and the return of the mystery box sets the stage for a crimson conclusion that just may have everyone wondering, was there anyone at all “normal” in Hironori Jougawara’s inventive realization of Chie Okada’s fascinating script?
See for yourself and decide. JWR