Latest Short Film Reviews

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.

Bram Stoker’s Dracula has been a cornerstone of popular culture since its 1897 debut. The novel has been adapted directly (or indirectly, under the title Nosferatu) since the silent film era, with an updated version appearing every few years. Beyond film, Dracula has inspired stage plays, operas, and ballets, while the titular character has appeared in so many other fictional works that Stoker’s original creation has been subwhat subsumed by these multi-textual interpretations. Vincent is the latest short film to join this tradition, as filmmaking duo Tyrone Bruinsma and J’Ma update the tale to modern-day Australia, to middling results.

In some respects, Vincent is a faithful adaptation of Dracula, particularly in its approach to storytelling. The novel’s epistolary nature is modernised by presenting the story as a series of vlogs hosted by Ashley (username CutiePie95), played by J’Ma. We meet Ashley right after her first run-in with the mysterious, blue-eyed ‘Vincent’ at her local coffee shop. Immediately enamoured with the stranger, Ashley decides to go on a date with him, and ends up spending an amnestic night at his place. The next morning, Ashley begins to notice some bodily changes.

Vincent’s purpose is immediately made clear through an epigraph about intimate partner homicide, framing itself as a call to action against violence towards women. Although the intertitles are overused, didactically reappearing at the end, J’Ma’s performance sells us on this filmic statement. Ashley’s dawning realisation about what happened that night at Vincent's house is written across J’Ma’s face, as her polished, influencer demeanour fades away to reveal the fear underneath. Unfortunately, the film around J’Ma can’t quite match her weathered intensity.

Almost the entire film is presented through front-facing videos as Ashley narrates to her audience. This lack of visual variety leaves the storytelling stagnant, doing little to build suspense as Ashley’s condition worsens. The abrupt insertion of an American news report from the 1980s is particularly jarring, breaking the film’s contemporary setting and undermining its established rhythm. More than simply a confusing detour, the report highlights the film’s broader lack of polish, from grammatical errors in the intertitles to the uneven editing of the vlogs themselves.

Condensing Dracula into a short film is no easy feat, particularly when trying to translate it into a contemporary setting. Despite Bruinsma and J’Ma’s valiant efforts, Vincent drains the life from a promising premise, with clumsy execution undermining both its horror and its message.

A marching drumbeat sets the tone for the opening scene as an unidentified prisoner is being dragged into the frame. Two soldiers salute their commanding officer, who is sharply dressed in a beret and shiny black boots. After the screaming prisoner is led outside to be tortured, Jacob Kay and Aiden Clark, who both play the anonymous soldiers, enter a conversation about everything under the sun – from the mechanics of their salute just moments earlier to the pros and cons of becoming vegetarian, and whether pigs can even have depression. Most of this conversation happens while the second soldier is playing a game on his phone, which further enhances the farce-like and satirical tone.

Everything about Smile, Smile, Smile! is mysterious. From the secret facility where this operation is held, which looks like an abandoned warehouse, to the unnamed soldiers and the organization, an enigmatic layer surrounds this short. We are pretty much left in the dark about these things, and as the short continues, we realize that it’s not necessary to have everything spelled out to us in order to enjoy the film.

As we are kept in the dark figuratively, this short is actually literally filmed in near-total darkness. This made it difficult to tell one actor from another and which character was speaking. Better lighting in general could help give the film a better sense of direction, since mostly all the actors were dressed in dark clothes, and this made differentiating them in the dim lighting hard. But if the dimness was there to keep the film mysterious, viewers might be able to see that this could be a directorial choice and let it pass.

Since this short was pretty much entirely filmed in what seemed to be an abandoned warehouse, audience members might chalk it up to the acoustics of such a venue lending to the reverb that could be heard throughout the film. However, this became rather distracting over time. Due to the excessive reverb, the syncing of the movement of the actors’ lips with the dialogue was slightly delayed. For better immersion purposes, perhaps editing out the reverb would be a good choice.

A clever technique that the director Oliver Griffiths employs is utilizing the sound effects to serve the film’s purpose better. For the most part, the prisoner is tortured off-screen, or outside the warehouse where we can’t see him. Sound effects of buzzing jigsaws and screams effectively convey that the prisoner is being brutalized. This technique is used more than once over the course of the film. And it demonstrates Griffiths’s good directorial instincts in keeping the violence and gore to a tasteful minimum so as not to alienate general audiences and keep the film accessible.

Griffiths even makes a cameo appearance in the film as Dave, a fellow soldier in a bloody hazmat suit. Dave is instrumental to the scene where the main characters are performing a card trick. He is asked to bring over a bag, from which Kay’s character produces the card that Clark’s character had drawn previously, right out of said bag. The comedy continues when, as Dave wheels out the latest prisoner casualty, Kay’s character requests a coffee. Clark’s character even asks for one (“No sugars in mine”), further offsetting the dark humor of this moment.

For the most part, the short is filmed in one single unbroken shot, with the two unnamed soldiers shooting the breeze, while all this dark stuff is happening around them. The irony couldn’t be missed on viewers, as the deadpan humor both in the written dialogue and the action creates some very much-needed comedic relief in this bleak setting. With that being said, the script is very clever. Lines bordering on black humor and philosophical outtakes punctuate the script and create lasting impressions on the viewer. Written by Jacob Kay and Josef Duncan in 2019, Smile, Smile, Smile! was the semi-finalist for Best Short Comedy at the 2025 Lit Laughs International Comedy Festival. Sadly, Duncan passed away in late 2019. Kay and Director Oliver Griffiths collaborated together and made the film in dedication to Duncan.

At times, mixing dark humor with situational comedy, the short successfully delivers as a black satire with themes of real human interactions and camaraderie. Viewers will be pleasantly surprised to find it is a 14-minute philosophical romp through comedic territory, offering thought-provoking insights based off the actors’ on-point performances and impeccable comedic timing. Centered around two soldiers and their casual conversation as they stand guard inside a secret facility, at its core, this is a film about human connections. Have you ever imagined what could possibly pass off as small talk between two soldiers during a special-ops mission? Smile, Smile, Smile! satisfies your curiosity and so much more.

It’s Not What It Looks Like (2026) is a British black comedy written by Suman Hanif and Nasim Akhtar, and directed by Ganesh Sharma. This short film is currently in post-production and runs 16 minutes. 

The film centres around a 19-year-old woman named Asma Ali Hussain, played by Ayushi Jain. Asma is an actress who has honed her career by creating satirical self-tapes on YouTube, where she plays an extremist. These videos have been brought to the attention of two small-town cops, Bob and Patrick, who before doing any research into Asma or anything else at all it seems, mistake her persona as a genuine threat and conduct a shambolic police interview in order to gather the evidence they need to convict Asma in court.  

This comedy is set in the current era of the 2020s, a time when extremism and terrorism are a huge topic of conversation, particularly in politics. Polarising individuals such as Nigel Farage have committed themselves to perpetuating the idea that the threat of terrorism comes from the migration of individuals across borders, causing fear-mongering amongst the less educated. 

This misinformation leads to severe cases of racism, seen in the case of Tommy Robinson’s popularity, as more and more people are swayed by prejudiced arguments rather than researching important political topics and history. 

It’s Not What It Looks Like plays well on this reality of far-right political mindsets, as it is clear that Bob and Patrick have no curiosity about Asma’s life. They do not investigate the reasons she may have made these videos, and lack any critical thinking. They do not even lend Asma the courtesy of listening to her; they simply make their assumptions and ignore anything to the contrary.

Fans of The Drama (2026), directed by Kristoffer Borgli, will appreciate the dark humour at play here. Whilst Asma is, of course, not a terrorist, the character she plays online is playing into the stereotype of one. The tone is completely satirical throughout the film, similarly to The Drama which remains comedic despite dealing with dark topics. However, both films importantly keep their entertainment without making light of the key issue at hand. Asma is not a victim of radical grooming; however, the influence of far-right speech on the internet is an extremely prevalent one. 

Public figures like Andrew Tate’s gaining a platform have a strong, non-coincidental correlation with the rise of incel culture and violence committed by young men. This film, like the drama, importantly raises awareness of the nonsensical discourse surrounding these issues, such as through the police jumping to conclusions, and incorporates a microcosmic example of cancel culture, without taking away from the seriousness of terrorism.

All of the performances in the film are worth noting. Ayushi Jain brilliantly conveys the frustration of being a racially profiled woman, stuck between two ignorant men who refuse to hear her voice. Bob and Patrick make comedically wild assumptions about her daily activities, often mistaking one thing for something completely different- for instance, they believe her camping trip to the Lake District was in fact in Syria, and they think a pregnancy test is a COVID test. These obvious, gruelling mistakes demonstrate not only Asma's struggles of being a victim of racism, but also of misogyny, and of being subject to a corrupt authority.

It’s Not What It Looks Like (2026) is an entertaining and important short film. Whilst a vital plot twist towards the end of the third act provides some optimism towards UK authorities, it is nowhere near enough, keeping attention on the police force’s constant failures. Bob and Patrick are the main antagonists of the film; however, they are still good fun to watch as the chaos unfolds in the interview room. This film is an excellent example of how to present political messaging whilst maintaining itself as engaging. Viewers will find themselves excited about Ganesh Sharma’s platform as they continue to grow as a filmmaker. 

Calamity Wayne is a short piece set in 1960s Belfast and follows a young boy, Wayne (Seamus Brady), named after Western star John Wayne, as he struggles to fit in at school. To win the affection of his crush Annette (Zoe Gribbon), he must confront his bully in a High Noon movie-theatre showdown.

Calamity Wayne is a love letter to the writer/director Carleton Rodgers’ grandmother, Annette, and that personal lens resonates deeply. The film's depiction of childhood imagination and nostalgia is personal, instantly transporting the audience back to the 1960s with its distinct feel for the era. It's an inventive formal experience; the filmmakers use 1960s Belfast as a backdrop, making the film feel incredibly lived-in. Despite its brisk runtime, the narrative introduces the central characters seamlessly so it never feels rushed. That said, better characterisation of supporting characters like Annette and Tim would have made the experience more engaging overall. It's an emotionally charged experience that depicts an outsider struggling to fit in at school and makes the audience sympathise with Wayne’s identity struggles.

One of the most profound aspects of Wayne’s characterisation is how he uses his love of the western genre to cope with his pain, which plays perfectly into the childhood-wonder lens. Its uplifting tone and 1960s western throwback are a delight, and it's easy to see why any film fanatic would appreciate its nostalgic look at that era. Despite the film's budget constraints, the filmmakers’ creativity in framing and staging each sequence never falters. The production design is wonderful, weaving the grounded and outlandish depictions of imagination together perfectly. Another understated strength is its whimsical musical score, which elevates the emotional nuance.

The most surprising and impressive aspects of Calamity Wayne are its technical offerings. Writer/director Carleton Rodgers also serves as the editor of the film and does a terrific job seamlessly cutting between each sequence. The quick-paced editing works profoundly in the sequences of conflict that depict Wayne’s imagination from the point of view of a quick draw between him and his friends Annette and Tim. It's a wonderful sequence that pays homage to American Western films of the era while feeling deeply original in the context of the film's narrative. Carl Quinn serves as the film’s director of photography and does a splendid job framing each sequence. The mix of establishing shots and wider framing in the scenes that take place in Wayne’s imagination is jaw-dropping to witness.

All three central performances from Seamus Brady, Zoe Gribbon and Memphis Oniru in their portrayals of Wayne, Annette and Tim, respectively, are incredibly moving. It's easily three of the most memorable child performances in recent memory. Despite Memphis Oniru and Zoe Gribbon’s brief screen time, they breathe so much energy and heart into the material. The trio’s chemistry sings and is the heart and soul of the film's narrative.

Calamity Wayne is a whimsical and uplifting depiction of childhood nostalgia that wears its influences on its sleeve. The film is a profound and personal experience held together by its wonderful trio and formal prowess.

A short comedy drama written and directed by Ken Abalos, Ash Meshkati and starring Ewan Guthrie, Kelsey Cooke and Paul Casar.

Shot over a period of two days in East London, this film follows teenager Jack (Guthrie), who has his birthday and his father (Casar), who is separated from his son's mother, has a surprise for him: he is taking him to a brotherl so he can lose his virginity. There, they are introduced to Megan (Cooke), a sex worker who will be showing Jack a good time, while his dad has his own fun with another one. However, once Jack and Megan are alone in a room and on a bed, Jack panics when the big moment arrives, leading to a meeting that goes very differently than planned.

A father-and-son story and an encounter for intercourse that unexpectedly turns into something more meaningful and life-changing. There are laughs and there is serious drama as Jack and Megan develop a rapport about his issues, his struggles with romantic relationships and his relationship with his father and involving Megan's view regarding her life.

Guthrie delivers the most entertaining performance as an insecure, nervous and virginal teen who evidently need help in comprehending himself and those around him. Casar's character comes across as confident and knowledgeable man, although it is later revealed that he too has insecurities and worries. Cooke plays a rather interesting part, that of a sex worker who turns out to be a rather wise individual who possesses a deep understanding about how the world works and ends up acting as a sort of mentor for Jack.

From one perspective, this short explores the world of sex workers and via Guthrie's character, it recognises the significance of support, of understanding others and helping them with their problems. This film is supported by Progressive Masculinity, which is an organisation that reshapes the understanding of masculinity to boys and men and the themes involving masculinity are primarily associated with the Jack character, those being self-esteem, self-reflection and intercourse. Through Casar's character, the film also examines parenting.

An encounter that ends up changing people's lives for the better. An uplifting story that also offers some good laughs.