The focus of music flows with a jazz melody in the introduction of They Shot the Piano Player. The film lays out its investigative foundation in the form of an animation docu-drama. Directed by Javier Mariscal and Fernando Trueba, the latter is the main writer of They Shot the Piano Player. The film has a direction of narration where one’s attention about jazz music is captured by abackground of interest and diversity. It is set during the Latino musical movement around the Bossa Nova style. A true period piece where the pieces flow smoothly for an articulate purpose.

This animation is one-of-a-kind as it introduces its audience to Jeff Harris (voiced by Jeff Goldblum). Jeff is a music journalist. He dives deep into the evolution of music and cultures and others that inspired how diversity in the genre began grew over the years. His writing and research shifts when he come across the story of Francisco Tenorio Junior, a Brazilian samba-jazz pianist. An artist with a lot going for him who vanished in Buenos Aires in the spring of 1976. The story is one that Jeff gets hooked on.

The film evolves into the creation of fascination when Jeff does interviews for the story. Many of the characters are the real people doing their own voices. The reality of the individuals taking part in the film adds value to the film—it heightens the lavish feel and surrealness of the many moving parts that Jeff comes across. Jeff interviews Malena Barretto (who was close with Francisco), Gilberto Gill (a musician who Franciso knew well) and many others who use their real name. The facts, the research, and the deep digging direction of the film are inspiring. Is there a form of lightness or darkness in the story of why Franciso disappeared though?

They Shot the Piano Player is animation with high quality artwork. Francisco is dead, and Jeff dives deep trying to figureout how he came to his demise. I found that the enticing factor was much of the glamour of the jazz world blended with aspiring animation. Jeff narrates each introduction to many of the moments of his research in this very moving picture. The amazing voice of Goldblum and his delivery of the facts is in tune with the investigative narrative of They Shot the Piano Player.

The focus of what the outcome might be tends to be misconstrued though as the film goes into musical history, cultural backgrounds, and continues to trace back to Francisco. This makes the film feel two-sided. Is the musical research the bigger picture or is it the death of Francisco? There is a track of too much information digging deep where the mind of its audience may feel altered or confused on some levels. Still, it maintains its breathtaking flow of the artistic and the divine. The many political vibes in the era of the Jazz movement and the international background go back and forth and the cleverness of the story is on point. Three out of four stars for They Shot the Piano Player.

This film takes place in Australia in the year 1995 and writer and director Noora Niasari opens Shayda with racing thoughtsconsisting of turmoil and overwhelming moments. It is a scenario where having a better life will entail a mother taking risks. She is trying to find peace and discovers that escaping a troubling life comes with sacrifice and unexpected consequences. This is a story of a sheltered life that is eager for a fresh start.

Shayda is the name of the main character, and she is played by Zar Amir Ebrahimi. She is living in a shelter in Australia with her daughter Mona, played by Selina. Shayda is trying to provide normalcy for Mona—she does what she can to provide positive activities to promote a better mindset for her. They are in the shelter with other women and children. The environmentis set as a safe-haven, however the safety is questionable and there are always unsettling moments.

The holiday around the corner of the film is the Iranian new year…Nowruz. Shayda is spending the days leading up to that holiday in the shelter to maintain the safety of her daughter and herself from her soon-to-be ex-husband Hossein (played by Osamah Sami). Hossein is a narcissist and an outspoken individual. Shayda explores how a dramatic life shift and separation can create mental strife. It is a journey that keeps aconclusive atmosphere—Shayda needs to remain stable for the sake of Mona and to maintain a strong position in the legalitiesof her situation.  

As Shayda revisits moments in her divorce process, the devastation in her eyes belies detrimental  hopelessness. She maintains her loving mother’s attitude when she is with Mona. When Shayda deals with the dynamic stress, she lets out her feelings of heartache. She keeps to herself and limits her interactions with Hossein. The film brings up many questions. Is Shayda going to take custody of Mona? Are they going to have to do joint custody? Does Shayda understand that the situation is confusing and impenetrable for Mona? When Shayda must let Mona have time with Hossein, she is scared for her life. She fears she could lose Mona at any time.

The direction of Shayda also provides a view of life in the shelter. There is a dynamic of mothers with their children dealing with situations of abuse and neglect—they all want a new life outside of what they are suffering from. Shayda finds joy when she hangs out with Lara (played by Eve Morey) and Vi (played by Jillian Nguyen). Shayda also meets Farhad (played by Mojean Aria), and he is a nice guy that she feels is encouraging. The community around her reminds her to think of the holiday season of Nowruz. Despite all of what is going on, the holiday and the many people in her life fuel her confidence.

I find that the film explores themes of grieving and desperation. The shelter is the center for place of peace and well-being in Shayda. Shayda may be dealing with layers of inevitable conflicts with her Hossein, but the shelter is where she can feel at ease with her upsetting turmoil. This portrays a poetic dynamic of hardship fighting to find the light. The abusive pattern of Hossein is overwhelming. He is the most unbearable character in the film. There are moments where he devises manytactics to sabotage Shayda. He does this so he can have the upper hand in the arrangements of the divorce settlement. He also does so to make it seem like he is the better parent for Mona, although he clearly is not. Mona remembers to tell herself, “I am not afraid,” and faith is restored from the parenting of Shayda.

Despite all what Hossein tries to do, Shayda is always the one that will be the stronger and more shielding parent. There is that awareness of confidence that is written profoundly—the bitter situation forces her to climb to a brand-new reality. The suffrage throughout Shayda is long and crushing, however the bond of mother and daughter elevates the story to a more redemptive level.  Moments of Shayda’s past are ones where there is empathy for her situation with her daughter. Will they be alright? The domestic situation is one where the realism is gut-wrenching. Truly a vivid journey of love that is lost and found in different aspects of a blurred situation of conflict. Three-and-a-half out of four stars for Shayda.