Tribeca Enterprises was founded in New York by Jane Rosenthal and Robert De Niro in 2001. Its accompanying Tribeca Film Festival, which started in 2002, has since been promoting emerging talent in cinema.
In 2022 the festival took place between June 8th-19th and its many sections included Premieres, Gala Events, US Competition, Online Premieres, and the International Competition. There were also the sections: Critics Week, Midnight Movies, Viewpoints, Special Screenings, and a Documentary Competition. Furthermore, a Shorts section comprised 53 entries from Narrative, Documentary and Animations. These included many World, International, North American or New York premieres.
The World premieres of the Shorts section included Chicken by director Josh Leong. In a very poignant and sympathetic character study, a 16-year-old boy is serving time in a Bronx juvenile prison. Faced with losing custody of his child, he discovers fatherly duties through raising a chicken. As a short film entry, Chicken is very engaging, well-acted, and has the production values to be viable as a feature. It also highlights a perhaps overlooked subject of the lives of juveniles in prison, with originality and sympathy.
Another Short World Premiere, also set in New York, was Fraud, directed by Zen Pace. A transsexual rock singer is searching for her place in the world, and for companionship. She also has a parallel life committing petty credit card fraud. When her latest target makes a surprising offer, she reconsiders her position in life. Fraud ultimately emerges as a deceptively profound drama that is progressively compelling through its suspense.
The Letter Men, directed by Andy Vallentine, was also a World premiere at Tribeca. Continuing the LGBTI theme, it is based on real love letters from World War II and an untold story of two gay men torn apart both by war and the law. The period mise-en-scene is excellent and the very taboo practice of the time is overcome by its romanticism. A plea for tolerance and understanding is the legacy, regardless of what era that may be.
The UK entry Pragma, by Ellie Heydon, also had its international premiere. This perhaps prophetic film concerns a first School for Relationships. Young Willow finds herself caught in a love triangle. Her dilemma lies in whether to trust science or her heart. There is certainly originality in the premise and a twist in the plot. However, this scientific approach to love and romance will likely divide viewers because romantic relationships are by default based on the heart, and not by technological evaluations.
Another UK film receiving its North American premiere was Fireworks, by Paul Franklin. Set in an MI6 Operations Room, it is a tense thriller that uses Virtual Production technology. The director already has his credentials and this short film contains both good production values and humor. The characterization is also potentially good but the petty squabbling is a little overdone with the use of ubiquitous expletives seemingly forced. Internal communication is therefore so disrespectful as to render Fireworks borderline implausible in representing MI6.
The North American premiere of the US-Jordan production, Touchline, changes the mood completely. Director Mohammed Saffouri sets his film during the occupation of Palestine in 1948. Ahmad, a 17-year-old Palestinian, dreams of being a professional footballer. At a trial he is one of only two boys picked to represent the national team. However, suddenly, the Israel conflict means he has to leave home and his dreams are shattered. This is an excellent and touching period film that is just as poignant and relevant today.
In what is something of a departure in the Shorts programme, the UK-Nigeria production Point and Kill is Smuggler director Ebeneza Blanche’s music video that shows Brit Award Winner Little Simz exploring her Nigerian roots on location. A representation of proud heritage and customs make the effect very authentic. The video, also having its New York premiere, features fellow Nigerian singer Obongjayar.
Seemingly made for fun was Alison Roberto’s satirical horror Girls Night In, another New York premiere. However, the award-winning Director (also a Creative Director) appears to have fallen short here. Based on the Bechdel test, two friends have to deal with a crazed intruder on a dark night. With allusions to films like the Scream series, it is more pastiche than original, nor engaging, so ultimately the tension becomes somewhat nauseating.