Nominated Short Films Not the Safe Choices

Before we dive into this year's Oscar-nominated short films, let's get our bearings here. These films are not trifles used to introduce "Ratatouille," or afterthoughts on a DVD's special features, appetizers or desserts meant only to supplement the main course. Ranging from five to 40 minutes in length, these films are short-an obvious, but defining quality, as their length works to their advantage. The memorable films of this year's contenders (of which there are many) have intensity that a full-length film is often not afforded. With a precise focus on a moment, or just a solitary feeling, they stay with you like a dream you can't shake the next day.

Both the Live-Action and Animated Short categories are long on talent, but the latter is the stronger one. And one notable quality they all have in common is that none of them are American. This is a category that gave Walt Disney 12 of his 22 Oscars and that the Disney/Pixar dynasty has had a consistent presence in up until this year. Apparently, the Academy was not so impressed by last year's "How to Hook Up Your Home Theater," a short featuring Goofy that recalls a '40s aesthetic in animation. But it's not only the old-school graphics of Disney cartoons that no longer carry the same magic (Disney is no stranger to computer animation, either).

It's safe to say, though, that Disney animations are typically of the charming sort, and this year's picks are anything but that. We're looking at more challenging modes of creativity in both content and visual delivery. They're not amusing, safe choices. They're disturbing, funny and clever, sometimes all at the same time. The styles do not stand out by being especially old or modern, but by being visually astounding. And the effect of all this is just wild.

The most stylistically impressive film is "My Love." With Russian filmmaker Aleksandr Petrov's trademark pastel painting on glass technique, the short moves softly like a dream out of a Renoir painting, traveling through a young boy's inner broodings. The story itself plays out much like the animation-blurry, and like a faded memory.

However, it may be the frightened eyes of "Madame Tutli Putli" that win over the Academy. Do we know what's going on during this train ride from hell? Not really. But the film, which has no dialogue, taps into a fear of the unknown, closing in almost entirely on Madame Tutli Putli's tragic eyes.

Also with no words, "Peter and the Wolf" has the most seamlessly compelling storyline. Backed by a remarkable score, it tells an old children's story with the appropriate amount of lightheartedness and terror (which you can gather from the title). Peter's tale has been animated before, but never so wondrously.

"I Met the Walrus" is by no means the standout, but it has the most intriguing backstory (it's the audio from a 14-year-old boy's interview with John Lennon). The film brings Lennon's words to life through a series of sketch images that force you to glue your eyes to the screen so as to not miss a word.

The live-action category is also solid, but the standouts are easier to spot. Some play out like a well-delivered joke-of these, "The Mozart of Pickpockets" is the strongest contender with its clumsily adorable humor.

"At Night," the story of three young female patients in a cancer ward, is the most gripping of the live-action shorts and may have the right emotional appeal to nab the Oscar. These women become extraordinarily sympathetic characters, an admirable feat to accomplish in 40 minutes' time.

Regardless of who comes out on top this Sunday, this year's nominees show no shortage of talent and rest well in the memory.

Tags: ACADEMY AWARDS