One of the wonderful aspects of film is its ability to represent people that are far too often sidelined in other societal ways. A pair of short films—FIGURANT and RUNON—give a voice to those rarely heard whilst still managing to capture a wide range of emotions within their central characters without uttering a word.
FIGURANT, a Czech/French co production with English subtitles written & directed by Jan Vejnar, follows the path of nameless, indigent man (Denis Lavant) entering a strange day labor world just to make ends meet. Our hero waits patiently as he is bossed around by his new temporary employers in a warehouse and follows a number of strangers through the preparation process.
This includes removing all his clothing and personal effects‚which for our lead are little more than tattered winter clothing and a braided rope bracelet—and is then commanded to cram it all into the confines of a filthy trash bag. His handlers constantly rush the strangers to suit up in their new alternative wardrobes which appear to be period military outfits, rifles, and paraphernalia. The strangers are ordered from one room to the next with no explanation as to what they are in for.
FIGURANT shines most through the acting of Denis Lavant (HOLY MOTORS). The camera, deftly utilized by Šimon Dvorácek, focuses intently on our main character as the man is overwhelmed with confusion, anxiety, and genuine disregard by his handlers. The military duds are altogether fitting as Denis portrays a man at war with his fears and lack of privilege. While the plot may seem formulaic on the surface, the layering of themes are clear and impactful. Too many people are shoved around in life with little recourse and their suffering is never noticed, considered, or (especially) even heard.
RUNON, written & directed by Daniel Newell Kaufman, follows Luke (Luke Visagle) and his mother (Erin Markey)—another set of people whose lives are packed into garbage bags. The pair are navigating a chaotic bus depot as they await for their ever delayed passage. Luke never says a word but that never limits the curious and at times despondent looks on the young boy’s face as he grapples to process their sudden upheaval in progress. Luke’s mother does her best to pacify him with vending machine treats but often alludes to him not turning out like his father which is noticeably absent.
RUNON is shot handheld by Adam Newport-Berra (THE LAST BLACK MAN IN SAN FRANCISCO, Euphoria) who once agains shows his prowess for shooting on film. The palette on this short film is an array of low light and shady spaces like the dankness of a rarely serviced Greyhound bathroom. The frenetic and closeup nature of both the film composure and background dialogue is reminiscent of GOOD TIME. RUNON amplifies the barrage of sights and sounds we encounter with young Luke, by capturing the majority of the twelve minute run time in one unbroken take.
It’s easy to forget how much humanity can have in common especially in moments of isolation. Whether in the Czech Republic or the now ever-subdued halls of an American Greyhound station, people persevere in multitudes of perilous situations. RUNON and FIGURANT both emphasize the lack of empathy and understanding by their use of nearly silent, observational characters. While SXSW and nearly all the film theaters of the world are currently silent, it’s nice to know that cinematic messages are still ringing loud and clear.
Tags: Adam Newport-Berra, Daniel Newell Kaufman, Denis Lavant, Erin Markey, Figurant, Jan Vejnar, Luke Visagle, RUN ON, short films, shorts, South By Southwest, SXSW, SXSW 2020, Šimon Dvo?á?ek
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