Dood van een schaduw

So maybe it isn't about size (or in this case length), but about quality. And this short movie has that and then some. Visually you will not be able to find this any different from any Blockbuster you are watching on the big screen (or small one to stay with the theme). The story may be a bit predictable to a point, but this does not take away the fun you can and will have if you like your Science Fiction a bit bleaker than the rest of the pack.

The actors are more than decent and the sound design is well made too. There is a reason this scored over 7 here on IMDb and if you do not have any hesitations against short movies, you should seek this out and watch it, if you can. Well worth your time

Having seen all 5 of the 2013 Oscar-nominated live-action shorts, my opinion is that this should be a two-horse race between "Henry" and this film, "Death of a Shadow". In the end, I give the nod to "Henry", but this film also is quite entertaining and worthy. I didn't love it QUITE as much as an earlier reviewer, but still - very good.

I enjoyed the twists and turns of the plot, and the overall concept was intriguing. The steampunk thing - I dunno if that added or subtracted - maybe both. Given the time constraints of the format, there was just a little bit too much going on to make this a great short.

Of the 5 nominees, this is the only one I'd really like to see as a full- length film, although the subject matter is so off-the-wall that commercial success would be tough.

There have been one too many short films greatly diminished en route to a feature length film not to be at least a little hesitant in this statement. Nevertheless, any flaws in this compelling short film could be remedied by a feature length film version, done right. Some unfinished questions answered, further character development, and additional backstory- with the already impressive cinematography and ingenuous premise with such imaginative world building should only result in something most magnificent. Can it be done? Yes, but whether it will is the real issue we have, but I for one plead for an answer in the affirmative! Here is my official endorsement for the future successful films by Belgian director Tom Van Avermaet!

A young soldier has been killed in the Great War, but he manages to do a deal with death that will allow him (Matthias Schoenarts) to return to the land of the living on the condition that he collects 10,000 shadows. Essentially, this involves him taking a sort of photograph of other people whose spirits he hopes to trade in for his own. It's only as he gets near to his target that he encounters the pining "Sarah" (Laura Verlinden) who is mourning her long lost "Daniel" (Benjamin Ramon). A little investigation reveals that this young man met a rather ignominious end, but as "Nathan" sees just how distressed she is he wonders if perhaps his life is the most important thing to be returned to a world devastated by war and tragedy. It's not the most straightforward of narratives, this, and that ambiguity helps it to stand out as quite a gently thought-provoking and highly personal drama set against an almost unquantifiable backdrop of longing, grief, sacrifice and quite possibly shame too. It's a stylishly filmed feature that is well worth twenty minutes of your time.

Matthias Schoenaerts shines in a nightmarish fantasy short with a distinctive look. I'm not too fond of some of the "steampunk" aesthetics, but as a whole the visuals are both striking and memorable. The story itself touches upon archetypal themes such as love, betrayal, sacrifice and death ; as a result it feels somewhat like an old fairytale or an old fable, transmitted from century to century.

Another, more contemporary theme concerns the porous and shifting borders between watching and condoning, between watching and participating or between watching and provoking.

Last but not least the movie reminds one of the catastrophic suffering involved in World War One. As a child I remember meeting very old people who had seen their share of loss and grief and who spoke of "the war", in the singular. For them the first World War still remained the great, the real, the original war, with all subsequent conflicts being but aftershocks or afterimages.