The Last Farm and Two Birds
The easy response to what both short films have in common is the director, but there is something else; something that they share: a tricky well of forced ingenuity where it is very simple to get lost and overlook how Rúnar Rúnarsson sneaks above us. (I suppose readers have watched these films, so I am not going to write any synopsis. If you don’t like spoilers, please don’t read more.)
I can’t deny the delightful work of photography, which is so good it could almost mask Rúnarsson’s trick. It is . . .
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