There is no denying that Taika Waititi is one of the hottest directors in Hollywood right now. Just look back to his last four films. What We Do in the Shadows (2014) is a modern horror magic trick, an unexpected mockumentary that introduced many to his abstract and quirky sense of humour. Soon winning more fans with his Sundance darling Hunt for the Wilderpeople (2016), it was yet another one of his features to receive universal acclaim. Jumping into a completely different realm, he took one of the biggest risks seen in the Marvel cinematic universe, somehow transforming Thor from sullen, dark, depressing and somewhat wooden, into one of the funniest post modern adventures imaginable with Ragnarok (2017). Jockeying into yet another unexpected realm, he next became Oscar respected film maker with 2019’s Jojo Rabbit (a comedy set in one of the least funny places imaginable – World War Two Germany). A man who can find laughs in even the most unexpected places, it is quite rare to find someone in this modern movie landscape that is willing to take such chances with his career – and it is utterly refreshing. Likely unknown to some, he has actually long been an Oscar-nominated film maker. . . earning a nod all the way back in 2004 for his live action short film, Two Cars, One Night.
Shot in striking black and white (with time-lapsed photography that already shows Waititi’s flair for the visual), two cars sit in a pub’s relatively quiet parking lot. Inside one, a pair of children, Romeo (Rangi Ngamoki), the over the top showman to his straight man-like younger brother, Ed (Te Ahiwaru Ngamoki-Richards). . . in the other, a tween girl, Polly (Hutini Waikato), with enough bravado to go toe to toe with the boisterous male.
Opening with a stare down/stare away battle, which then escalates into what could only be deemed as a confrontational conversation, Romeo comes out firing, only for Polly to fire back with equal gusto. Yet, like staking your spot in the playground, this is simply a protective mechanism, the boy and girl finding a bond most unexpected.
Showing his knack for working with child actors early on, Waititi finds plenty of comedy and drama amongst the triumvirate, as well as some romance between the older two (dare I say, first love at first sight), in this most unusual meeting place. With an almost magical essence, this near empty parking lot (other than a few appearances from some rather unusual looking characters), is like watching two ships (or should I say cars) afloat together in a bottle, others able to view the children yet unable to enter this mystical, protected, and surprisingly poignant bubble.
A short film that already shows the immense skill of Taika Waititi (who both writes and directs), Two Cars, One Night is a sweet little romantic dramedy with plenty of sharp (and often rather impressive) putdowns – especially in the first half. Then transforming into something completely different, the brazen brashness streams away, replaced by an honest and simple, almost unexpected bond that makes this film all the more memorable. So, put a ring on this hidden gem of a short – it definitely doesn’t use kid gloves.