Several queer and indigenous filmmakers submitted their shorts to this Torontonian festival that took place mid-March. The selection of the final eight shorts presented to the audience is exemplary of their experiences and this year’s theme: Visions of Care and Collaboration. 

By Eliana Aleman Reategui

This year from  March 14 to 17, the Toronto Queer Film Festival hosted the seventh installment of their festival in the borough of the Annex. The theme for this year’s festival is Visions of Care and Collaboration.

All featured in the short film compilation titled Who Am I Growing Into?, the shorts-files touched upon themes of reliance on one another, one’s passion for their culture, and overall just an earnest portrayal of the queer and indigenous experience. Visuals were striking and captivating, and although there was a wide range of mastery over the medium, the sentiments that all eight filmmakers conveyed were present in the room.

Headdress (2022)

We started off the screening with the short Headdress directed by Tai LeClaire. It told the stylized story of a queer native person and his internal battle when faced with cultural appropriation. It was certainly technically impressive, with many different settings and props, but sometimes the comedy felt a little juvenile. Personally, it seemed too reminiscent of Smosh comedy or even a dragged-out SNL bit. Maybe I am chronically online and can’t appreciate short films on a budget anymore, but the writing reminded me of an Anna Akana YouTube video or a PAINT cover. Gave me the feel that it was quite dated, somewhere around 2015 to 2016, but made in 2022.

Hi, My Name is Lilliana (2020)

Hi, My Name is Lilliana directed by Liliana Rice, is a biographical short about her experience as an Indigenous filmmaker and her worries about entering the film industry. I am assuming this was an admission video for an animation program. It was cute, but also something I don’t think belonged in the lineup. The animation style is reminiscent of the “draw my life” trend on youtube several years ago, putting little doodles and moving words on top of old family pictures and memories. This is more of a vlog than a short film and although the message of the film is touching and important, the form is simply too distracting.

Bright Heart (2023)

Bright Heart, directed by Tarek Lakhrissi, was an intriguing odyssey that takes the audience on an immersive trip across the streets of Paris. I saw what the short was trying to do: immerse us in this Lynchian journey of self-discovery. However, the scenes go on for way too long and even though I know the point is to keep the audience at bay, it never lets you in enough to care about his extravagant encounters. Very French.

Shedding (2023)

Directed by Tziara Reyes, Shedding is a short, intimate documentary about a non-binary person finding their identity and how that ties their hair ties into this equation. One of my most disappointing watches in the repertoire. I sympathize with the weight of shaving your head, especially as a queer person, and how that can help you align with your gender identity. Still, there was a lack of emotionality to the actual action. It’s a very emotional process (and even the director put their two cents on what it meant for them to shave their head a couple months back), but there was not a major visual contrast in the subject’s before and after. This hindered the impact of the action greatly.

Punk Fish (2023)

Punk Fish, directed by Miguel Maldonado, follows transgender punk musicians and their new journey to find themselves in the British underground scene. It’s pungent and true to its subject matter, but the protagonist feels swallowed at times. While undoubtedly eye-catching, loud and possessing a gripping presence, the protagonist was sometimes drowned by his eccentric environment. The introduction of his band members made me rapidly lose interest in his international student experience, and more invested in his backup band. How did that woman have two master’s degrees already? Nevertheless, it served a good purpose, as it captured someone’s life during their youth.

Once in a Red Moon (2022)

Directed by Yi Shi, Once in a Red Moon is a lovely romance short that touches upon the immigrant experience and how that seeps into romantic and familial relationships. It felt very Toronto-esque and reminisced of summer walks through Dundas and Spadina. The delivery of the actresses didn’t quite do it for me every time— some lines just came off awkward or simply unnatural, but overall, it was a cute story with a satisfying ending that made me miss my relatives back home. Sweet treat. 

Lullaby (2023)

Lullaby directed by Irène-Kimberley Valin-Awashish was such a visually stunning portrait of the Indigenous experience in modern Canada. You can see that there was a lot of care put into the locations. The protagonist stares directly into the camera as life moves around her at a quick pace. Her stillness was a strong contrast to the craziness of present-day society. Sometimes, the voiceover would be too overpowering to the visuals, but the message was still heartfelt and came across clearly. Low shutter speed shots of the dance were breathtaking. I do wish there wasn’t the face of the protagonist in the introductory shot of the dances; they stood better on their own. Impressive film.

I AM HOME (2022)

I AM HOME, directed by Kymon Greyhorse (sick name btw), is a short film with jaw-dropping visuals and a moving and emotional voiceover narrating the evolution of Indigenous traditions and their way of living throughout centuries. The decision to majoritarily use slow motion and to opt for portrait shots really elevated the emotionality of the film. The most cohesive short of the collection. Sadl,y it was also rather brief, but I was moved by what it conveyed in its short runtime.

This lovely selection of shorts tied together into one cohesive whole: A desperate feeling to tell a story and for the audience to see life the way you experience it; a desire to share different worldviews and life experiences so we can empathize with each other, and an accolade for being collaborators in each other’s stories.