Latest Short Film Reviews

Voyeurism in the modern age is a lot easier. Personal devices have made it incredibly easy to spy on people. Short film The Idea revisits classic voyeurism, however, exploring the intrusive nature of a couple spying on their younger neighbours and how this impacts their own mental states.

Directed by Henry Chastain and adapted from the original short story by Raymond Carver, The Idea feels immediately perverse and uncomfortable for the viewer. Our couple (played brilliantly by Melora Walters and Dar Dixon) sit by their window in the dark and watch as a man across the street peers in and watches a woman get undressed. Voyeurs watching a voyeur, then, the movie moves on to display how angered Walters’ character is at the woman across the street. She seems completely put out by the neighbour and threatens to confront her in public.

What’s immediately arresting about The Idea is the routine nature of what’s going on. The fact that this couple can regularly sit by their window and observe their (younger) neighbours going about an odd and intimate habit stirs something disquieting for the viewer. The layered voyeurism seems frankly bizarre when watched as a dramatised short film, and yet this type of behaviour is commonplace, nay, encouraged, on social media.

Seeing the impact on the central character also makes for uneasy viewing. She seems a little off-kilter, and the one-sided hatred that festers within her towards her unsuspecting neighbour is, again, an incredibly powerful parallel of our modern tendencies.

The film version of the story is set in the 1990s (a wonderful pre-smartphone era), and the mise-en-scene is beautifully rendered to immerse the audience in the time period. The couple’s home feels like every sitcom from that era you watched, and yet the tense atmosphere created feels far more akin to a psychological thriller. This wonderful juxtaposition creates a lasting impression on viewers.

Melora Walters (whose credits include Boogie Nights, Magnolia, and Dead Poets Society) delivers a powerhouse performance and does the majority of the heavy lifting for The Idea. Her character experiences emotional migration from mild curiosity through to full-on paranoia in a short space of time, and Walters executes this beautifully in her performance. Dar Dixon also provides a nice counterbalance to the proceedings, offering an aloof co-conspirator whose grasp on his wife’s mental state is tenuous.

The third act of the film suffers from a pacing issue, and the story doesn’t really serve up the gut-punch the audience may think is coming. Whilst the connotations linger, it’s a shame something more cinematic and exciting isn’t brought in. That being said, The Idea focuses more on the internal struggle for our characters and how their viewing habits have shaped their emotional states.

We step into Pete’s (Edmund C. Short) tumultuous world. After the loss of his mother and infidelity from his fiancé, we follow Pete’s isolation and wallowing. Until a figment of his imagination begins to spark joy and meaning once again.

Pete is trying to find his feet amidst the chaos in his life. We find out about his mother’s passing as he rifles through boxes he is still yet to unpack. After watching through his mother’s Audrey Hepburn film collection, he wakes up to find Audrey (Kendal Brenneman) in his house. Understandably feeling confused and no longer sane, Pete tries to get a grip on his life.

The film touches on a variety of emotions: grief, self-pity, and the idea of having your life on hold. Audrey acts as Pete’s escapism from the real world, helping to unpack his feelings and life moving forward. When in actual fact, it’s Pete trying to help himself. It’s a relatable experience for most in terms of feeling stuck and being uncertain of the future. It’s done in a palatable way, verging on a romantic comedy.

Both of the leads bounce off each other in a playful, comedic way. The standout performance is by Kendal Brenneman; it feels as though she’s studied Audrey’s mannerisms, vocal inflections, and little quirks. That, paired with the extensive wardrobe and accurate hair and makeup, make for a believable portrayal. For such a big icon, Kendal takes on this beast with grace and elegance.

The standout aspects of the film come from the artistic direction and aesthetics. Set against a stunning Paris backdrop as the pair wander around, everything feels clean, refreshing, and mirrors Pete’s new lease on life since Audrey appears. The costume department really nails the signature looks of Audrey and throws us right back in time. Any old-school cinema lover will love the look and feel of this short.

Time is what Pete is so hung up about, living in feelings of the past, and whilst nostalgia is fun to relive, it’s a lesson in trying to progress towards a future. It’s evident in a scene between them both where Audrey states ‘if you don’t eat your ice cream, it’s going to melt away’ whilst she means it literally and in a comedic sense; Pete sees it as a metaphor for his own life. A playful quote that we can all take into our own lives.

Overall, the short captures the melancholy and sentimentality of time passing by. With a short run time, it doesn’t manage to grip the audience any deeper than surface level. That being said, it works as a short, fun-filled comedy and is an entertaining watch. Just for the costume changes alone, the visual elements are striking and fulfil each scene.

Dating Audrey has picked up 19 wins and 14 nominations, including Best Comedy at the 27th Annual FirstGlance Film Festival in Philadelphia.

Patrick Eichner’s “The Transaction”, created in 2020, follows Jane (Audrey Coletti), a sex worker, as she struggles to navigate her current lifestyle working under her abusive partner/pimp, John (Thomas Gipson). Amidst this personal barrier, one particular client (a cameo from Patrick Eichner himself) engages in a conversational transaction with John in a cafe, who contains more in store than John’s run-of-the-mill purchasers. The short, through one 18-minute anecdote, compacts numerous horrific normalities of this industry explored between these three characters.

John’s aggressive behaviour and language towards Jane provides a commentary on the pressure typically placed upon these workers and the power perceived of those who work above them (mostly manipulative men who make unlikely promises, as John does here). These two match the gender stereotypes that divide the labor efforts here; men should be the “muscle” as John and his blade make clear, and women should be the promiscuous “prize”, reinforced by the staring and catcalling Jane receives in the opening scene. The ignorance against Jane’s wishes to level up their scheme by forming a more personal connection with clients also reflects a common desire to level up at the expense of worker’s mental and physical health. It is not uncommon for these clients to breach the agreed dealing, hence the “frisk” carried out by John on the current client for anything suspicious and Jane’s direct reference to a previous incident involving non-consensual choking. Jane’s drug usage also explores a common issue prevalent in sex workers as they are often a cheap mental escape from the trauma that can be faced during work, however, this in turn creates more abuse and a pressure to get sober for the sake of higher income. Whilst the client appears to be a cliché white collar middle aged worker desperate for an easy satisfaction outlet, however his true intentions lead to a shocking twist. This ending ultimately represents how lots of these transactions in the real world can end: with damaged relationships, people getting hurt, but also (ironically), a sense of relief for at least one person involved.

The short film underwent a successful festival circuit across 2020/21, permitting Thomas Gipson to win best drama actor at the 2021 Brightside Tavern Film Festival, New Jersey. Alongside his director role, Patrick Eichner also produced and edited the project. Writer and cinematographer George Firewalker Carlson’s company, Firewalker’s Dreams & Images, also oversaw production of the film. Outside shots are unapologetically dark and grungy, foiled by the warm and inviting setting of the cafe, suggesting that at face value, customers are in for a good time without ever having to look behind the nightmarish curtain.

This short is no doubt a difficult watch and a caution should be given to those who may be able to relate or triggered by the subject material. That being said, the content provides a detailed view into what lies beneath the surface of a what attempts to mask as a strictly pleasurable industry. If it were only possible to apply the key underlying message of “The Transaction” globally, thousands of workers, or those close enough to soak in the effects, could be saved from the inflictive demand created in the world of sex work.

Written and directed by Deborah Puette, Such A Pretty Girl follows Meg having returned to her childhood home to care for her elderly father. Meg faces an impossible choice when her 12 year old child, Finn, discovers a long-buried relic from her past. With mere moments to decide, Meg must choose between protecting her father’s comfort and supporting her child.

The short opens to soft imagery and a cozy soundscape. It’s pleasant. Maybe too pleasant. These suspicions are confirmed when the almost infantile music is jarringly interrupted by Meg’s entrance, whereupon she finds Finn wearing her old dress. This is an excellent showcase of subversion straight off the bat. Within the first 6 (long) seconds of Meg stepping in, unfolds a wordless interaction that could fill an entire short-film of its own, with Meg visibly scrambling to figure out how to react and Finn feeling caught in the act. This moment will surely be a point of universal relatability, even if not the specifics, then the identifiable feelings of not knowing how to handle an unexpected situation with a loved one.

The tone is captured remarkably by director of photography Katharine White, who chooses the sophisticated approach by letting the camera linger on each moment, electing for sparse yet meticulously composed shots as opposed to fast-paced visual flourishes. With a 4:3 aspect ratio, White and Puette box us into the claustrophobic emotional situation along with the characters.

Speaking of the characters, not only are all three central performances from Sarah Drew (Meg), Harry Groener (Frank) and Cole Moreno (Finn) sensitively conveyed, but the material in which they are given speaks to each character without explicitly stating anything out of the ordinary, subtly weaving invisible exposition into the dialogue. Through this, we are provided reasoning to the social pressures both Meg and Finn may be experiencing. Whether it be Frank making gender-conforming remarks such as “men wear ties”, or the inference that they come from a traditional religious family.

Furthermore each character is represented with an empathetic innocence from Puette. Even Frank who represents the majority of the conflict throughout the piece is presented as ignorant rather than purposefully cruel.

Despite the high quality of the film in its entirety, the ending feels just a little bit too neat and easy, almost coming off like the definitive end of this situation rather than an optimistic start on a long road of trials for Finn. However, even with this, it is hard to deny that the ending is heartwarming. Viewers will also be endeared to know that this film was created from the writer’s first hand experience of watching her own daughter’s journey through transitioning, a fact that deepens the emotional effect of this tale.

There are no villains here. Such A Pretty Girl is drawn straight from the heart with a refreshing empathy and unwavering grace with its mature writing style that leaves the audience alone, allowing the brilliant central performances to do the emotional storytelling.

This short acts as a proof of concept for an upcoming feature version. Writer/ director Deborah Puette offers this work “in honor of all the incredible Finns in the world for their deep bravery and commitment to being truly themselves.”

An entrepreneurial young woman experiences first-hand the nightmarish pain of being in an abusive relationship.

Skyrim (Javed) is in fashion. She’s directing a photoshoot, handling things as the flashbulbs pop, and she looks great. Her friend and colleague, Barbara (Skorupa), is also there, doing fashion, and she also looks great, except for maybe a bit too much make-up today, around one eye. It was just a clumsy accident, Barbara says, ‘I Had A Fall.’

Except that Sybelle Cheesman and Jobe Wolf’s new short film isn’t just about how Barbara is living with the painful truth behind her black-eye. ‘I Had A Fall’ is about every one of the 1 in 4 women in the UK who experience some form of domestic abuse, and it’s Skyrim who’s going to tell us her story.

Back at home, Skyrim is not the fashion star that she is at work. Her partner, Clive (Perry) is more interested in hanging out with his work buddy Steve, than he is in staying at home with her. Steve just so happens to be Barbara’s man, and he’s been giving Clive pointers recently about how to keep his relationship just the way he likes it, with no drama. Skyrim tries her best to love her man, but he’s too caught up on the train of toxic masculinity to see anything in front of him but red.

In an all too familiar story, we find that the lessons of the Manosphere, and the pervasive sociopathic practices of the Tate brothers and other low-life PUA’s, offer Clive a grasping at control that he thought he might never have. In Cheesman and Wolf’s script, we are faced with some very bare dialogue which cuts right to the bone, and which scars quickly. The tension and the aggression are palpable in every scene, but ever so mildly guarded, to keep Skyrim believing that she is in a loving relationship that just needs some help, and we are brought along with her, all the way to the end.

The violence is shocking, as it should be, and the direction from Wolf puts us right where the words and actions have the most impact. In every moment we see how she loves him, and in every moment together we see how he convinces himself to hate her. We are close in with the couple throughout the film, and the intimate spaces keep us with the characters to feel every bite in every word, and every sting in every touch.

As the foreboding increases, Wolf chooses certain moments to ratchet up the stakes, and we are thrust from safe and comfortable, to survival, very quickly, as Clive’s behaviour deteriorates. The sound design is used effectively to mark out these moments, with El Rashid’s score underlining the danger and the gut-wrenching that comes with the breakdown of security in a relationship, while Nadia Javed and Laurence Hezili Perry’s strong performances ground the characters as very real people.

‘I Had A Fall’ is not a film for those who are afraid to face up to hard truths. If 1 in 4 women are experiencing domestic abuse, then both Skyrim and Barbara’s stories are true, as well as countless others. Here we are shown in intimate detail how that comes about, and how traumatic it is when it happens. Cheesman and Wolf do not shy away from dealing with the realities of very difficult situations, and in so doing, encourage the audience to raise their awareness of the women in their lives, too.

‘I Had A Fall’ stands strong as testament to what women live every day in the UK, and worse the world over, and makes a point of making you look at what you don’t want to see, when you know that statistically, you’re probably seeing it at some point in some of the people around you. There’s a strong message, and a strong call for solidarity through watching this film, for anyone who might turn up one day to say, ‘I Had A Fall.’

A short war drama directed by Toby Kearton, written by Kearton and Kari Liljendal and starring Ryan Hayes, Benjamin Schnau and Dean Ridge.

Before describing the plot, just explaining that ''kamerad'' is a German word that can mean comrade or friend and it was also a cry for surrender by German soldiers during the First World War.

And this story does take place during this historical global conflict, the year is 1918 and the location is Marcoing France, at a battlefield, in a crater. Tandey (Hayes), a British soldier engages in a desperate hand-to-hand fight with a German soldier (Ridge). After Tandey kills him, another one (Schnau) appears, only this one is wounded. Tandey points his rifle at him, contemplating what to do.

What makes this short memorable in comparison to other war films is the revelation in the end. It is quite an astonishing moment and motivated the writer of this review to look it up. What the revelation is about will not be disclosed here, however, it should be pointed out that via a title card at the beginning, the film acknowledges that even though the story of based on true events, the event depicted in the film may or may not be true. Nevertheless, this short utilises this alleged occurrence to create a disclosure that leaves the viewer stunned. Whether it is true or not, it has quite an impact as it is an intriguing theory.

Looking at the technical side of things, the film looks great, experctly directed by Kearton, with superb cinematography by Lou Murrall. The mise-en-scene effectively brings the story to a WWI combat zone, with convincing weaponry and uniforms and the dramatic music adds to the atmosphere.

It is worth noting the presence of a butterfly. The butterfly appears just when a major decision is about to be made. The appearance of the butterfly is an obvious nod to the butterfly effect, a concept that theorises that actions can lead to unpredictable consequences of massive magnitude and that would be rather appropriate here.

Hayes plays a man who actually existed and fought during the World War Two, Henry James Tandey, who at age 27 was awarded the Victoria Cross, Britain's highest award for gallantry in the presence of the enemy. Hayes portrays him as an experienced soldier who can do his duty in the war zone and has a strong understanding of morality.

Heavy drama, tension and suspense dominate this short story that deals with war, survival, mercy and morality. The revelation is evidently in regards to the notion that in war, no good deed goes unpunished.

This film deserves five stars because of the strong acting, the high quality of the filmmaking, the fact that it revolves around an alleged encounter of massive significance and because it pays homage to Henry James Tandey.

The Easy Way Out follows Ted (Charlie Hiscock) as he returns to his hometown to find his big brother, Jim (Sam Swainsbury), at his breaking point. The short film explores Ted’s attempt to save Jim before it's too late. The Easy Way Out is based on writer/director Ben Bovington-Key’s own personal lived experiences with bereavement by suicide and is a deeply personal piece of work in that respect.

One of the film's most impactful aspects is its blend of dramatic and comedic charm. Despite its sensitive subject matter, it strikes a stunning balance between the dark humour and depiction of brotherhood. It's an emotionally charged experience as the film explores how an individual would respond in such a gut-wrenching situation. The film immediately thrusts the viewer into the distressing setup, cutting seamlessly between Jim at his breaking point and Ted trying to save him. While it may be triggering for some viewers, the personal lens and the captivating chemistry between the two leads make it impactful and hopeful despite the harrowing subject matter.

The film handles its grim subject matter elegantly, keeping both central characters at the centre of focus while taking time to explore their anger and struggles with the world. Despite the lack of characterisation, the script manages to instantly connect the audience with both characters and sympathise with their struggles. The balance between the comedic and dramatic beats never feels too heavy-handed, and it knows when to utilise the darker humour to represent the characters' personalities. It may leave audiences hopeful and encourage them to reach out to their close friends and family, as this is such an important aspect of life that the filmmakers clearly intended to convey through the material.

While the film primarily takes place in a single location, the use of flashbacks is wonderfully interwoven into the narrative and briefly explores both Ted and Jim’s childhoods. This aspect of the narrative resonates deeply. Writer/director Ben Bovington-Key does a tremendous job framing each sequence to ensure it’s a deeply intimate exploration of brotherhood and the importance of discussion. Wouter Verheul serves as the film’s director of photography and primarily utilises close-up shots between Ted and Jim to cement the personal, intimate bond the brothers share. It's an incredibly raw and uncompromising vision anchored by its technical aspects.

Charlie Hiscock and Sam Swainsbury’s portrayals of Ted and Jim, respectively, are astounding. Sam Swainsbury in particular manages to strike a balance that is both deeply harrowing and comedic in his character's struggles. Charlie Hiscock’s turn as Ted, by contrast, is deeply empathetic, as he conveys his love and frustration with Jim to persuade him to see the world differently. The bond between both characters is profoundly moving and easily the strongest aspect of the experience.

The Easy Way Out is a deeply harrowing yet life-affirming exploration of two relatable characters and their struggles with the world. While it may be a tough watch for some viewers, the film is an empathetic depiction of brotherhood and encourages the audience to reach out to others in need.

Black Cabis the new short film from director and writer James Arden that explores a near future dystopian world in a very grounded realist setting. It follows Harry (Jay Simpson), a black cab driver, as he struggles to find business in a world of autonomous taxis.

The film is set in February 2027, mere months away as of writing this, and it’s a testament to Arden’s writing that this world feels incredibly familiar while incorporating elements of a futuristic society. People appear to be obsessed by autonomous taxis called Ridars which have just been legalised and the number of black cab drivers are dwindling. This feels like a clear comparison to the rise in Uber/Waymo and the tensions that have risen from this particularly with black cab drivers in London.

Harry is very much the core of this film and Simpson (a familiar face from Black Mirror, Chernobyl, etc.) gives a very strong performance in the lead. The film balances Harry’s work life with his family life and Arden illustrates how the rise of Ridars and loss of work is impacting his relationship with his own family. Emma (Gemma Dyllen), Harry’s wife, is a strong character that represents Harry’s family life as she raises their troublesome son and looks to work herself. The division and fracturing of their relationship throughout the film is shown through the distance of facetiming and Harry and Emma not sharing any screentime together.

Arden has spent over two years carefully researching and developing this film which can be seen through the setting of these Ridars and the feel of the black cab environment. It does at times feel like it falls into cliches with Harry as a cab driver but it feels very real. The smaller characters, however, all feel incredibly one dimensional and are simply there to show how big of an impact Ridar is having and to fuel Harry’s stresses and impending breakdown. While a short film naturally doesn’t have the time to explore these characters as much as a feature length film does, it would have been nice to see a few more instances of depth to these characters. This, for example, is done very well with the café scene where the other black cab drivers are talking with Harry and the chef.

Indeed, as the film progresses, it’s clear that Black Cab isn’t just concerned with the anxieties surrounding Harry’s job future but rather it analyses Harry’s character through family dynamics. This is a man that is consumed with pride to the point that it reaches a breaking point with his family and Harry is unable to see beyond the feud he has with Ridar. The fact that Harry and Emma do not share any screen time, is evidence of this.

Black Cab feels incredibly relevant to today. Not only with the conversation surrounding Uber and autonomous taxis but also with the rise of AI. It’s a topic that has defined the past couple of years and Arden weighs in on this with a human centred film that highlights the pressures and stresses this new world can cause. The film ends in rather a bleak way but it serves as a warning to where our world can be heading and the importance to avoid it.

Sloppy Sunday, written and directed by Cristoff LeBlanc, is an unapologetically sharp about exploitation, misogyny and excruciating choices women face.

We hear before we see. Off screen, a male voice screams ‘I got you those heels so you can walk faster, not just look pretty’. Then, we meet Sweetheart (an objectifying non-name that really suits this story) where she works- on the road, as a prostitute. On this sloppy Sunday afternoon, a client approaches, and after a thought-provoking conversation, she decides to refuse him, which triggers the chain of events we see. This turning point scene gives the audience a glimpse into Sweetheart’s real mindset. Played skilfully by Ali Dusinberre, Sweetheart is young, trying to make ends meet. The question is will she go all the way in standing up for herself and her integrity?

Sloppy Sunday is a deeply American film- visually, narratively, and even its soundtrack- a scintillating selection of blues songs. Guns are unsurprisingly ubiquitous, almost characters unto themselves. They are noticeable props within great performances that are almost theatrical in how they drive the story, in particular Kris Salvi's unapologetic portrayal of Skinny, who is Sweethearts' boss.

This short crime thriller asks deep questions in regards to oppression, misogyny and life chances of today's young generally, in a sharp yet non-dramatic tone. Artistically, pulling off a story like this in short form, in the crime genre is a huge challenge, and it's one Sloppy Sunday rises to fully.

A short drama written by Abhi Kandlakunta and Arpith Kandlakunta, directed by Arpith Kandlakunta and starring Abhi Kandlakunta, Leesha Sarayu Kolapalli and Ankith Kandlakunta.

Aditya (Abhi Kandlakunta) is a young cricketer living in London, whose girlfriend, Meera (Kolapalli) has moved away in order to pursue her studies. So, the two of them maintain connection via phone and online chatting...at least for a while because as time goes by, Aditya becomes frustrated with the situation, putting his relationship and his own well-being at risk.

With the addition of several montages and dramatic music, this film examines the romance between Aditya and Meera, its gradual deterioration, along with the psychological damage that Aditya goes through as a result of the break-up. As the story is experienced through his perspective, his reactions towards everything is the main focus, particularly his feelings regarding his disconnection with his partner that also ends up affecting his performance in cricket and his relationship with his friend, Kaushik (Ankith Kandlakunta).

As the main and titular character, Aditya goes through signifcant emotions, be it anger, frustration, disappointment and sadness. Although he is a youngster who means well, he is unable to comprehend himself, unable to control his anger, resulting in him becoming isolated. Meera is a sensible person who refuses to tolerate her partner's erratic behaviour and decides that there is no future for their relationship. Kaushik, radio show host, serves as Aditya's source of support and as a sort of mentor, helping him understand his actions.

To a degree, this short explores the world of cricket and radio shows. From another perspective, it covers how long-distance relationships work and the significance of commitments and perhaps more crucially, it builds a picture of self-redemption and analyses the effects that a break-up can have on a person, especially if they fail to acknowledge that they are the one to blame.

A story about the ending of a romance and the consequences. The final message might be that people need to accept what happens and move on.