![]() It struggles for dramatic definition but Grant handles both nadir and climax with lived-in authority: a jittery on-stage panic attack, and a reprisal on top of a car bonnet that cascades music-video triumphalism. But as this airy taster for unconventional relationships has it, it’s “interesting to be interested in it”.īody positivity comedy-drama Candy is directed by and stars Scotland’s Sarah Grant as a plus-size burlesque performer psyching herself up for her first striptease. It feels a bit baldly advocatory at this brief length, with little time to personalise the thri-curious interlocutors or let heteronormativity speak for itself. All careworn closeups and blunt exchanges at first, their brief encounter is quickly snuffed out in a melancholic reflection on the feasibility and limits of responsibility for other people, astutely performed by Günter Toller and Kristóf Gellén.īelgium’s Emily Worms splices the rigour of verité with free’n’easy pastel-tinted fantasia in Amours Libres, a short transcription of a conversation about throuples. A window of opportunity opens up for Austrian pensioner Arthur when he invites Hungarian student Fabiu into his home to help care for his dementia-stricken wife. The omnipresent ticking clock on the soundtrack of Stefan Langthaler’s chamber piece Fabiu reminds us that awakenings come with an expiry date. The other In Short, Europe strands (subtitled Grow, Surround and Dream) should deliver more on that front. ![]() Hopefully that doesn’t mean, now that we’re far from the Berlin wall and busy on TikTok, that we have lost sight of collective aspirations. ![]() A s Krzysztof Kieślowski’s Three Colours trilogy, his great entwining of the personal and political, does the rounds once again on its 30th anniversary, the first batch from this year’s selection of European shorts gathered by EU cultural umbrella organisation Eunic London is given the subtitle Explore, and focuses on awakenings of the subjective, sexual and identity-shaping kind.
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