TIFF 2020: Why this year’s Canadian Short Cuts filmmakers deserve every second of your attention

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Here is everything you need to know about this year’s best homegrown short films – and why they matter just as much as any feature-length film TIFF may or may not be screening this year

was made during her master’s program at York University as a way to “investigate the possibilities of cinema as therapy, by documenting my experience of navigating through my father’s unseen archive of family photographs and videos.” Elegant and intimate, the film was shot on campus – which helped slash costs – and featured only two crew members: Romvari and her cinematographer, Devan Scott.

“I’ve been making short films for a number of years, many of which hint at the events that I delve into with. Until now I was too afraid to look at those events directly, but I knew I needed to,” says Romvari. “I didn’t want to obscure my experience through metaphor or narrative but rather emphasize the importance of true vulnerability in the face of processing trauma.

“I think most of the promising work that comes out of Canadian cinema is made by filmmakers who aren’t afraid to embrace limitations, both in feature and short filmmaking,” the director says. “Broadly speaking, Canadian film suffers from the desire to imitate Hollywood aesthetics without the budgets or star power. It’s not a surprise to me that short films would be thriving and delivering some of the most unique perspectives, as a medium that’s already so informed by limitations.

, a tick-tock thriller focusing on a college student’s desperate efforts to maintain a dangerous medical charade. Borrowing that film’s lead actor, the phenomenal Kacey Rohl, Lev Lewis’s new shortMade for just less than $15,000, using Ontario and Toronto arts council funds, the short feels thematically similar to Bohdanowicz’s film, with both directors exploring death and grief. But even thoughshare a producer in Thomas, they are deeply unique works inspired by intensely personal experiences.

“A few years ago, before my mother was diagnosed with cancer, I had the idea of making a film about a woman on life support and her family gathering around her hospital bed,” Lev Lewis says. “Eventually I came up with a specific idea and structure that became more and more personal and more a recreation of specific things that I had lived.

 

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