Latest Short Film Reviews

The Silence We Carry (2026) is a short film set in post-apocalyptic Britain. The story follows Will (played by writer and director Louis Mateu), who turns to violence to protect himself and a young boy named Sam (played by Socrates Kuznetsov.

The film follows a simple premise, yet one that carries lots of emotional depth. The ending reveals Will’s dark secret, one that is kept from Sam. This twist has the capacity to completely shock audiences and increase their emotional investment.

The narrative is brilliant; it is strong enough to maybe be extended, potentially to something of a longer length like a feature film. The film might leave some questions remaining about the past of protagonist Will and the world he lives in, but it is still greatly effective and understandable within the short format.

The beginning of the film dunks audiences right into the deep end, engaging them in the high stakes that this society faces from the start. Will kills two people in an attempt to take their resources and continue to survive; a time jump then sees Will many years later with Sam.

The beginning scene works as a great hook, but the tension does not stop there. Will and Sam continue on their journey, facing other threats, with heightened pressure. This continues throughout to keep viewers’ attention. Will mistakes a man trying to help the pair and ends his life too. This is where audiences can start to understand the weight of the world the two live in and the measures Will is taking to continue living. This adds character depth and poses the question of whether Will’s extreme actions are necessary or whether Will is flawed. With more of his backstory, audiences may be able to connect and understand him more.

The cinematography is clean and professional. The drone shot of the woods with its lush greens is particularly beautiful. Small details, down to the clean titles and credits, show great attention to detail. The music is potent, working smoothly alongside the ebbs and flows of the narrative, adding more drama where necessary.

The script writing is easy to understand, whilst hinting at secrets yet to be revealed, acting as smart hints and foreshadowing elements that audiences will think back on after their revelation. All the performances were strong, with the characters’ emotions adding to audiences’ understanding of the gravity of their situations, further reinforcing their hardships. The young boy Socrates Kuznetsov was confident and compelling in his acting.

Overall, this short film is created with high production value, following a gripping story where you can trust no one. Some backstory may have strengthened the narrative, but it is still hugely captivating as it is.

Sundays with Dad is an all-American, family-based short film. Directed by Thomas Angeletti, the film follows Widower Ben, who is spending a Sunday afternoon bonding with his son Jason, a weekly tradition they have maintained for years. The film takes place mostly on Ben’s porch, where Ben reveals to his son that he has been struggling with loneliness and shares a secret he has been ashamed of: how he has been coping without his late wife, Maggie. Ben has hired a prostitute named Heather — but not for sexual purposes. Heather is simply there as a companion to Ben, for him to spend time with so he can enjoy his life, distracted from the difficult feelings of grief. This revelation is bizarre at first; however, as the two men connect and Ben opens up, viewers will find themselves touched by Ben’s story and somewhat empathising with the choice he made to hire Heather.

Whilst the two main protagonists are men, and they are also the only physical characters in the film, a major theme of the film is the role of women. Jason speaks lovingly about his wife Melanie, who also had a caring relationship with Ben, and Ben is haunted by his unrelenting love for his dead wife, which is torturous for him now that he must live without her. Although there is controversial messaging here surrounding the purpose of women, as being there to comfort men, those who watch and listen to Ben can understand the situational nature of his struggles, and allow his feelings to be at the core of the film’s messaging. 

The exploitation of women for use in prostitution is grim on many levels, so viewers may find it difficult to open their minds to the film’s core narrative. Sexual or not, the concept of a man paying a woman for her comforting services is a long-lived, disgusting exchange which is ingrained in misogyny. We sense Jason’s disgust at his father’s revelation, although he eventually comes to understand his father’s difficulties leading to this decision, as Ben breaks down in front of him. However, with its short runtime of only 22 minutes, and unfortunate lack of actual characterisation of Heather as she is never pictured on screen, Ben’s action does not feel truly justified. This is worsened by the emphasis made on the fact that she is good at cooking and cleaning, another example of the film leaning into misogynistic tropes about women. 

The most touching aspect of Sundays with Dad is Ben and Jason’s relationship, and the way that both characters express emotions. Jason and Ben’s weekly time together is clearly more of a routine than a true time of bonding; until this precise Sunday, both men haven’t been able to truly open up to one another. Here, viewers witness a heartfelt flooding of emotion as Jason comes to understand the true impact of Maggie’s loss. Though both actors are cast as unprofessional, their talent does not go unnoticed. This is particularly the case for George R. Hildebrand, who plays Ben. The film is made up of lingering still takes, allowing Hildebrand to shine through his monologues.

Sundays with Dad is a film full of love. This is seen in the film’s attention to detail. In the small moments that are shot inside the house, the camera’s close-up shots show a romanticisation of the cinematic space, focusing on the joy in small, satisfying domestic moments such as the opening of a brown paper bag and the preparation of lunch. Love is also clearly the strongest emotion that both men feel. This is what leads them to accept one another fully, as Ben accepts that Jason now has a family of his own to take care of, so he cannot spend more than one day a week with him, and Jason accepts that his grief has led him to make a morally controversial choice to help him cope. Most of all, Ben’s love for his late wife is what permeates the entire film. Ben’s sadness and the hole that is in his life are especially moving, and all the while, adoring. What is grief, if not love persevering?

An educational and powerful short documentary about the world of adaptive surfing, directed by Connor Langley.

Jimmy Simpson is a young man who describes himself as an adrenaline junkie. He has dyskinetic quadriplegic cerebral palsy who uses a wheelchair and has completed all kinds of extreme activities, uncluding sky diving. Now, he has made the decision to pursue surfing and this half-an-hour-long documentary follows his journey into the world of surfing, accompanied by the tremendous help he received by several wonderful people.

Viewers will have the privilege of being introduced to Jimmy and his enthusiasm for living life to the full and also get to know those who are assisting him in achieving his goals. Some of these individuals are Nick Jones, who runs South Shields Surf School, Lauryn Bell, Jimmy's personal assistant, Steve Turnbull, Maintenance Representative for Beach Access North East, Nico Nelson, a surfboard shaper and Russell Field, who runs SurfDek.

The film is structured in a way that shows how the people mentioned above contributed to making Jimmy's dreams come true. For instance, Jones (a surfing instructor) taught him how to surf and Bell supported him in every way, including in the ocean. And Turnbull, Nelson and Field did their significant part by providing Jimmy with the necessary equipment, such as a beach wheelchair and an adaptive board.

All these people are interviewed and it is great listening to the ways they helped Jimmy and many other people. Aside from their accomplishments, viewers will also learn about the companies whith the purpose of improving the lives of people with disabilities. And they will also become aware of the Muscle Food English Para Surfing Open, the biggest surf competition in England for participants with physical disabilities or visual impairment and Jimmy competes in the 2024 event.

Effective use of slow motion is utilised, particularly in the sections involving surfing and the dramatic music by Emily Palmer-Giles adds to the atmosphere.

This film is about surfing, especially para surfing, about the joys that it brings. Additionally, it shows the impressive ways that people have come up with in order to assist those with disabilities, whether it is by assisting them personally or developing products. Moreover, it proves that if one has disablilties that does not mean that they are unable to live their dreams, as via determination and support, anything can be achieved.

An informative, moving and inspiring documentary about adaptive surfing and never giving up.

This is a short film exploring grief from the point of view of a child who has lost both her parents. Losing her parents means that she is taken under the wing of her uncle. It appears that this relationship is not one that has been close and so the story follows their relationship as they try to come to terms with the deaths of their loved ones. A very important aspect of their life is their faith in god.

The audience is taken to 1970s Birmingham and the director is able to portray some elements of the time. The struggles of the people living through that period are shown particularly at the uncles home. The sets are dimly lit to show the mood perfectly for those working and living in this era. Each scene is edited together seamlessly and there is good use of locations throughout.

The film depicts the emotions of grief with real sensitivity. The grief is calm and quiet and feels real. The audience will be completely captivated by the performances of the main character Eva played by Talia Sokal and uncle David played by Ben Caplan. This is a difficult subject matter and one that is dealt with beautifully through the actions of the child. The viewers will be encouraged to observe the relationship between uncle and niece as the film moves through each scene. You feel how uncomfortable this relationship is and the awkwardness that comes when relative strangers are being pushed together at such a difficult time. Full credit goes to the actors for making every emotion feel real.

The other important relationship is between Eva and her friend Sam played by Charlie Bishop. They really encapsulate how it can be easier to talk to someone of your own age. The scenes between these two characters are really well used and pivotal to the story going forward. Charlie Bishop is able to portray empathy and compassion throughout, which is a credit to him and the writing and the direction.

The film develops a childlike way of discussing death and attempting to deal with death. It does this by showing how a child would communicate with those that are gone and does this in a unique way. The writer was able to get inside the mind of the child and their response to grief. The audience will understand the message and the symbolic nature of this film. It is simple but simplicity is quite often the best way to tell a story. They were also able to show the audience how important faith is to the main characters. There are scenes that show certain elements of the Jewish faith such as Hamotzi, which are well used and add further meaning to the story. Some of the best scenes are between the uncle and niece at the uncles home. The story has a strong focus on the main characters and does not deviate from the message.

This is an important film which tackles a very difficult subject but does so in a very quiet manner with no drama. It is a subtle look at grief but this does not in anyway reduce the power of the images shown. The performances are developed well and show a real understanding of the subject, which is particularly impressive considering the age of the main actors involved. This will have an effect on those who know grief first hand.

An astronaut is the sole survivor of a catastrophic mission into the depths of space, where an unknown entity reaches out to grasp at the humanity within his soul.

Commander Freddie Ballard (Kent) is in a bit of a pickle. He can’t quite figure out just where he is, or whether he has actually already been on the mission that has been assigned to him by his superior officer (DoQui). Rather anachronistically he is called back to himself through the time-tested cinematic device of a telephone ringing. At first it’s his girlfriend (Ponraj) who picks up the phone, even though he tells her not to, but time and again we are brought back to that same room, and that same ringing of the telephone, so that Freddie can receive his limited narrative motivation and move onto the next sequence of his story.

Interspersed with Freddie’s home life and military debriefing is the time he spends in space, or has spent, or will spend, or will spend again. You see, Freddie appears to be caught in some sort of time loop, or space loop, and it is unclear whether he is remembering his story, looking to the future, or is caught in some sort of simulation. In reality there are no answers for Freddie, because there are no answers for us as the audience, but that is only a secondary concern when it seems that what we are all here for, especially the filmmakers, is the stylised visuals.

Writer/director, Angad Aulakh takes great pains to set his scenes exactly the way he wants them, with production designer, Leah Berman helping create a classic neo-noir feel to every industrialised walkway, cargo bay, and corridor within the spaceship. Things are far more Nostromo here than they are Enterprise-D. The black-and-white presentation also heightens this stylisation, grounding the mystery elements of Freddie’s investigations into the unknown, while also giving the visual effects room to breathe without revealing any of their secrets.

In fact, the visual effects are so well polished around the edges, in 4K, that it’s a wonder that visual effects artists, Stuart Lippincott and Ian Mills Miller, were able to get it all done with just the two of them working on it. Aurora succeeds or fails on the scale, grandeur, and believability, of these visual effects shots, and each of them is pulled off incredibly, with remarkable detail, clean finish, and perfect lighting the whole way through. Around half of the film exists in these shots alone, and when they are also doing the job of holding up the narrative, their gravitas and intention needs to shine through just from their composition and movement, which they manage to do seamlessly.

While borrowing elements from such space opera classics as Solaris (1972), 2001: A Space Odyssey (1968), and Star Trek V: The Final Frontier (1989), Aurora instead only uses the symbology, aesthetic, and overall intention of these pieces, rather than digging down into the issues, characters, and themes which underpinned them and made them great. Plot is unceremoniously jettisoned only to be supplanted by cinematic devices and garbled storytelling, while the space scenery does all of the heavy lifting. The thing is that you can see in the fifteen minutes of Aurora that there’s a full feature aching to emerge from it. There’s enough of other films, and of a narrative that does make sense in the round if you like things a little Lynchian – all jumbled and mysterious – but it’s also easy to see that without a stable story or compelling characterisation, fifteen minutes is probably about all that most people could take.

Aurora needs to be seen to be believed, and is a tour-de-force in visual effects and design. Its scant narrative is subsumed into the wider visual spectacle with no real loss of engagement, and is carried by strong performances into a realm of wonder and awe. If visual language is what you’re after, Aurora shines bright through the darkness.

Aurora will premiere at the 2026 HollyShorts Film Festival

Directed by Ishtiyak Ahmad Ziad, Whisper Of The Ink deals with the consequences of what happens when you risk everything just to ask for help.

In Bangladesh where from June 6th to August 5th 2024 they experienced state brutality when protests formed demanding reforms to the discriminatory job quota system. with 300 deaths including children and more than 20 '000 injuries and the arrests of 11'000. From July 16th till the 28th they imposed complete Internet shutdown isolating the people preventing them from spreading the word as they tried to eliminate the movement.

When the couple Rashed (Avik Talukdar), who is an artist, creates protest paintings, posting them online, alongside his pregnant wife Runa (Sanzida Sorna) discuss what good just drawing cartoons and posting them on Facebook does for the campaign. Cut between real news footage it's stark,the realism that hits the viewer that this is going on around them at this very moment. You the viewer get a sense of longing from Runa who wishes to be more active on the protest front but due to being pregnant. A scary time to live in hoping for your unborn child that things will get better and that their loved ones will be safe.

When an emergency happens when Runa's water breaks, the curfew set by the government has a great knock on effect. They cannot leave, they cannot get help, they are truly stranded having to deal with this stressful situation or face the possibility of arrest or death. When the husband desperately decides to try to leave to get someone to help,he suffers great consequences from the government.

Filmed in black and white which is a perfect choice for setting the tone. It's dark, depressing which is what the subject matter that's being discussed is dealing with. It would be too stark of a shift if it was filmed with bright colours and whimsy. It's such a powerful cinematic experience, to show that humans are strong and resilient when faced with trying times.

The performances by both leads were so strong and believable. You really felt you were in those claustrophobic restraints of their apartment with a war on the doorstep. The wife's performance when going into labour is so realistic and raw you feel the need to survive from her. With a cliffhanger ending leaving the viewer to run with their imagination of what would happen next. Quite a tragic bleak ending.

Whisper Of The Ink moves the audience in a deep profound way, leaving the viewer with a lot to sink in. It's important that it is heard and that events like these are projected and don't get forgotten.

Doggerland: The Dead & The Lonely is an independent short piece set in the wake of a viral outbreak that has ravaged the world. The narrative follows John (Matz Martyn), a failing survivalist who thinks he’s the last human alive, as he meets Janice (Gráinne Kelly), who forces him to confront his grief and achieve his greatest goal. Set in rural Essex, the film was made by a local community to put the town on the map.

Doggerland: The Dead & The Lonely is the type of film that is better experienced without any prior knowledge of the narrative, as the less you know going in, the better. The piece balances its bleak and uplifting tones exceptionally well throughout, thanks to its technical aspects and performances. While it has a somewhat aimless narrative structure, it never loses sight of its character focus and prioritises these aspects over spectacle. The rural setting of Essex itself feels like its own character, and it's evident why the filmmakers wanted to give it more exposure. It also helps that the environment provides a perfect backdrop for the post-apocalyptic setting, with its open exterior space and run-down buildings. The piece boasts incredible production value despite its evident budget constraints. Another technical aspect that shouldn't go unrecognised is the costuming, as it is terrific and gives the central character a more singular persona among the supporting players and rural backdrop.

Despite the latter half of the narrative being more dialogue-heavy, the opening of the piece is quite isolating due to its lack of dialogue and greater reliance on visual storytelling. The focus on visual storytelling is commendable, as it places the viewer in John’s isolated space and invites us to experience events from his perspective. As John reflects on his struggles and past trauma, the narrative adopts a more meandering approach, which is both a positive and a detriment to the flow of the narrative. While the meandering approach can bring the narrative to a grinding halt, the decision to delve deeper into John’s characterisation is effective, fleshing out the themes of grief and survival. This is often depicted through flashbacks, or simply by John sitting in silence, processing his feelings.

Max Elliot Lovell, the film's cinematographer, makes striking use of rural Essex, capturing expansive wide shots of the surrounding open spaces before shifting to intimate close-ups during moments of recollection. The camerawork really helps ground the central character’s struggles and his exploration of self-discovery and survival. Another enticing aspect of the camerawork is the use of handheld during brief moments of tension to capture the visceral nature of violence. The sequences of tension are incredibly well executed thanks to this and its intense musical score.

Both central performances from Matz Martyn and Gráinne Kelly in their portrayals of John and Janice, respectively, are incredibly compelling throughout. They balance the bleak and uplifting tones effectively while conveying the sense of isolation in the ravaged world they’re forced to live in. Despite their lack of chemistry, the dramatic beats still resonate thanks to their performances and sombre musical score.

Doggerland: The Dead & The Lonely is an uncompromising tale of what it's like to live in a world in the wake of a viral outbreak, with two stunning performances to boast. While the narrative ultimately amounts to little in the end, it's a well-made film that tackles thought-provoking themes of grief and survival with an open-ended finale.

Set in a dystopian future where an internal neural chip makes emotion void. F.1 (Cindy Claes), a government scientist, finds herself in a dilemma when a test subject, Grace (Monika Valkunaite), doesn’t take to the procedure, unearthing erased past memories and F.1 questioning her own morals and the long-term consequences.

The opening sequence starts with a group of subjects explaining their experiences with the Unneurolink chip in flat, monotonous voices. All cogs in a machine. This cuts to the leading character, F.1, going into her monologue about Unneurolink and the effects it’s had on humanity. It tries to sell a positive insight to begin with, but we already get this unsettling feeling that something’s not quite right.

F.1 is presented to us in an emotionless and regimented way, exactly how Unneurolink intended. Just another enforcer that gets the job done. From the beginning, the film is set in a sterile environment with a cold colour palette. It uses effective visual effects and editing to convey the future and how hope is lost for humanity.

Whilst working on Grace, the only goal is to get her ‘fixed’, meaning to eradicate her emotions. Brain scans are displayed to show the activity across Grace and how it seems impossible.

The tension between the two reaches a climax when Grace lashes out. F.1 begins experiencing flashbacks full of colour and joy, a dramatic moment followed by tears and heightened music.

The film’s title ‘All Dogs Go To Heaven’ is stated in dialogue to portray how lost and corrupt the world has become. How humans are just pawns and emotion equals weakness.

Towards the end, lighting is used to portray a sense of hope and connection between characters, using silhouettes and dialogue to create closeness.

The storyline offers a thought-provoking exploration of humanity and the consequences of eradicating emotions. The opening introduction sets that premise up: a group of soulless soldiers to the system. A hierarchy of scientists to test subjects shown through the cinematography creates a constant sense of uneasiness. This is shown through shots on the table looking up, subjects feeling like they have no body autonomy.

The editing immerses us into a future world whilst still feeling realistic; it is not overbearing and keeps us on track with the storyline.

Overall, F.1’s character could have been fleshed out more and that may be due to pacing. The turnaround of the characters’ emotions could have benefited from a slower pace, giving space to such a switch-up, especially towards the end.

The ending loses its momentum a little and could cause potential confusion with viewers.

Sci-fi is hard to get right, especially on a smaller budget, but as a short film, it sends out a strong message.

It is courageous but remains relevant about technology and society ever-developing. The cinematography and sound marry perfectly together, both high quality and impressive for a lower budget.

They nail the intention of this film and leave us pondering on the ethics, values, and what has been lost.

This is a proof of concept/ pilot and gives a taster of what a series could look like. The proof of concept is based on the series of books written by Will Jordon which follow Ryan Drake a CIA operative. Ryan Drake is a member of a special activities division made up of elite military veterans who retrieve high value assets. On this occasion the high value asset has been taken by Russians and it is up to Ryan Drake and his small team to get the asset back.

As you can imagine this is action packed viewing which does not hold back on the violence. If violence is not something you want to see on screen then this might not be an enjoyable watch, as at times it gets quite graphic. There are times where the camera quickly switches away from the violence leaving the audience to imagine what is happening. The action starts even before the opening credits have finished and this gives the audience a good grasp of what to expect. This is an effective way of drawing the audience in and it shows the viewer a key part of one characters history, which provides depth to the shows plot and clues to their role within it.

This is fast paced high octane viewing and requires the audiences full attention. The action sequences are well choreographed and look believable and there are many to enjoy. There is no time to look away or be distracted as each character has their own battle against the enemy. The sound track is very effective throughout, with it’s fast paced beat as each scene unfolds. The music really sets the pace of each scene and acts like the ticking time bomb leading up to each sequences conclusion.

The use of flashbacks is very effective and the way they are created reveals how the characters memory is working. There are times when the flashbacks feel like they are interrupted and distorted. This is a reflection of how the characters brain works and potentially how past events have affected their memory. The use of shallow focus works successfully throughout.

The fact that this has been written by the author of the books is important as you can see their imagination unfold on screen. The characters and plot are not left to the ideas of others which can often lead to a lack of understanding of the authors vision. This maybe even more important to the viewers who have read the books and have expectations of how the story is told and how each character looks and behaves.

The actors in the pivotal roles are generally based in Canada although appear to have backgrounds from countries in Europe. There are a number of accents on show such as Russian, American and English. Derek Moran plays Ryan Drake and appears to be good casting particularly during action sequences. This is not an easy task and no doubt takes weeks and possibly months of hard work. Ryan Drake has been written as an English agent and at times Derek Morans accent sounded a bit muddled. This did have a slight impact on the performance and may prove to be a distraction for the audience, particularly those from England.

The cast was really balanced and well put together. They all meet the physical requirements of the role and are able to showcase their skills when speaking in accents that may not be natural to them. I found Brian Bisson and Andrea Pavlovic to be the stand out stars and they had good chemistry between them. Andrea Pavlovic stole many of the scenes and hers was a character I’d like to see more of going forward. Olena Medwid as Anya had limited dialogue but this did not detract from her performance as her physical acting skills were very effective and vital to her role. Her scenes were physically challenging and full of emotion.

The director Travis Grant is also credited as a writer and the collaboration with the author works well. The lighting in many of the scenes portrays the desperate situation that some of the characters find themselves in. It is dimly lit and many of the sets lack colour. Close up camera work heightens the tension portrayed in each scene. Despite this being a proof of concept production, it feels polished and could easily be the finished product and ready to air.

Overall this is an action packed show which sets the scene for future episodes. There is plenty of excitement and well choreographed fight scenes. This proof of concept gives the audience enough to want more and also provides enough answers to make for an enjoyable watch in isolation . If the audience have the read the books it will no doubt be beneficial but it is not essential. Make sure you watch through the closing credits as more is revealed in the mid credit scenes.

Coming from Ireland, this short drama is written and directed by Rebecca Hickey, who also stars, alongside acclaimed actors Peter Coonan, Barry John Kinsella and Caoilfhionn McDonnell.

An elderly man has just passed away in Northern Ireland and his daughter, Claire (Hickey) has arrived from London, currently staying in her late father's home. It is now nighttime and Claire is in the house, sitting at a table with her two siblings, Michael (Coonan) and Patrick (Kinsella). Their mother (McDonnell) is sleeping upstairs and there is a baby camera monitor on the table. They have just finished eating and are having a late-night chat, which ends up being a dramatic one.

The narrative takes place in real time and in one room, that being the dining room, with the two brothers sitting next to one another and their sister opposite them. The concept revolves around the meaningful conversation they have between them, which involves life-changing matters such as Claire separating from her partner, the brothers trying to convince her to move back so that their mother can have someone to look after her and for Claire to potentially meet a guy. All this is not perceived well by the sister, who angrily refuses to comply to her sibling's suggestions, ensuing in an argument and criticism. The tension is high at times and there is occasional humour and dialogue keeps things intriguing by concentrating on the characters' point of view regarding the various topics of discussion.

This film gains a lot from the contributions of two acclaimed artists, those being multi-award-winning cinematographer Jass Foley and Northern Ireland composer Anthony Eve.

As Claire, Hickey plays a young woman who knows what she wants, is determined to stand her ground and not let others decide what she is to do. Coonan and Kinsella portray the brothers as well-meaning individuals, who also come across as a bit selfish or maybe too naive to comprehend that family responsibilities should not be limited to one person. Although her appearance is brief in this thirteen-minute-long short, McDonnell provides a performance that establishes her character as caring and understanding.

Hickey's screenplay is basically a dramatic conversation that deals with a variety of heavy themes. The dialogue between the three siblings is about self-reflection, family values, about people having the right to make their own choices and about family commitments and expectations, about what one is expected to for their family. Furthermore, the story covers feminism, sexism and appears to be anti-male to a degree.

A short family drama about three siblings having a conversation that reflects on their lives. A very well-made film with strong acting that ends up a thoughtful viewing experience due to the subjects that it recognises.