Latest Short Film Reviews

It’s hardly an original observation that intimidation, bullying and desperation are rife in the acting profession – and these experiences are usually twice as bad for new recruits. One Night Stand tells the story of a despotic school ran by a depraved, jealous teacher – a snapshot of the disturbing manner in which lines can be blurred before they are crossed.

Thomas (Tom Sidney) is warned by his teacher Geoff (AJ Jones) that he has to improve in acting class or his place is under threat. Taking an unusual interest in his relationship with fellow student Jess (Lauren Darbyshire), Geoff gives Tom the chance to impress in class by acting out a scene in which the two have had a one-night stand. But the scene takes an unpleasant direction as Geoff insists on an ever-more sinister escalation.

One Night Stand is an uncomfortable look at power dynamics in the acting world. Viewers are shown how the jealous, sexual whims of a teacher are played out in his treatment of two students, under the pretence of helping them achieve something great. Thomas is isolated and threatened with expulsion from the class unless he improves – with a clear edict to follow his teacher’s commands. Geoff’s interest in Jess results in her being placed in a vulnerable position – being forced to strip in front of the class and put up with second-hand intimidation from her scene partner. Yet neither feel in a position to push back against their teacher – nor do other students in the class feel a need to step in until things have gone too far.

The plot does a solid job of demonstrating how manipulators can gradually escalate abuse in front of others, especially in environments that they can control. However, it may have benefitted from additional context that is missing from the story. Viewers are intentionally left in the dark about the actual nature of the relationship (or lack thereof) between Tom and Jess. It is an interesting omission from director/writer Michael Long which makes Geoff’s obsession with the pair more elusive. Some extra background to the pair themselves would however have been welcome, and without this one is left wondering why neither feel able to stand up to their tormenter sooner or empathise with Tom quite as easily.

For a film that gets into some really dark territory, it also feels like a larger point is needed to be underlined than the film commits to. The continuation of Geoff’s dominance of his students and ability to maintain his reign of terror over his class can be taken as a commentary on the resilient nature of abusers in the acting space – a notable unfortunate truth that is well documented. But the film feels like more of a snapshot than a story, and seems to suggest that this dynamic is a wheel that will keep on turning. If this is the film’s point, there have been better and more insightful examples of how such individuals and actions are excused than One Night Stand ever really gets into. And with characters that are quite one-note and contextless, the film is unlikely also to leave much of a lasting impression.

A grieving father faces the loss of his family whilst taking shelter from a nuclear war which has broken out across the world.

Paul (Ebert) has managed to get himself to safety after the first nuclear bombs have dropped on the UK. Somewhere, up on a hillside, on the outskirts of town, Paul has taken himself to an old ‘post’ – a ROC (Royal Observer Corps) shelter which had been built during the Cold War to monitor radiation levels in the event of a nuclear fallout. As a bit of a ‘prepper’, Paul has bought and taken ownership of the shelter and has kitted it out with all the mod-cons of post-apocalyptic living. With plenty of canned goods, dried food, potable water, and electric dynamos hooked up to an exercise bike, Paul is in the best place to keep an eye on the world and the radiation levels, as he sits out the time waiting for the day that he will be able to resurface.

Alongside Paul on this extended retreat is his family – wife, Suzy (Bound) and daughter, Maria (Winnan) – and even if they aren’t technically there, or alive, they still take up a lot of space inside that small underground bunker, as well as inside Paul’s mind. On the CB is John, another survivor who is hiding out in his own home with his own wife and children, and over the course of the film the two men build a tentative friendship based on a mutual understanding of needing to protect those they love.

Inside the shelter, Paul’s new life is fairly well catered for, with him managing to eat, sleep, wash, and exercise all within the confined space of about fourteen feet by six feet. In contrast, John is finding it difficult to keep life going in the outside world, with resources scarce, radiation everywhere, and trouble brewing on the streets. There are outlaw gangs roaming around, looking for whatever they can get their hands on, and now the battle for survival is really hotting-up, as John must keep them away from his home and his family.

Sadly, this means that most of the conflict and action in Post is actually happening elsewhere. While we hear about John’s difficulties and real crises over the citizens band radio, we sit with Paul in the bunker, in relative ease and safety, as he deals with the loss of his family over a year earlier. Of course, this inner conflict is integral to Paul’s story, and the idea of him using this time to finally come to terms with his loss and say ‘goodbye’ to his wife and daughter, is really what Post is about, however, it does mean that we as the viewer are limited to watching dull, slightly repetitive actions, in an enclosed space, while we hear about all the actual conflict happening out in the real world.

Interestingly, writer/director, Terry Winnan also released another short film last year, named Prepared, which actually focused on the exact situations that we only hear about in Post. In the same scenario of a nuclear war, a man tries to keep his family safe while society crumbles around him, and without having seen this film, it seems as though this has a better focus for a post-apocalyptic thriller, staying where the action and the conflict actually takes place. However, for Post we stay inside the bunker and deal with the theme of loss from a more personal perspective, giving a more simplified and isolated point of view than we might otherwise have got elsewhere.

The scenario of a nuclear war is obviously one which interests Winnan, having now made two movies on the subject, and his production company RVA Synergies Productions might just shed some light on why this is the case. Before creating his production house, Winnan ran the engineering arm of RVA Synergies, which developed and manufactured a special air filter product for use in safe rooms and emergency shelters. One of these air filters makes an appearance in Post, and while it may be far enough away from actual product placement, it’s easy to see where Winnan gets his ideas and his motivations from.

The film itself is fairly well made, with decent lighting, photography, acting, and special effects where needed. The sound design is particularly good, with the CB conversations and radio messages sounding like they are actually in the room, and a nice little indie song thrown in for good measure. There’s some decent attempt at backstory, as we flashback to how Paul’s family died, and everything is edited well into the sequence of the twenty-two-minute runtime.

Unfortunately for Post, all the action takes place elsewhere, and the revelation that Paul’s family are dead, just not by the nuclear holocaust, is one that doesn’t really resonate. Still, if you fancy a bit of a chamber piece with a good dollop of claustrophobia and inner turmoil mixed in, but just not for too long a time, Post will see you through until you’re able to resurface into the real world at the end of it.

Centered around an adorable bulldog’s turbulent fate, Homeless is a tonally pleasant, smoothly directed feel-good film with an encouraging sentiment. We follow our pup-protagonist as he goes from one living situation to another – in this way, it’s a comparative piece of sorts. The first half sees him under the ownership of a couple who seemingly find the puppy too much to handle; the second sees him being cared for more thoughtfully by a homeless man who takes on the responsibility in a way the previous owners were not able to do. Allow us to first discuss the impeccable talent on display in the technical department...

On a level of sound, cinematography and design, this movie feels as if it was constructed by a group of seasoned professionals – with each one of these elements complementing the other appropriately. Firstly, the photography is soft and lovely. It’s not doing anything bold or particularly unusual, because it doesn’t have to. Shot on anamorphic with a slick visual sensibility consisting of dolly usage, pleasantly balanced lighting, and a warm, vibrant grade – this is a decidedly handsome looking production. It’s wonderful to witness the artistry and see real attention being paid to each composition; but perhaps even more striking to one familiar with low-budget independent filmmaking is the terrific sound design elevating these images. A quaint, comforting sense can be found in the audio; a superb mix on perfectly captured on-location recording with cinematic folly and layering. You couldn't ask for too much more with regards to the formal quality.

As a filmmaker myself who has worked on projects about dogs, I can tell you that a significant part of said project’s success is dependent on the camera operator’s willingness to veer into a kind of documentary style while maintaining the fictional world’s stylistic flourishes. Homeless manages this wonderfully. The camera is to shift and flow in time with the unpredictable movements of the animal; the first AC (the focus puller) also has their work cut out for them. Working in tandem with this, the director and editor must craft a story through attaining a range of facial expressions and then crafting them around other reaction shots. It’s a big achievement all round.

Another big method of conveying story in the terms of the film’s challenging, enigmatic subject, is through music. This picture has an incredibly high-end Hollywood sounding score, arranged with outstanding musical ability – whether it was recorded in-house or otherwise. Combined with the pleasing home-design and warm subject-matter, it reminds one of Nancy Meyers’ best work (Meyers being a truly masterful director, just so there’s no ambiguity on the matter). The only problem comes when the film leans on the score a little too heavily, with whole sequences playing out over the loudly emotional sounds which make their intentions explicit when it comes to audience engagement. As nice as it is, maybe a little more restraint wouldn’t have gone amiss.

But my main structural complaint with the film is that the dog – at least for the first five minutes – does not give the audience much reason to suggest it’s misbehaving at all, just doing regular dog things which his first owners respond to as outrageous. When we then get to the scene in which he rips the house apart, there’s some more validity to the story’s trajectory; however, the couple at the beginning could have benefited from some more grounded characterisation. Despite this shortcoming, audiences will be pleased by the piece and its genial feel. It’s quite the lovely film and a most easy watch for this critic.

A short drama written by Phillip Buchanon, directed by Clark Birchmeier and starring Afolabi Oyeneyin, Emily Goodwin, Clinton Portis and Imani Vaughn-Jones.

In the United States, a new programme enables university athletes to get payed handsomely. That programme is the NIL (Name, Image and Likeness) and quarterback sensation Ace (Oyeneyin) is being offered the opportunity to join. Meanwhile, Taylor (Goodwin), another sports star, gets involved in the programme and transfers from a university in Louisiana to Hollywood University in Florida, where Ace is. As the two of them cross paths, Ace must consider his future.

The impressive production value of this short is to be acknowledged. Viewing this short gives the impression that a great deal of creativity was put into it, along with significant efforts to make it a project of high standards. Firstly, the cinematography by Paul Krumper looks terrific and there are some outstanding aerial shots. Also, the addition of news reports and interesting music add extra value. The story is decent enough and Oyeneyin makes a likeable protagonist.

As good as the above aspects are, the ending does not match them. The film's end feels anticlimactic and abrupt and generally incomplete. A more conclusive final would probably had benefited this short.

Played convincingly by Oyeneyin, Ace is a professional athlete who finds himself in a situation where he is unsure what the next step is, what would be the best choice and he is worried. His confident associate, CP (Portis), tries to convince him that all will be well and so does Melissa (Vaughn-Jones), who works for NIL. Unlike Ace, Taylor is cheerful and confident about the programme's prospects.

The plot focuses on being in a life-changing phase, coming across new opportunities and facing difficult decisions. It explores the world of professional athletes, future prospects, self-esteem and choosing wisely.

A well-made short with a story about sports and decision-making. The ending may not be very rewarding, nevertheless, this is an intriguing and thoughtful viewing.

In A House, At Night is a bold and imaginative horror with monsters that are upsettingly real. Tomas Ferreira’s short is difficult and heartbreaking, but brought to life impressively if confusingly at times.

The film follows 7-year-old Lynn (Honor Davis-Pye) and her mother Alice (Moa Myerson), who are taking refuge at a women’s shelter on a Halloween night. Lynn misses her old home, and daringly sneaks away to find it despite her mother’s warnings. Alice is left devastated by her abandonment, whilst Lynn is haunted by the torment of other women at the shelter as she finds herself alone. Both contemplate steps that come with great risk, as they ponder whether they can withstand the isolation.

In A House, At Night is unique. Certainly not a conventional horror, but not really a drama either. Tomas Ferreira’s short stands out as a devastating reflection on the aftermath of domestic violence, and how the real horror survivors experience does not stop when the abuse does. Alice’s trauma and torment follow the mother-daughter pair throughout the shelter, as uncertainty and fear emerge in both of their psyche’s – a result of an unseen monster’s actions. The film confronts the viewer with harsh truths in a thoughtful and psychological manner. Traditional methods like jump scares do not leap at the viewer – but one is forced to confront an atmosphere of fear.

Honor Davis-Pye is exceptional as Lynn – a confused 7-year-old child unable to comprehend how her and her mother’s lives have been turned upside down. Her portrayal of trauma belies that of an actor far beyond her years, with an innocence at the heart of the performance that understands something bad has happened, yet yearns for the life she has only ever known. Sneaking away from her mother is not an act of spite despite the hurt it causes, and the growth she experiences from her defiance is evident by the film’s end. Davis-Pye’s mannerisms and enigmatic flourishes make Lynn steal the show.

The film is visually gripping and equal parts artistic and mysterious. There are moments where the lingering shots of gloves or static TV screens feel a little too much like an art exhibition. But sequences of Lynn’s exploration or Alice’s tormented isolation are brilliantly executed. Ferreira uses sensual blue and purple lightings for the safety of the parental relationship, before imbuing sickly yellows when Lynn finds herself alone. These scenes are where the ‘horror’ elements come to the fore – with more familiar angles also becoming prominent. Some of it is simple fare, but it is very effective.

In A House, At Night is not designed to be easily legible, even though it wears its themes on its chest. Tomas Ferreira’s film forces the viewer to ask themselves questions about it, and search inward for deeper meaning. For those looking for meaningful and thoughtful filmmaking that defies tradition or categorisation, this short is well worth a watch.

A short dark comedy fantasy film written and directed by Joshua Moulinie and starring Jackson Wright and Tash Morley.

The writer of this review would like to explain that (in Tibetan Buddhism) ''bardo'' is a state of existence between death and rebirth. This explanation is done with the intention of helping the reader understand the film's context. The story takes place in England and something extraordinary is taking place. A man named Frank (Wright) discovers that somehow some spiritual part of him has taken over the body of an unnamed young woman (Morley) and now there are 'two of them', two individuals that have different appearances but the same memories. Now, they must team up and find out what is going on.

The plot of this forty-minute long film is one of its strongest aspects: a sort of body swap story that involves a man having two versions of himself and one is a young woman. As they set off to solve the mystery, they end up in an unknown place that resembles an abandoned building and things get more and more bizarre from there, involving a masked entity dressed in black and a quote from Dante Alighieri's The Divine Comedy. As Frank and his new friend go through their journey, the film alternates with scenes that show the woman sitting on a chair in a darkened location. There is mystery and there is plenty of cheeky and adult humour, mesmerising music, creative lighting techniques and the performances by Wright and Morley contribute massively in making this viewing enjoyable.

Would there be anything that could had been improved? As far as the screenplay goes, it is never dull and although the low-budget production is evident, it does not significantly affect the viewing experience.

As mentioned, the performences by the two leads are some of the strongest aspects of the film and that is because they are entertaining. Starting with Wright, his character is a man who apparently lives alone and drinks and smokes a lot. Morley's character is supposed to be the same character as Wright's (not physically that is), yet her character's personality seems to be different, more sceptical.

Self-reflection plays a big part in this story, which is quite evident as two people who have the same mind explain themselves to each other and therefore are actually opening up to themselves. The narrative also involves regrets and reminiscing the past.

Those who fancy a supernatural story with humour and also deep meanings should give this short a go. It is an odd and amusing journey with cheeky dialogue and an interesting plot.

How much do you notice when you walk to work each day? Are you one of those people that could say exactly how many drains you pass, or do you walk idly by, headphones in and with a head full of stress and worry about the day ahead? Sometimes it pays to be attentive, to notice the small changes to our typical environment and typical routine. ‘Embrace’ is an extremely concise film that leaves you with a lot to think about in just a short runtime, not least the amount of attention we pay to the world around us.

In its short two minute runtime Axel Zeltser’s ‘Embrace’ follows Melanie (played by Natte You) as she navigates her everyday life, full of challenges and the rigours of monotony, as well as the looming backdrop of a stalker, who calls her phone and tries to assert his control over her. Each day she walks the same streets, completely oblivious to the wider world around her. She doesn’t notice the cold, grey, metal bucket that stays stationary down an alley, because, well, why would she?

It doesn’t matter that the creepily scratched number on the side of the bucket seems to change each day for no apparent reason, that isn’t what suddenly causes Melanie to notice what had been hiding in plain sight. ‘Embrace’ is a clever film in how it uses the bucket and the secret behind it as a metaphor for the stalker Melanie is facing. The stalker, like the bucket, is a constant ominous presence in Melanie’s otherwise ordinary life, only one is ostensibly present to her and the other is not. The bucket haunts her by its very presence, and ultimately when she is drawn to it, seeks to control her, just in the same way as her stalker does.

Writer and director Axel Zeltser depicts this metaphor with precision, and executes his message well. Throughout it is well edited, both visually and audibly, with beautiful shots of the winding Parisian streets that make up Melanie’s commute cut together with glimpses into her work as a therapist to the sound of footsteps, doorbells and phones ringing. Zeltser directs with a firm hand, a breezy pace and a strong vision, which is executed well, and yet, as the film hurdles to its conclusion, ‘Embrace’ leaves an underwhelming taste in the mouth.

The ending of the film is weird. Your mileage for it may vary, but certainly it’s a change of pace from the rest of the film and takes a tangible mystery into the realm of disbelief. It’s an ending that feels superimposed from another film and placed into ‘Embrace’, and for that reason the film doesn’t quite stick its landing.

Nevertheless, ‘Embrace’ is, for the most part, a well-made, concise horror, with a sharp, thought-provoking metaphor throughout.

An artist is guided by an old friend to face the feelings he is keeping inside about the loss of his partner, in an effort to get them out on the canvas.

Xander (Hicks) has lost his mojo. He lost his partner, Angeline (Colton-Davenport) some time ago, and now we find him moping about in his flat staring at a blank canvas with no inspiration or motivation to paint. Luckily, Xander’s best friend from when he was five years old has turned up; a clown (Hunt) with a happy face and frizzy, red hair; and now Xander has found something within himself that he thinks he could express through acrylic.

Unfortunately for Xander, the urge to paint his lost love Angeline has opened up some unclosed wounds from inside, and her memory takes that opportunity to face him from the dead and encourage him to join her. While Xander hugs and dances with his love we can feel him getting dragged further and further into her embrace, watching as he slowly unravels in front of her until he can’t take it anymore.

Throughout the whole of Angeline, Xander doesn’t say anything at all, lost as he is inside his own head. Director and co-writer, William Stogden keeps everything very much in the arthouse style as we watch Xander’s descent into madness, using image and sound design to tell the story rather than the spoken word. Music also plays a big part in Angeline, with a memorable tune from Empire underpinning the meat of the narrative, harking back to simpler times with an almost golden oldie feel to the track.

While it’s easy to tell that Angeline has been made on the tiniest of shoestring budgets, Stogden’s decisions as director keep everything in the narrative present and forceful within the frame. There’s a real economy to the film, not just from the set or the props, but in how much is squeezed from each part of the story to help the audience identify with Xander’s plight. The way the lighting shifts, the camera moves, or the characters change, is almost Lynchian in the effect it achieves, and along with the spot-on sound design, every emotion is expressed genuinely as the themes and narrative get explored.

At just six-and-a-half minutes long, Angeline extends this economy into its runtime as well. Co-writer and cinematographer, Sasha Morris, helps keep the story right where it needs to be while also helping the scenes and transitions look good on screen. Nothing is wasted in Angeline, and thankfully, there’s no filler either. Everything we see has its place, and is always either expressing something or moving the narrative forward. For what is a short film, on a small budget, from a small production house, Angeline showcases what can be achieved when you focus on your filmmaking and try to get the best out of what you have.

The writer-director Frances McIlvain weaves a gripping storyline blending horror with drama increasing the degree of audience engagement with the content. Jeremiah Soderstrom, Teej Morgan Arzola, Lucas Milani, and Amy Burke understand McIlvain’s vision and make a mark on the viewer’s mind even with a short running time.

The plot of Printer Head revolves around a lowly office worker who is thrust into mayhem as he rushes to get an important document printed by the end of the day.

Printer Head opens with a long shot of a printer and a background sound followed by a series of close-up shots as well the extreme close-up shots of it working tirelessly to establish the subject matter of the film. The writer-director Frances McIlvain utilises white colour for the name of the movie Printer Head to symbolise coldness and isolation which provides depth to the narrative keeping the audience hooked to it. The set design, the black white colour pallet, camera angles, lighting, sound, dialogues, costume, hair, makeup, and props have been incorporated into the storyline naturally so that it complements all the elements of storytelling to keep the viewers waiting for the climax eagerly.

In terms of performance, Jeremiah Soderstrom plays the leading man Alex who is an employee in a company and reports to his female boss. He is a sincere, dedicated worker. Alex seems to be overworked but he couldn’t deny a task that needed immediate action. Soderstrom with his body language, voice modulation, facial expressions, and eyes are all on point to mimic the employee and employer equation adding realism as well as relatability to the character arc therefore building an emotional connection with Alex.

Amy Burke plays Alex’s immediate boss. Amy Burke lends her voice to the character. Burke’s screen time is very limited but she leaves a strong impression on the audience and also helps establish the corporate situation required to pace up the screenplay.

Teej Morgan Arzola plays the role of Morgan who is both a colleague and a good friend to Alex. Morgan brilliantly depicts how layered people in the office environment can be. The calm voice tone utilised by the young actor to create a comparison between Morgan and Alex’s characters.

Lucas Milani is the antagonist of the narrative hooded figure who tricks Alex into a situation from which he can’t go back. Milani portrays the hooded figure with so much conviction that the viewers too feel helplessness and fear felt by the protagonist all through the running time of Printer Head.

Printer Head talks about the various relationships in office and it also teaches us how one should deal with the same. The short film reiterates that doing tasks assigned by the boss proves one’s sincerity as well as dedication but taking care of wellbeing/ mental health is equally crucial. The cinematic highlights the cons of online shopping advising the viewers to be careful every time. The creative piece also talks about handling technology with utmost responsibility as it has the associated risk attached to it.

A short drama written by Katerina Kalketenidi and Ethan Race, directed by Ethan Race and starring Alexis Trolf, Sam Kennedy and Audrey Jenkinson.

One day, in Glasgow, Scotland, Fraser (Kennedy), a mischievous young boy and his friends run into a gang of youngsters, who slash Fraser's face with a knife, leaving him scarred for life. Now an adult, (played by Trolf), he lives in New York City and works as head chef at a fancy restaurant. One evening, just as the establishment is about to close for the day, some customers request that Fraser himself prepares a specific dish for them. He hesitantly agrees, as that dish brings back painful memories.

A rather poignant story that deals primarily with the aftermath of a terrible incident. Following a dramatic beginning, the screenplay alternates between Fraser in the restaurant's kitchen, cooking the requested food and flashbacks about the immediate aftermath of the attack and the relationship between Fraser and his mother. By utilising this storytelling structure, the film effectively explores Fraser's character and the emotional pain that he is going through. The atmosphere is predominantly downbeat, supported by Joseph Race's dramatic music and Tyson Vanskiver's gloomy cinematography. The scenes involving Fraser's mother (Jenkinson) are the most uplifting as they deal with recovery and support.

It should be acknowledged that the scene where young Fraser is attacked is quite distressing. This is not a negative ascpect, as by being brutal, it paints a realistic image of violence. However, some viewers are likely to find this part hard to watch.

Since Trolf and Kennedy portray the same character, the latter's performance will be analysed first as he plays the child version. Kennedy plays Fraser in two phases of his life: before and after the incident. Before he is a cocky and carefree boy and a shoplifter and after he is broken and depressed, with a bandage covering his wound, being at home and cared for by his mother. Jenkinson is sympathetic in her portrayal of a loving and supportive parent and her character appears to represent the strength of support. Playing the grown-up Fraser, Trolf is very dramatic as a chef who relives his devastating experiences when he is told to prepare a specific course.

Trauma and painful memories are two key themes in this short. From another perspective, yob violence and knife crime are brought into the spotlight and so is people's obliviousness to other's emotional suffering. More upliftingly, the significance of good parenting is also acknowledged.

A person is haunted by a terrible event, even though it took place many years ago and he is now far away from the scene of the incident. The story is quite intriguing and it is a rather dramatic one that seems to imply that emotional wounds can last forever.