Over the past two decades, the Academy Awards have been in a continuous flow: there are now 10 best photo candidates instead of five, the membership (diversified) has grown more than 50 % at that time, and the issues are now routinely competing for the higher award. In the midst of all this change, there is still a fixed one: for 20 years, Shortstv works with short films to watch their works throughout the country. The theatrical audience grows for these versions every year, to the extent that the “2025 OSCAR MOVING Films: Live Action” package is on the right way to outperform the best “Nickel Boys” image candidate at the box office.
First, in a strong (international) selection (an impressive and international) is the Croatian short who won in Bali or at Cannes last year, “The man who could not silence.” We placed on a train traveling through Bosnia in 1993, director Nepzhashia Sligbevvyvic puts us on the fact that he is on the position of disadvantaged travelers, mixing and intimidating when the train and armed men stop significantly through separate Muslim travelers. Depending on eyewitness certificates, Slijepčević focuses on an average man named Goran Bogdan, who realizes what is wrong. Looking at the title of the film, we hope to see him actively, although the trick officer (French actor Alexis Mantei) threatens, Dragan does not dare. Thus we left to participate in the shame of what is happening. The film is dedicated to Tomo Bozov, an old warrior who has a precursor to the challenge of the soldiers – a role model in times when the resistance becomes a moral commitment.
In recent years, the Academy has used short pants categories to amplify all kinds of political messages. This is the same way for voters to show their values, but also a strange kidnapping of a prize should recognize the most talented managers. This year, there is a real talent behind the case -based NOMS, which can be seen in ADAM J This conspiracy is high and subjective, as Anuja moves on the street of the street of adults of Dincists – some of whom are looking to exploit it, and others are determined to direct Anuja to a better future. The film collapses exactly as it approaches the climate decision of Anuja, but it is the background that is more importantly here anyway: Working with Salam Palac Trust, Griffs threw a girl who was rescued from a similar fate to play Anoga, using the project to inspire children in similar conditions.
As happens, the only candidate who was chosen only on the power of filmmaking (contrary to the merit of her activist case) is the Dutch writer and director Victoria Werardam for 22 minutes, “I am not a robot.” In an elegant modern offices building, Lara (Ellen Barrin) is located on her computer listening to the “Creep” cover, a song that takes her words with a new connection with the development of the film. In the face of one of the annoying Captcha claims on her screen, Lara clicks it as directed, but continues to fail the test. We were all there, and we waste time in the mind tests that aim to separate humans from robots, but WREADERDAM offers an evolution: What if Lara is really a robot, and this is the way you realized? It is a new approach to the conversation of artificial intelligence and puts the masses in the potential “symmetrical” shoes as it drowns it in an existential tail. “Robot” looks unexpected, original and expanded prominently like the initial model for a great feature about a completely new class of lighting.
The disclosure of a harsh strategy used by the enforcement of migration and customs in the United States to arrest non -citizens, is the filmmakers of brothers, David, Wissam Katler Kereotz, an effective example of a somewhat common form used in social social cinema. Basically, the idea is to follow a Perkraat nightmare in practice in practice, and it simply criticized the process by revealing a stressful and unilateral extent. In what plays like a 15 -minute panic, the brothers notice a husband and wife (William Martinez and Victoria Ratmanis) rushing to conduct a mandatory interview for immigration, and pulled their wonderful little daughter via Ranger. The film does not care about the rules that it broke, as it focuses instead on those that he is now trying to follow up to stay in the country – the paradox, the ice officers are waiting for his arrest on the date. The narrow wide frame and portable portable archery style raises the pressure of the situation that is more effective to not try to install a happy ending on such an annoying policy.
On the contrary, the urgent “The Last Ranger” made by Cindy to me takes us to the heart of the likeness-a portfolio of African wildlife where fishermen deprives two centuries-and somehow can leave us and seem optimistic about a apparently impossible battle. The young Lita (Layabona Marqouq) loves local endangered animals and looks to Khosi qongqo, a woman who has devoted her life to her to protect her. One day, this goalkeeper picks up the garden Lita and brings her to work, and he intends to show a lonely living girl. Instead, they end up watching the type of attack I swear on the right to prevent. It is easy to imagine the audience’s friendly version of this story, but I admire the realistic sacrifice of such heroes to cleanse it, including actual clips of a rhinogenic ride for the dead …