Submissions 2019, are CLOSED
16th Edition - Forlì / Italy
4/13 October 2019



100Corti: A Ten-Year Short Story 2001-2010

Number 100 seems to be in everyone’s mind the perfect number to represent a remarkable value system. 100 is a limited number leaving many other values in the background, but it remains a symbolic value identifying a system deserving to be represented with something more than the classical three-place podium.

Since 1952, the prestigious film magazine Sight & Sound has carried out every ten years a survey among the most influential film critics from all over the world to draw up a list of the best movies of all time, giving an idea of the evolution of film criticism and the possibility to see how the films considered could stand the test of time. The list drawn up with the votes of the critics was enriched in 1992 with another list based on the preferences given by the most important filmmakers. The renowned American critic of the Chicago Sun-Times Roger Ebert has revealed that this survey is the only one, among the many existing similar surveys, to be respected and taken seriously in the world of cinema. The filmmakers contributing in 2012 include, among the others, Quentin Tarantino, Martin Scorsese, Ken Loach, Francis Ford Coppola, but also Guy Maddin and Cyrus Frisch.

In 1998, the American Film Institute decided to celebrate the 100th anniversary of the first American movie with a special list of the 100 best American movies. Since then, a lot of work has been done to write down specific genre lists, like the 100 best thrillers, the 100 best comedies, the 100 best horror movies, the 100 most popular movies. Also the famous New York magazine TIME accepts the challenge, publishing in 2005 the “ALL-TIME” 100 Movies.

However, nobody has ever thought of drawing up a “top 100” concerning the world of short films.

The “100Corti” project was born exactly from the wish to fill this gap, and started with my personal list of 100 shorts. A list that immediately appeared inadequate, with some choices that did not persuade me. While I was wondering how it could be rearranged, I realized that it would have taken shape much better with the help of a broader opinion. Therefore, I started asking to some friends and colleagues some recommendations of their favorite shorts produced in the past ten-year period (2001/2010), giving us a number of preferences without restrictions.

The initial selection was formed by some shorts that in the decade 2001/2010 were awarded in events universally recognized for their artistic value: the Academy Award, Clermont-Ferrand, Annecy, the Festival of Cannes, the Berlinale. This selection was then gradually enriched with the precious recommendations that have been sent to us. The five nominations to the Oscar for the short film category (introduced way back in 1931) together with the prizes awarded at the above-mentioned festivals represent thus the starting point of this special collection. From this initial group of selected shorts we have chosen the works that have obtained at least two additional votes by the 50 collaborators who contributed to this publication, including film festivals, filmmakers, film critics, and actors.

Without a doubt, this compilation will be a topic for debate, like all the other top 100. But our purpose was to offer a cue to prepare future lists, as it happened for feature films that have become cult movies.

The collection is organized according to the year of production, and therefore it is not a ranking list. It considers the genres selected in the most important festivals: fiction, animation, experimental, and documentary. The running time of the films considered does not go beyond the 40 minutes.

Despite the origins of cinema correspond with the production of the first short films by the Lumière and despite films had a “short” nature for their running time until 1913, shorts are still underestimated by film critics.

Since the 1980s, many specialized film festivals have offered more and more showcases to shorts, promoting an independent and awareness-raising context. Especially in Europe, short movies abandon the classical definition of training ground for young authors and assert themselves as an independent form of expression, full of freedom and artistic opportunities. Short stories, stories that have become sometimes feature films. The freedom of thought cannot be jeopardized by the film length. On the contrary, the independent quality of most of these works has favored the birth of fascinating and original stories, not influenced by commercial purposes.

Allow me, as a postscript, a small and ambitious licence: the list of my 100 favorite shorts.


Gianluca Castellini - Sedicicorto artistic director