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| "He's behind you!" Photo: Andrew Robertson |
On the day of the opening Gala for Glasgow's 2025 Short Film Festival anyone venturing into the Glasgow Film Theatre's main auditorium might have been struck by two things. The first was the notion that someone had misplaced the hyphens and invited short film-makers. The second was a Batarang.
Not for the first time, Glasgow doubled for Gotham. In this case the caped crusader was a guest of the city's Bannerman High School, and in traditional bat-manner man-handled the Joker when he attempted to disrupt proceedings. We at Eye For Film are only rarely imperiled by the clown-prince of crime but it's something we prepare for. Armed with little more than my wits and notebook I fearlessly and selflessly sank into my chair and let the Dark Knight shine.
"Why..." you might ask, "were you at risk from the laughingest of the Arkham yo-yos?" and the answer is simple. I was attending the Bannerman Film Fiesta, one of Glasgow's newest cinematic ventures. A showcase for student filmmakers, a class trip for several schools, and an opportunity to see one of the best Bat-Men in all his Lego glory.
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| "Safeguarding isn't just for security guards at banks, which is why you're getting a picture of those of the Clyde" Photo: Andrew Robertson |
It's not unusual for film journalism to come with data protection issues, I've signed a fair few Non-Disclosure Agreements and couldn't easily calculate the time I've spent waiting for embargoes to become embargone. The presence of this many responsible adults and a corresponding quantity of picturegoing pupils meant different difficulties. Bannerman hadn't just lit the Bat signal, they'd also arranged for primary school pupils to attend their Film Fiesta. The elder educational establishment would fill the screen, their younger cohort would fill the seats, and someone else would fill in the forms. I was there to provide journalistic support.
As dapper _illionaire Bruce Wayne would tell you, intrusive (social) media can ruin even the quietest night out, so you'll understand why I'm not naming any other names and why the handful of photographs of the event wouldn't get a nickel from J Jonah Jameson. To depict a subject without anyone having room to object requires a somewhat tangled web, so as the Joker might say when taking over a hospital, "Thank you for your patience."
Over the course of just five (school) weeks, 27 pupils made six short films and an event trailer. Each group introduced its film. While the dictum is never to work with children or animals, I will specifically praise the audience for their good behaviour. That may seem patronising, but I will be using it as a reminder to other festivals' attendees that cinemagoing is a shared experience and consideration for others in the audience should have a high priority. They were delighted by the films, appreciative with their applause and laughter, and a credit to their institutions.
On the matter of credits, and again in the interests of caution, I'll name the films shown but not those who showed them. While I appreciate that as you read this you may never have the opportunity to see them that's no more or less true than any number of other films covered at festivals. Plenty of gems shine once at Ca'Foscari or Cannes or Cinecity or the other 96% of the alphabet and are then lost like other treasures. They're no less valuable for that.
Opening title 5 Minutes demonstrated both quality and bravery. With well-written dialogue and a good line in technobabble, it used a time-travel setup to construct tension and comedy. It's a high-wire act to fit fanciful physics to fiction. Inventive talents like Junta Yamaguchi and auteurs like Christopher Nolan have found success and struggle alike within the genre.
He's Behind You!! [sic] demonstrated as much enthusiasm as it did punctuation. Many films demonstrate a complicated production history, and I'm sure sourcing the empty alcohol bottles was a challenge. The presentation included a discussion by the filmmakers about their process, and many short films I've seen would have benefited from this sort of 'making of' element. Apparently work started with a poster design, something that's reminiscent of the work of Hammer in their heyday. Among the many bits of ephemera from that studio is a poster for the never made Zeppelin Vs Pterodactyl.
Code: Blackout showed ambition in a tale of intragovernmental conspiracy. There's been plenty of precedent for attempts by the security services to depose presidents, and sometimes those dastardly doings are domestic. One of the key elements of these sorts of thrillers is things unseen and unsaid, and with offscreen action and expository dialogue the two part title reflected the depiction of a complex double-life.
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| "Wholly comic-related decorations, Bat-man!" Photo: Andrew Robertson |
Hot To Go Diner referenced the things dreams are made of, and in a chaotic and comedic outing there was also some structural sophistication. To attempt a timeskip in any film is difficult, but to credibly move to 'one year later' in a matter of minutes is a feat.
Purpose Of Society was another of the films that drew inspiration from genre, in this case the litany of law enforcement stories. There was a definite charm to the line "Here's some of the big criminals I've caught", at once a signal of effort at enforcement and a pokedex of perpetrators. It's hard to write dialogue where the parties involved are not co-operating, and so there's extra marks for the attempt.
The last film by the students, and the penultimate for the fiesta, was Rivalry On The Dancefloor. In a programme where the filmmakers were clearly keen to embrace technical challenge. This used a mixture of shots to establish and develop single scenes, to reveal character and progress through choreography, and was unafraid to attempt multiple angles with its cast in front of a practice room's mirrored wall. These are the kind of things that are difficult to do with full crews, so to attempt and achieve and stick the landing is worth celebrating.
The audience of classmates and younger pupils were enthusiastic in their reception. This was well deserved - there's real talent here and it is to be encouraged. The Bannerman Film Fiesta is an excellent example of the worth of media education. As arts, culture and education funding continue to struggle, the value of schemes and events like this cannot be overstated. There was real pride on the faces of the filmmakers when they presented their pieces. To make a film is no small thing. To stand before an audience and talk about it also a challenge. We at Eye For Film can only hope that the Bannerman filmmakers have the chance to make more. We also know that the skills they've demonstrated beyond the immediately creative, those grown-up things like time-management, public-speaking, and project- and group-working, are among the transferable skills that go above and beyond the letters on certificates.
The Lego Batman Movie was an excellent way to close proceedings. When an eight-year-old named Jake put a stop-motion film on YouTube, the Billund brickmaker sent a cease-and-desist letter. When a new CEO took over, one of his first actions was to drop the legal action because the success of that viral video suggested Lego could move into that territory themselves. There's doubtless been some building on the truth to get to this legend of Linkedin lore, but that's still, in its own way, fitting.
