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Latest Short Film Reviews
On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page.
20 Euros
20 Euros follows a couple, Eleni (Anthi Kasinou) and Nick (Constantinos Tsitsios), on a night out as they are interrupted by a man in a parking lot, who challenges their perceptions of modern-day masculinity. The film is an exploration of the absurd nature of toxic masculinity and relationships alongside a satirical take on violence.
One of the most refreshing aspects of the piece is its topical discussion of toxic masculinity, presented from both female and male perspectives, within an incredibly brisk runtime. The blend of satire and darkness keeps the film's themes engaging and deeply provocative. It prompts the viewer to sit with questions, such as what it means to be a man, and leaves the debates open for discussion long after the credits roll. The filmmakers put the viewer in a state of tension and manage to sustain that propulsive nature throughout the duration of the runtime. The subversion of tonal shifts works incredibly well as a grounded blend of both violence and satire.
Both Anthi Kasinou in her portrayal of Eleni and Constantinos Tsitsios’ portrayal of Nick are incredibly endearing thanks to their magnetic chemistry. It's deeply engaging to witness their relationship, particularly through their complex discussions on modern-day masculinity, and hearing both their perspectives keeps the themes of the film remarkably nuanced. Nick conveys a calmer and more collected feeling on how violence isn't always the answer to conflict unless it's self-defence. Eleni argues that women need to feel safe and protected by their partner in moments of conflict. Seeing both sides of the relationship’s perspectives feed off one another is incredibly gripping, and its social commentary leaves room for debate by not picking sides on the subject matter.
The camerawork primarily consists of over-the-shoulder framing within the car and the camera rigged in front of the vehicle to always keep both Eleni and Nick at the centre of the frame. Stephen Metzner, serving as the film's cinematographer, utilises these unique ways of framing both characters so the viewer never loses sight of the central characters' emotive performances. The use of music also complements the moments of conflict and tension astoundingly with its visceral motifs. However, during the acts of violence, the editing can appear choppy, making it difficult to comprehend what is occurring on screen. While this may be an intentional choice to convey the brutality and number of characters present, it's incredibly jarring and incomprehensible at times. The use of slow motion during the acts of violence is another questionable formal decision; however, it somewhat works due to the satirical nature of the narrative.
The film seamlessly blends the more intimate moments of discussion and conflict, creating an incredibly engaging experience for the viewer. While the conclusion to the narrative is somewhat open-ended, leaving room for debate, it prompts the viewer to reflect on the concepts of masculinity and the cycle of peer pressure that perpetuates toxic masculinity.
20 Euros is a thought-provoking and deeply nuanced exploration of modern-day masculinity that skillfully blends satire with the severity of the topic. Assisted by two terrific performances from Anthi Kasinou and Constantinos Tsitsios, the film will likely spark discussion on the male and female perspectives on violence and masculinity.
Cheers
Cheers, a short film written and directed by Sandeep V, presents a meet up between four friends. The setting is expected to provide a casual and light-hearted atmosphere, but this social situation is in fact charged with an undercurrent of anger and controversy. As the dialogue develops it becomes clear that one of the friends, Annesh, has been somewhat isolated due to his differing opinion on a mutual friend of the group. The character Bobby, who often stands up for him, comes to represent a moral middle ground.
Through the subject of a mutual friend’s actions towards his wife, the conversation reveals the character’s ideological stances. There is a contrasting dynamic between the two who are more conservative, versus the two who express a far more liberal and understanding mindset. The film becomes an exploration into differing beliefs within the confines of a friendship. Not only are there clashing ideals of marriage and gender roles, but the loyalty and emotions within the friendship they share draws in further strain. As a result the interaction and in fact the whole film carries a very charged atmosphere.
The cinematography performs well in establishing the group dynamic. The opening shot of the friends presents three of them standing in an enclosed triangle, while Aneesh is left to occupy his own frame. When they are shown to make a toast with their drinks the camera reveals only three glasses meeting in the air before revealing that one of them never joined in, to communicate the grudge against him. It has a certain cyclical element also, as the first and last shot is of a buddha painting on the wall, though its colouring changes. This cinematic choice is potent in communicating the lack of resolution, despite the weighted interaction. This could perhaps be a message of the film, that one's personal ideologies or beliefs are rooted in identity - not immune to change but certainly unfamiliar with it. This is an easily identifiable observation of the piece, but overall it lacks contextual foregrounding. The exploration into contrasting ideologies through the circumstance of their mutual friend is a context very personal to the characters but one the audience cannot relate to, meaning the strong intention of the film is somewhat lost.
However this may be a conscious choice from the director. By keeping the audience at a contextual distance, the storytelling is complicated. It means that any observations made are prone to change as the dialogue continues to reveal external factors charging the conversation. The characters remain set in their ways despite the friendship they share, unlike the audience who have an advantage of being emotionally detached. Viewers are thus able to build their own opinion on the situation and ultimately reach their own ideological conclusion.
Self+Tape
A short comedy written and directed by James Cleave and starring Boo Jackson, Pippa Moss and Cheska Hill-Wood.
Recruitment is taking place for a lead role in a major British romantic comedy and three ambitious actresses have applied and they are now home, where they need to do their audition online, via webcam. These women are Jessica (Jackson), Grace (Moss) and Isabelle (Hill-Wood) and they are determined to get the part. However, their supposedly serious efforts turn out to be childish, resulting in awkward moments.
Shot in one day, on a £1,000 budget and with only one week preparation, this short is viewed through the perspective of three webcams, one for each of the candidate's computer and the narrative alternates between the three of them, with the camera being constantly stationary. Since the technical issues are the current subject, this would be an opportunity to acknowledge the work of Christopher Dean, for the creative use of editing, particularly the split screen techniques. And praise also goes to the creativity during the closing credits.
So the three actresses begin their audition and, although they apprently had little time to prepare, their performances come across as far from professional and it does not help that they are auditioning from their home, as they get distracted and seem too relaxed, too at ease. The result is three auditions that might be more suitable for a slapstick comedy than a romantic comedy.
The biggest strength of this film is the performances of the three leads. Jackson, Moss and Hill-Wood are quite entertaining in portraying actresses who are pursuing a role and a screenplay that they do not entirely comprehend and they end up delivering auditions that are, well...unsuitable, filled with their complaints and frustations and there are interruptions too.
This humorous story involves the world of acting and auditions and generally filmmaking. It is about aspirations, self-reflection and self-esteem and utilises clumsiness and naivety as a means of entertainment. The film also appears to be questioning whether attempting to achieve something from the convenience of one's own home is as effective as being out there instead.
A short story about three actresses behaving childishly. Ten minutes of fun.
G(l)ory Days
A couple of retired, over the hill, serial killers, take some time out in their lake house, when some young, fresh, naïve girls come camping in the area, giving them the opportunity to prove once and for all who the most prolific killer is.
Hulk (Fletcher) and Turtleneck (Van Swearingen) are past it. Their glory days are behind them and they’ve retired into old age disgracefully. Inside their lake house, however, old trophies and mounts of parts of their previous victims are hanging on the wall. The nearby lake was also the scene of one of Hulk’s most famous massacres, which was never solved despite the fact that one victim got away, and the two of them now enjoy hiding out at the scene of the old crime.
Into this remote scenario plops the insufferable influencer/YouTuber/star in her own head, Lane (Fierro), and her girlfriend, Heather (Sanchez), whose mum turns out to be the one that got away all those years ago. The girls are there to get some sort of closure from the eventual recent death of Heather’s mom, and to slay some personal demons while they’re at it. Little do they know, however, that there’s a bet on concerning the taking of their lives, and that Hulk is going to get himself another bite of the cherry, that is if Turtleneck doesn’t beat him to it.
So, after a short nap for the elderly serial killers, and a small introduction to the ineffectual local police force (Fernandez) for the would-be victims, everybody is rounded up ready for a little bit of slashing to begin. It doesn’t take long for the blood to start flying, along with several body parts, too, and we are all party to an enjoyable chase around the woods and the lakeside, as the elderly homicidal maniacs try to get their kills.
Presented as a comedy horror, G(l)ory Days owes more of its humour to the slapstick, infantile jokes of Scary Movie 1-6(2000-2026), than to the tongue-in-cheek satire of Scream 1-7 (1996-2026). The comedy is definitely the driving force of this near half-hour film, more so than the horror or the gore, which does get equal billing, but which is still presented in a humorous way. Written by Adam Pasen and Sammy Horowitz, we are given all the necessary introductions and backstory to the characters as we go along, keeping us invested in their story, and somewhat scared for their lives, as the killing spree begins. While there may not be too much to go on, and a few inconsistencies and questionable plot points along the way, there’s more than enough for the story we are witnessing, and for the fun gory bits to make sense.
Behaving an awful lot like Roald Dahl’s, The Twits, in the way they deal with each other and try to nobble each others’ chances, G(l)ory Days has to go some way to not let its characters descend into total farce as it goes along. Thankfully, the direction from Cory DeMeyers, as well as the editing from Jeff McEvoy, keeps everything moving at a good pace and ramps up the tension in the exciting moments, while Alex Weinstein’s score keeps things bright and lively and fun, even when the killing begins. DeMeyers’ experience as a stunt performer allows him to get a certain measure of movement and flexibility from the characters, as they hack and slash, or evade the oncoming blows, and there is a definite level of panache that comes through from the killing that might not have been available otherwise.
G(l)ory Days comes through as a solid comedy horror that does exactly what it says on the tin. With an impressive level of production behind them, including a brilliant animated title sequence and some truly fabulous gore, the filmmakers seem to have gotten exactly what they wanted from the film, meaning that the audience gets to enjoy it all along with them, even if we have seen something like it a few times before.
Beyond the Sea
Abigail Louise’s debut short Beyond the Sea is the touching story of a man trying to overcome fear, set on the scenic Cornish coast. It’s a thoughtful short film with touching moments and stunning scenery that fixates the drama on the tragedy and hope that comes with the lost potential of a life sidelined by obstacles.
Marcus (Nathan Golo) is a young man whose life is upended by trauma. Having developed aquaphobia in the aftermath of a life-altering event, he feels distant and out of place in his life on the coast, and uncomfortable in surroundings that used to provide solace. Working with his therapist Dr Newman (Tim Mcgill) and his childhood friend Leah (Abigail Louise), he tries to come to terms with his past and overcome the fear of the water that surrounds him.
For a debut, Beyond the Sea shows impressive composure, patience and emotional complexity from its director Abigail Louise. The film is at its best in understated moments: Marcus contemplating his paralysed life on the beach, quiet reflections between Marcus and Dr Newman, and the powerful, building conclusion that pays off the toiling and touching strife shared between the characters. The director shows the wisdom of a filmmaker far beyond her experience level in knowing exactly when to stick and twist with her characters, when to push emotional boundaries or allow silence to linger in the air and accentuate the drama of the story. It is moments like this that make individual stories, low stakes in their inherent nature, feel like an emotional rollercoaster.
There are rough edges to the film that sneak through. Nathan Golo is brilliant when portraying Marcus in moments of quiet reflection or conveying his battle to Dr Newman or his friends. He is less effective when acting out scenes of stress and fear for Marcus. The shaking hands come across less as uncontrollable than melodramatic and inauthentic, damaging the believability of an otherwise strong performance. Some of the dialogue also feels over scripted and stagey, relying on tropes and formulaic phrases in some of the scenes with Dr Newman. These are forgivable cosmetic imperfections that aren’t significant enough to detract from the drive or cornerstones of the film’s power that lies in the emotional journey of Marcus.
A word is warranted for the staging of the film which benefits from impressive production given the size of the project, as well as the natural beauty of the Cornish coast. It is refreshing for the filmmakers to embrace colourful locations given the heft of the content, which is not just restricted to scenes set on the beach. Dr Newman’s office (as well as his sock choice!) create a vibrancy, which also extends to a pivotal scene at a swimming pool that similarly reaches out to the viewer. It creates a powerful dynamic whereby Marcus’ depression about his phobia contrasts with colour and liveliness around him – demonstrating how something that excites some people can become a challenge for others that can’t easily be countered.
Beyond the Sea excels in no small part due to the skill and evident passion of its director. It is a layered and bold film that exceeds the sum of its parts and makes the story of its protagonist one that people of all creeds can relate to.
Hamza Ali Helps People
Hamza Ali Helps People follows the titular character (Abishek Nair) during a lonely night shift at a crisis hotline as a volunteer. His unwavering kindness is put to the test by a call that refuses to stay simple, and he is left conflicted by how to handle the situation. The narrative takes place in London; however, the filmmakers shot the film in Dubai just days before regional tensions grew larger, and this gave the central themes more purpose as a reflection of the wider world.
One of the most impressive aspects of the piece is its consistently enthralling narrative. The central themes of the film genuinely fill the viewer with a sense of dread and urgency as Hamza is pushed to the edge by his empathy towards others. The lack of music throughout is isolating and ultimately makes the experience more visceral and gut-wrenching to witness. At the same time, the brief inclusion of a musical score is uplifting for the more hopeful aspects of the narrative. The use of distorted audio is another outstanding use of sound, making the more harrowing themes of the piece more nail-biting. While the runtime is incredibly brisk and there's fairly minor material to chew on, the filmmakers make the most of the screenplay to leave the viewer on the edge of their seat consistently.
Mo Azmi, serving as the film's cinematographer, shoots the central conflict with a sense of urgency, utilising visceral camera movement that constantly pits Hamza at the centre of the frame with extreme close-ups and over-the-shoulder framing. The one location setting is utilised to the fullest, and the camerawork anchors the severity of the situation Hamza is in. It's ultimately an astounding edit without a dull moment, which makes the experience feel incredibly fluid and raw in its presentation.
The central performance from Abishek Nair in his portrayal of Hamza Ali is exceptionally raw and nuanced, conveying the sheer isolation and dread that Hamza experiences. He communicates so much complexity with so little, as the narrative is focused entirely on him in a single room, on a crisis hotline. Abishek Nair carries the weight of the film on his back, and the experience would not have worked without his commanding screen presence. The supporting cast, including Katy Trevor in her portrayal of Vicky, is also commendable. She delivers a performance which leaves the viewer questioning the character’s intentions and integrity.
The film sheds a heavy light on individuals struggling with mental health issues and expresses how important it is to reach out to others despite how cruel and unforgiving the world can be. It's a powerful and unflinching depiction of daring to reach out to another before it's too late. The piece concludes abruptly, leaving no easy answers or resolution to empathy, and ultimately, the viewer is left wanting more.
Hamza Ali Helps People is a raw and insightful showcase of how one's empathy can be pushed to the limit. Anchored by a powerful central performance from Abishek Nair and writer/director Hysum Ismail’s formalism, the film is a wonderful achievement in indie filmmaking and a harrowing reminder of fear in the wider world today.
Bitter Tides
Bitter Tides follows a grieving mother, Anna (Jade-Olivia Patrick), as she meets a taxi driver (Duane C Tucker), who changes her course in ways she never expected. The piece is a devastating depiction of the damage grief can cause and how you learn to carry it, as it never leaves you.
The film is deeply rooted in isolation and stillness as Anna attempts to grapple with her grief, and the screenplay tackles themes of memory, loss and self-forgiveness. One of the most powerful tools the filmmakers employ is the frequent use of visual storytelling in the film's opening, which conveys Anna’s deep suffering and inner turmoil. Jade-Olivia Patrick, in her portrayal of Anna, is terrific as she conveys her grief in a harrowing way, and it's emotionally devastating to witness. While it may be a challenging viewing experience, it's an essential watch to understand the impacts grief can have on individuals. Duane C Tucker, in his portrayal of the taxi driver, complements this by offering a helping hand of empathy to Anna, helping her understand and carry her grief. From the opening frame to the last, the film sinks its teeth into the viewer and may linger in their mind long after the credits roll.
The lack of dialogue in the opening of the piece allows for some frenetic editing choices that are harrowing in their attempt to showcase Anna’s nightmarish thoughts. While the visual storytelling does a lot of the heavy lifting, it's ultimately the performances that anchor the heart and soul of the film's themes. Epidemic Sound, serving as the music and sound department for the film, delivers a deeply haunting and hypnotic musical score that enhances the more isolating moments of stillness. The score can be overbearing at times; however, it's an intentional artistic choice to convey Anna’s pain. Sound is an essential aspect of the film, as evident in its title, where the tides of the sea influence the noises in the more intimate scenes. Unfortunately, some of the ADR is rough, making certain pieces of dialogue indistinct, and is a detriment to some of the most pivotal scenes. That being said, the dialogue is deeply provocative and offers different perspectives on human nature and grief.
Ned Wakeley, serving as the film's cinematographer, primarily shoots wide shots as Anna crosses the beach and switches to close-ups when she is in anguish. This choice effectively makes the more heart-wrenching scenes more visceral as the viewer is placed in her point of view. The use of flashbacks is another formal decision that pays off beautifully, particularly with the dynamic camerawork that tracks Anna in her moments of happiness. These moments help to unpack Anna’s grief through their surreal and haunting nature. It's a deeply moving and hugely affecting piece of filmmaking that doesn't shy away from the sheer isolation of grief and loss.
Bitter Tides is an emotionally overwhelming experience that shows how certain encounters can have an impact on how you navigate life after loss. Assisted by two tremendous central performances from Jade-Olivia Patrick and Duane C Tucker, and despite some questionable ADR, Bitter Tides is a deeply haunting and mesmerising piece of work.
Dreamcrasher
A short horror film written and directed by Joseph Ringland and starring Lyud Hristov, Adie Mueller and Charlie Smith.
Things are not going well for young Norman (Hristov). He is being regularly plagued during night-time by some otherwordly supernatural and sinister-looking figure that magically appears in his bedroom. Not knowing whether this entity is real or not, he seeks the help of Dr Thorne (Mueller) in an effort to find a way to deal with this.
This short starts as a supernatural psychological horror story, before getting into comedy and finally into heavy drama. The narrative alternates between Norman being tormented by the mysterious apparition and attending his therapy sessions with Dr Thorne. Things take an unexpected turn when he proceeds to develop a friendly rapport with the frequent and unwanted visitor. Clues appear here and there and they include the time three thirty-three in the morning, which seems to be significant and related to a fateful past event that severely impacted Norman's life.
It is worth acknowledging the horror DVDs and posters, whose presence is probably to highlight the fact that this is a horror film. Arguably, the highlights occur when the humanlike creature appears (although it is not indicated in the film, this could be the titular Dreamcrasher). Dressed in what appears to be a hooded black robe, this being has a monstrous appearance, with branched horns on the head, a deer-like skull for a face and glowing white eyes. It does not speak and moves slowly. Are its intentions good or bad? Its presence is often accompanied by unsettling and ominous music by Thomas Pearce, who also provides dramatic music at times. The creativity involving the sinister sound of a clock ticking is also worth noting and so is Ringland's use of unconventional camera angles.
As the main character, Norman is a tormented young man. Trying to secure himself a job, he is unable to do so due to the trouble that he is going through because of the entity. He is quite distressed and believes he might be losing his mind. However, it becomes evident that he is suffering the effects of a devastating experience. Mueller is sympathetic as a supportive and concerned therapist.
The screenplay contains a variety of themes that involve mental health, including high anxiety, paranoia, having nightmares and insomnia. Mainly though, this is a story that deals with loss, trauma and grief and it is rather apparent that it aims to communicate the message that people must try to come to terms with their misfortunes and move on.
A horror film that is frightening and also very emotional. On one hand it is about things that go bump in the night and on the other it concerns a terrible loss that has not been reconciled and it is the latter that gives this short the highest quality.
Calf
Trouble brews on a remote Irish farm, as the farmer sets out on his daily chores, and the whole family prepares for the birth of a new calf.
As the scene opens on the farm in the early morning, everything is already dark and brooding and faintly menacing. The clanking of the chain on the back of the tractor, and the view we have from the rear, shows us the black emptiness that we have come from without revealing yet where it is we might be going. Further into the darkness, alone in the shed, a cow lies prostrate on the ground, her calf moving inside her, undulating under her skin, looking like some sort of alien presence parasitically inhabiting its mother’s body.
Farmer Michael (Hogan) knows he’s got to get the morning work done quickly. He’s out there doling out the feed in the darkness, fag hanging from his lips, scooping pellets into troughs, knowing that the day is coming for him and that he needs to be ready for it. As we watch Michael in his work, we see what else is coming for him from behind, something he is completely oblivious to, as the tractor slips its handbrake and starts rolling down the hill towards him. Next to Animal Farm and Cold Comfort Farm, this might just be one of the most horrifying and cursed farmyards in all of narrative history.
Inside the farmhouse, Michael’s family are at the breakfast table ready to start their day. The sun has broken, the bacon is frying, and Cáit (Connolly) is listening to music on her phone, earphones in like most teenagers, waiting for her mum, Aine (Nic Chonaonaigh), to serve her. It’s only when Cáit is asked to go outside and fetch her father in for breakfast that we all find out together just what has happened to Michael, whilst also having to deal with the realisation that his daughter is not moved in any way to help him. Just what is going on down on this quiet, family farm?
As we are led into this dark narrative by writer/director, Jamie O’Rourke and cinematographer, Colm Hogan, we immediately get the feeling that something is off. The opening shot, looking behind us, not seeing where we’re going, is indicative of the direction of the narrative as most things are kept from us until right near the end of the film. This gives both filmmakers the time and space to build the tension and the atmosphere around the farm as we try to piece together just what is going on. The visuals spark a feeling of horror, with enclosed spaces, framed claustrophobically, dimly lit, giving off a sense of something hidden under the surface; a rippling tension that creates nausea and unease, hinting at the fact that something is going to have to be released sooner or later.
The constant referral to the calf that is due to be birthed that day, keeps bringing us back to the visceral reality of nature that exists all around us, in all of its dirty, mud ridden, bloody detail. We see that the family exist in this reality every day, working with nature, getting their hands dirty, and even becoming numb to the physical pressures and dangers that exist when living so close to the earth. This feeds into the characterisation of the family, especially Cáit and her mother, and we wonder at the seeming detachment of Cáit in the face of such brutal circumstances. Both Isabelle Connolly and Kate Nic Chonaonaigh play their roles with such understated grace and strength, that it keeps the viewer not just interested, but transfixed to the screen, as we become invested in understanding their situation as well as their reactions to it.
Calf does in fifteen short minutes what a lot of horror films fail to do in a full ninety or more, and that is to build the feeling of tension and horror in the audience without giving too much away. Not until the last scene do we understand what horrors have really transpired on that farm, and the subtle recognition visible between mother and daughter then allows the dam to burst on all the emotions the audience has been feeling, keeping inside, up until that point. The narrative, and subsequent direction and photography, along with a subtle but affecting score from Orla O’Rourke, all pull together to build the scenario and all of the unease that the audience feels, creating a clear vision of true horror that is expressed in every frame of the film.
Calf is a nightmarish vision that needs very little to be said in order for it to get its point across to the audience. It is a story told not in words, but in pictures, and in light, or the absence of it, as the world of nature on the farm is revealed to us piece by piece. The relationships between the characters don’t get explained to us, and they never need to, as everything is expressed to us visually in front of the camera, from small facial expressions, to silent movements, to bloody births and deaths, which tell us everything we need to know if we just look close enough. Calf is a tour-de-force in terms of visual storytelling, and the absence of too much dialogue only enhances the seclusion and anxiety we feel while we’re down on the farm.
For a small indie film with only fifteen minutes to tell its story, Calf reaches into your insides and wrestles with your guts to pull your emotions from the inside out. It doesn’t need big scares, or gory overtures to get the blood pumping and the tension rising, and its quiet, understated nature helps define it as an artwork of pure horror; one which builds inside the mind and body of the viewer until it can finally be released in its closing moments, in another quiet, simple showing of unmitigated, unseen horrors that are often silently endured.
In Flight We Trust: An American Exodus
The trailer for an upcoming documentary, directed by Ron Podmore and written by Joni Vasquez, Pierre Ferguson and Rie Sasafu, set for a theatrical release in the U.S. during the end of summer 2026.
The overall impression is that for many life is currently not easy in the United States of America.
Filmed over the course of a year, this film examines the financial difficulties that American citizens are facing today and it does so by documenting three simple families who live in the U.S. and disclosing the struggles and frustrations that they deal with while living in a country where it has become difficult for them to have a comfortable life and have therefore decided to relocate to another country.
From what the less-than-two-minute trailer reveals, the reasons that these families (and many other people) have given up on building a life in the States, are motivated by reasons involving healthcare and financial instability and some of the resulting problems are costly healthcare and inability to secure work.
Although serious issues are clearly being addressed, it is evident that the tone will be (at least at times) humorous, with a voice-over that sounds childish and a soundtrack consisting of amusing songs.
The general impression is that this is going to be a feature-length documentary that aims to examine the economy of the United States, which appears to be crumbling and it does so by adding some comedy. It appears to be painting a negative image of life in contemporary United States, indicating that it is a country that is failing its citizens.
It will probably be intriguing to find out what this film has to say, although its contents might worry those who are planning to move to the U.S.