MWFF Critics' Choice Awards 2022
Each year, as part of the MWFF Critics Lab experience, our fledging critics are tasked with the responsibility of selecting the annual Critics’ Choice Awards. This year, our critics watched a total of 84 short films and spent considerable time deliberating over their top selections, reflecting on both the story and aesthetic qualities of each film. The winners are listed below, along with a short comment from our critics. Congratulations to all filmmakers and to the wonderful folks of this year’s Critics Lab
Next Gen
Winner: The Mulberry Tree
“With invigorating performances from the two young leads, The Mulberry Tree has infectious energy and spontaneous life, discovering magic in everyday existence through the perspectives of two irrepressible children.” (Paul Burns)
“Such a unique mix of eerie suspense and frolicking freedom. Camera work and sound played into this beautifully. The story’s ending was left somewhat loose, to further the mystery behind the mulberry tree!” (Isabel Donohoe)
Honourable mentions: La Tansouna (Don’t Forget Us) and Special
“Was wonderful to see a great deal of care and sensitivity given to La Tansouna’s composition, writing and direction - all of which personalised and humanised the experiences of refugees, migrants and asylum seekers.” (Victoria Lonergan)
“From the 'shorts on the monkey bars' to the 2000s mood ring and girls magazines - the integration of subtle details elevates the story of Special, carving out characters that are easy to resonate with.” (Victoria Lonergan)
Reel Shorts
Winners: Only Human and White Goods
“Only Human is inviting, like a chat with a new friend in their living room, turning pages in an old-school scrapbook.” (Isabel Donohoe)
“White Goods is a film stripped down to two elements: a line drawing animation of somebody's face, and their verbal testimony of a deeply traumatic injustice. French filmmaker Arnaud Desplechin argues that the purpose of cinema is to bear witness. On this basis, White Goods is a valuable and overwhelmingly emotional distillation of cinematic form.” (Paul Burns)
Honourable mentions: Pluck and One a Week
“Touching upon death, feathers and Māori cloaks (Korowai), Pluck is a moving documentary with an absolutely magnetic lead in its protagonist Jean. Comprised of intimate everyday moments, the scenes accrue with seemingly effortless grace into a vibrant portrait of Jean's life and passions.” (Paul Burns)
“The emotional depth and openness captured in the interviews, particularly of Jessica's children, were both heartbreaking and powerful to watch. One a Week’s informative elements also raised important insights on the issue of domestic violence.”(Victoria Lonergan)
Freshly Squeezed
Winner: Pain
“A unique take on the coming-of-age genre, infused with black comedy and even elements of psychological thriller, Pain is a startling and insightful exploration of how children learn about the world. The performances are wonderful, particularly from the lead, Eva Gardner, whose eyes convey immense worlds of curiosity, fear and joy.” (Paul Burns)
Honourable mentions: The Ninth Tower, Ways to See, Forgotten
“The Ninth Tower is timely and necessary. Emotionally compelling performances and great cinematography - humanised an event some Australians may only be familiar with from news articles and social media." (Victoria Lonergan)
“Loved everything about this unique, artistic and emotional film, Ways to See. The tension, and engaging, well-acted characters created a sense of following a path of unknown, with plenty of reading between the lines along the way.” (Isabel Donohoe)
“In the slippery, sketchy and mercurial animation of Forgotten, every second seems to occupy a space between being and nothingness, with its impressions of life perpetually disintegrating before our eyes. The film’s flickering images presents an empathetic window into the mental state of ageing populations experiencing neglect and isolation.” (Paul Burns)