Review of El Carrito a Short Film

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Some short films are written and filmed with absolute respect for the medium in which they are executed. Thinking that not all short films are consistent with this pattern “which is only effective when done correctly” Is a relevant point: you don’t have the luxury of telling the whole story and there are some facts that viewers must observe for themselves and their immersion in the film.

In Zahida Pirani’s charter, a woman’s struggle is so necessary that she is a survivor in her own crisis, improvisation and risk life. She lives the fear. Once inside his little house, he has to deal with his sick father who innocently lets everyone into his house. But when it’s outside, the failure becomes very terrible. He sells food from his broken cart to anyone on the streets. She is not alone. Your competence is important.

Nelly Is a reflection of illegal immigration and the depressive outcome that some people fear when faced with the reality of Americana and the lack of opportunity. And in the Charter nothing is confirmed by drama, long dialogues or extravagant expressions. Pirani decides to do something out of Nelly’s constant silence, darkness and disappointment. There is a spirit of resilience in his personality, which cannot be successful in any way. And when we live, happiness is a luxury that we cannot afford. Nelly can “win” only when she enters the court with confidence and without any immediate worries.

Having spent only 15 minutes, the nelly chart may seem unfair to a wide range of topics that consolidate in such a short film. But it is the life of the casual worker, the street vendor who can watch their World collapse in a matter of seconds due to crime, roughness and even those they are supposed to serve and protect. His calmness is only evident when he decides to rely on another aspect out of despair. I will not say what it is about, but its surprise is part of the reason why the film works in its conclusion.

And then comes justice. Nelly Is worth a sacrifice in a very uncomfortable realization of the world in which she lives. One in which goodness resides in possibilities that are quite small. However, what the story ultimately provides is not a turning point for the viewer. Nelly doesn’t necessarily get the change she wants. He just loses control and from that loss, something positive comes. In the same improvised way, it turned out that these are not exactly his “enemies”.

From the first frantic seconds, Eli Zavala’s performance is sharp enough to let you know her current status. It Is a resource for Pirani whose serial direction allows the story to be known from the beginning. Zavala does not try to overdo it, even if her despair character allows her to overcome it at any moment.

The cart tells a story. One that is born from a thousand stories of workers who have to live on a system that seems appropriate, but in the end it is not. The universality of some films is inevitable. In Pirani’s short film, he is invasive.

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