Latest Short Film Reviews

The Foreboding: Fractured (2024) is a short horror film written by Alexander Staunton-Hill. Alexander also plays one of the students named Connor that this story follows.

The group of four goes for a hike in the English countryside, laughing and joking, revealing their year-long friendships that began at the start of their university studies. When they settle around the campfire in the woods, character Abigail (played by Eve Kathryn Oliver) entertains the group with a scary story set in the same woods they are huddled in. The story highlights a ghost looking for her deceased brother who drowned in the nearby lake, with the cabin the siblings stayed in also a stone's throw away.

When the group splits in an attempt for Aaron to rekindle an old spark with Amy, Connor and Abigail collect some firewood before they hear the whispers of the ghost from the story. The ghost shows Connor a vision of his friends dead.

To stop the proposed events unfolding, the group search for safety and a way to prevent the curse continuing.

The narrative of this film is easy to follow, compelling and full of fast-paced action. The horror aspects of the ‘ghost girl’ are strong. The costume, hair and makeup of the supernatural are uneasy and remarkably effective.

The banter presented between the four friends was realistic and enjoyable to watch. It would have been nice to understand the characters more so that audiences could empathise with them. Without knowing or caring much about the characters, the stakes did not feel high.

There was also some confusion with the relationship between Connor and Abigail, at times romance was alluded to, but this was not clear. An unmistakable connection between the pair might have sparked more emotion from the audience when the characters do comfort each other throughout their trauma.

The visuals of the film were of high quality and professional, from the cinematography down to smaller details like the opening credits. Unfortunately, I do not think the performances were as strong. A high skill level is needed to pull off a performance of grief and immense distress and I do not think that the performances were convincing of this.

I understand the difficulties of fitting a more complex narrative into a shorter production, but there were some holes in the plot and elements that were not clear. During one of the final scenes, Abigail stabs what seems to be a dark fabric. I assume this could be the remnants of the drowned brother in the cabin, mentioned previously in the story, but this was not apparent. The reasoning behind the curse and why it involves the teenagers is also not known.

Overall, this film has a strong narrative with high production value. Some enhancements to the script for a deeper story with more character building would improve it. It was an enjoyable watch with the horror genre being served well.

Rhythmic Exercise with Priadi invites the audience into the world of early-2000s satellite television in Indonesia. The short piece is an ode to childhood nostalgia and a reflection of growing up in an environment that blatantly endorsed toxic masculinity. The narrative follows a daily exercise program sponsored by the Indonesian government to promote fitness.

The central character, Priadi Abadi (Patty Setiadi), has an eccentric personality that shines through in every frame and instantly draws the viewer into the daily exercise program. It's evident that the quirky and fun dance routine attracts many viewers daily because it appears engaging at first, and this is reflected profoundly in the material. The physicality and energy on display from each dancer is exciting to witness, and the tone maintains its charm and satirical nature throughout. However, once the exercise gets underway, the camera angles and framing of each dancer become uncomfortable to witness as a viewer, due to the emphasis on the sensuality of the female body. It's a scathing indictment of the broader television culture of the early 2000s with camera angles and movements that intentionally focus on the dancers' bodies.

Sebastian Aldo Widjaya, serving as the film's cinematographer, primarily frames the piece from wide-angled shots of the dancers and intentionally switches to extreme close-ups of the women’s bodies to emphasise how revealing the different variations of the exercises became. The switch to handheld in the narrative’s final third is also commendable, giving the final moments a more visceral edge. It may prompt the audience to view the dance routine through an entirely different lens, as the filmmakers intentionally sought to convey a visual framing shaped by the male gaze, reflecting the television culture of early-2000s Indonesia.

One of the most impressive aspects of the experience is how well the filmmakers balance the comedic and dramatic tones while delving into provocative themes of toxic masculinity and childhood nostalgia. The piece is clearly visualised through the lens of nostalgia and sheds light on a form of media that has rarely been represented before. Despite the heavy tonal shift in its final third, it's incredibly well executed and never feels jarring, thanks in large part to how visually arresting it is. That said, the narrative isn't given enough breathing room to flesh out its themes and ideas and abruptly concludes.

The performances are commendable despite most of the runtime committed to the dance routine. Patty Setiadi’s portrayal of Priadi Abadi is a standout, as he effortlessly commands the screen while bringing an impressive physicality to the performance. Raina Abigail’s portrayal of the female coach is incredibly nuanced and energetic when the material takes a more sinister turn, and she’s easily one of the most memorable aspects of the experience.

Rhythmic Exercise with Priadi is an enticing experience that pulls the viewer into a quirky dance routine from the early 2000s. The piece tackles its themes of toxic masculinity and the male gaze profoundly while capturing the essence of childhood nostalgia through a mature lens. A thought-provoking experience that pulls the rug from under the viewer with incredibly evocative imagery and memorable performances.

Directed by Geoff Harmer who also co-wrote the short alongside Teagan O’Brien who also stars in the short. Geoff has previously directed a lot of segments in anthology horror series such as Virus Detected (2023) and Video Shop Tales Of Terror (2023). He has also been directing short films since 1994.

Getting what you wish for isn't all that it seems. Our protagonist is a nameless content creator who we meet doing sponsorships full of buoyancy when addressing fans, getting people to like and subscribe. We have all followed or stumbled across videos and online personalities just like this. We then get glimpses into our protagonist's real life but it's not as technicolor as it seems in her videos when she's all alone. The switch in personality when on screen takes a dark turn, when fans become too close finding her location, following her, harassing her she asks simply to be left alone. But those very words get twisted and have fatal consequences.

The performances in this short were very strong as the main protagonist is our main focal point. You really need somebody that can carry the screen and hold the audience's attention. Charlotte Barnes was great at switching between that over the top influencer mode into tense quiet sequences being followed around her home.The inner turmoil as a viewer you get for balancing between the protagonist being toxic and not understanding to her fans. Or are the fans simply taking things too far. Which is an absolute credit to the actress Charlotte Barnes as you really feel torn. Alongside Teagan O'Brein who plays a fan who takes what the influencer says very personally.

The editing by Geoff Harmer himself was great especially in those moments where it gets very suspenseful. At times I almost felt like looking away from the screen anticipating a jumpscare at any moment. Hand in hand with a gripping soundtrack composed by Tyler Lawton-Bryant Also there was an interesting choice: when getting a glimpse of her at home the camera almost glitches and comes across like the film in the camera is burning away. It adds to the duality of her online personality and her dealing with the consequences of her actions.

At the heart of Shhh it’s really about how our words hold so much weight and power when she's asking to be left alone. One of her fans takes it so literally that she doesn't love her and wants her to be silent forever. It's a very relevant subject matter today as it’s constantly in the news how celebrities are being stalked and how they say one thing and it costs them their whole career.

I highly recommend checking out this short. I was invested from the beginning and glued to the screen. It handles its subject matter well and audiences will be left conflicted when the credits roll. Mixed with the classic troupe of someone alone in a house being stalked by an unknown entity or person throughout but with a twist. I feel like it could easily be turned into a feature length and explore this narrative more.

Mintrix and the Elven Figurine is an introductory concept short for a much wider world from creators Andrew Jordan and Kimberly Woods. Audiences drawn to the fantasy stagings will find bold commitment from the filmmakers who embrace popular tropes and demonstrate a clear understanding of the desires of their fans-to-be.

In a fantasy world, Mintrix Vandalore (Kimberly Woods) is a canny and charismatic bard hired by a young elf named Nape (Valeria Rodriguez) to recover an ancient elven figurine. But the pair are not the only ones hunting the mythical item. As Mintrix’s journey takes her from underground caves, catacombs and ruins, the relationship between the two grows from professional to personal. An uncertain future in the vast world leaves open the question – can their partnership survive the stakes at hand?

Fantasy and Romantasy fans will find lots to love in Mintrix and the Elven Figurine – and be enticed by the potential of Mintrix and Nape’s journey. Whilst much of the larger story is left untouched with an eye for later, more developed instalments, it is clear that the filmmakers have big intentions and plans for their fantasy world. Fans will feel comfortable and familiar with what is on display here, but there are also some more unique points on display that provide optimism that Mintrix’s stories won’t solely rehash familiar story structures. Utilising unconventional storytelling and jumping back and forth between locations and characters within the same motion are just some examples of this.

The characters focused on by the filmmakers are from communities often underrepresented in the fantasy genre. Whilst representation has improved in shows like House of the Dragon, there is still a gap for media that places such characters at the centre of the story. As a black, queer woman, Mintrix is a character that pushes forward diversity within the fantasy space by virtue of her existence. But the character should not be defined by her background. Mintrix as a hero is bold, brash, cocky and funny, but it is also easy to imagine that her cockiness will run into trouble down the line. The best characters are those whose personalities are at the heart of their successes, and their failings. Whilst we really only get a snapshot of her story, Mintrix is in good hands with Kimberly Woods as both director and performer.

There are inherent limits to what Mintrix and the Elven Figurine can accomplish in its short running time. The film does race through some of its concepts in a presumed attempt at establishing a few meatier setups down the line, though in the short itself it leaves them feeling under-explored. The antagonistic cult who are also hunting down the figurine are particularly undefined and would require much more development in a feature length to work as a memorable enemy.

But as a concept film, Mintrix and the Elven Figurine is a fine example of how to build excitement and anticipation for a fantasy world. The visuals are great, the ambition is bold, and the central relationship between Mintrix and Nape is believable and promises to take exciting twists and turns. The filmmakers definitely deserve to have their wider ideas brought to life, and Mintrix’s story is one that will conjure many more fans yet.,

Swallows of a Damned Spring is a stark reminder of how easily we take our freedoms and everyday privileges for granted, but also that in the darkest of times, it is crucial to hold onto hope.

Based on a true story, this unorthodox hybrid documentary from filmmaker Jona Pireva shares with us the tale of a young Kosovan girl during the Kosovo war, a conflict that started in early 1998 but reached its true peak during the spring of the following year. For four long months, NATO bombs rained constantly over the war-torn city, and while some were fortunate enough to remain in their homes, others were forced to upend their entire lives in search of safety.

Narrated by Pireva herself, this six-minute film is a poignant, heart-tugging lament for a life and childhood stolen, for a future increasingly uncertain. Our narrator longs for nothing more than a clear blue sky, rather than one filled with "colours never seen before and some noises never heard". Yet, despite being stripped of their education, their friends and even their sky, they still somehow manage to find room for hope that one day they, like the swallows that migrate each year, will also be able to return home.

After a look through Pireva's intriguing back catalogue, it's clear that here is a filmmaker with their own distinct vision and style, their own precise sense of storytelling, and an unwavering, applaudable conviction to see it all fully realised. Swallows of a Damned Spring is no exception. Pireva's penchant for the close-up, handheld style, always seeking the fascinating minutiae of each scene, allows us to enter this world with our narrator, its jagged raw style working to serve the narrative as a vivid memory being retold, bringing us and the emotion together,

There are no bells and whistles; nothing is done merely for show, and with that, not a great amount of depth to uncover. Yet it's simplicity, it's being drawn back to the bare bones, are what give the film not only clarity in that vision, but the space to draw us in to what matters most: the feeling. Ultimately, it all feels incredibly personable, inimitable and pure.

A sombre, unassuming and understated piece, Swallows of a Damned Spring is a deeply personal tale told in a most deeply personal way, a filmmaker bearing heart and soul for us in the pursuit of great storytelling and offering a vital lesson to never take what we have for granted.

Spencer Anderson writes, produces, edits and directs this short psychological drama, starring Elliot Cable, Gillian Broderick and Natasha Robinson.

The plot: World War II is taking place and a young soldier named Peter (Cable) is at a carnival, where he visits Helen (Broderick), a fortune teller, hoping that she can reveal news regarding Sheila (Robinson), his beloved partner. Helen will do so, bringing to the surface revelations that will deeply distraught Peter.

The entire narrative of this six-minute-long film takes place inside a small tent, where the fortune teller puts her abilities to use and during this short running time, great acting, methodical filmmaking and creative mise-en-scene collaborate and create an atmosphere filled with tenderness, tension, and heavy drama.

The mise-en-scene effectively creates an environment that brings to life a Second World War setting, with Pete's uniform being one obvious aspect, along with Sheila's hairstyle and clothing. Signs of a fortune teller's workplace are present, and they include a crystal ball, tarot cards and the turban worn by Helen.

This story relies heavily on feelings, and Anderson frequently utilises close-ups of the protagonists' faces, effectively capturing their reactions and emotions in shots that are massively supported by Dan Abrams' wonderful cinematography.

Throughout the story, Peter is sat at Helen's table, with her sitting opposite him. Things start out relatively calmly, turning dramatic following a disclosure that deeply upsets the soldier, creating a rollercoaster of strong emotions as Peter fights hard to comprehend what he has just discovered. As the story progresses, the atmosphere changes, going from blissful to chaotic and melancholic, with Reg Length's music adding to the dramatic scenes. More on the audio, the methodical use of sounds of gunfire and shouting results in a harrowing battle scene that is experienced audibly.

The vast majority of this film revolves around Peter's state of mind, and Cable does an amazing job, vividly expressing his character's feelings, whether it is happiness, anger, or sadness. In her debut film role, Robinson impresses as a nineteen-forties young woman who has been reduced to a very distressing state following the separation from her partner. And Broderick is the fortune teller, a calm, patient, and understanding person.

This relatively short story manages to explore a number of significant themes, and they include war trauma, desperation, comfort, regrets, and painful revelations.

A World War II story. A romance. A tense and emotional film about a soldier battling with himself as he faces unexpected discoveries.

This is a short film from 2025 that depicts a small group meeting at what looks like a local village hall. This is a group for addiction, and they all have a story to share. The group is led by Jay, who clearly believes he is above the rest, having come through his own addiction. His common phrase is “Safe Space”, but this meeting feels anything but safe.

The lighting is very well done, and the audience will notice that there is a spotlight above each person which highlights their turn to speak. It also adds to the feeling of isolation that each character is feeling. It is also a clever use of lighting to show Jay is on one side with a dark backdrop and the three attending have a much lighter setting. The lighting plays a very important part in this film and really gives that uncomfortable feel as each person struggles to share their story.

I found Martin Green's performance a touch hammy at times, and a little more subtlety could have been used. Despite this, he was able to clearly show the character's condescending nature, which drew an invisible barrier between his character and the others. The character was well written, and the audience will really get to feel some emotion towards him even though this may be negative. This is the strength of the writing and, to some degree, Martin Green's performance.

The standout performance was from Victoria Lenham-Kelly, who really took control of many of the scenes. She depicts empathy really well towards the other characters. The best parts of the film came from Victoria Lenham-Kelly, and this is really helped by the writer, who gives this character the greatest depth. She develops a real chemistry with the other characters suffering from addiction and is the adversary to Jay, pulling no punches. The most important aspect of the performance is that she makes you believe her character is going through the struggle of addiction and wants to understand the others around her. At times she wants to help.

Nathan Wedge and Valerie Bundy have limited dialogue, but they use their physical acting skills to portray their characters' emotions and their feelings towards the other characters. They provide real contrast to the two dominant characters. This works extremely well, particularly towards the closing scene.

The director really knows how to set up a scene, particularly one that feels tense at times. Their use of the clock at the beginning and end makes the audience feel quite uncomfortable at times. The simple nature of the set draws the viewer to the actors' performances and avoids any distractions. As said previously, the director has used lighting to great effect throughout. The message of the film has really been handled very well by the writer and director.

This is an enjoyable film that tackles very important issues, particularly in the time it is set. It has been made to highlight addiction in its many forms and how and why those addictions come to be. This film could really resonate with the viewers and could easily be used as an educational tool. The audience won’t know where the film is taking them until the very end scene, which really helps to build the different layers of the story. This is a very important watch for 2025 and beyond.

Peekaboo - scripted, directed and performed by Nadav Elkum - is a new rap music video with a crime-chase narrative weaved throughout. We follow the rapper, and many others portraying fictionalised versions of themselves, as he is chased down by people whom he still owes money. This is a strong piece of work from a visual standpoint, and the content of the story is also not without intrigue.

The appeal of this video is the camerawork, combined with the deliberately fast-paced editing – both elements operating in tandem to form what feels like a musically inspired, modern digital evocation of pure frenzy and aggression. It all works incredibly well; from the varying shot types (whether it’s handheld or a wide-angle physical attachment to the performers), to the decision to capture these images with fast shutter speeds (creating that choppy, visceral jitter effect) -- cinematographer Bruce Melan certainly knows how to build an immersive ‘look’ based around the project’s core, sensory interests. And the editing, then in turn, manages to cut well with the music track we’re hearing.

The point of this review is not necessarily to serve as a critique of the song itself (since this is a film publication), and thus I shall only touch on it very briefly... It's got a strong beat and an expressive energy. The lyrics are pretty thematically rich in parts, but don't entirely flow or come together for this critic (who is not a music critic). Due to the fact that the style of the filmmaking appeals to me a lot more than the song itself, the sequence in which the music drops out, and it becomes pure drama and tension, is the highlight of this five-minute piece.

The section I'm referring to takes place in a car which our lead is using to escape his violent pursuers; a moment of respite he uses to rationalise his dire situation to his love interest, supposedly, and her son – who, by the way, insists on playing peekaboo before our protagonist is dragged from the car and almost killed. It’s a revealing passage of dialogue and operates so nicely as a midpoint moment of clarity and character- grounding.

In terms of the violence, one could argue that it creates an odd sort of impact. Especially following on from this sequence, when a man is smashed over the head with a baseball bat. The effect is simultaneously unpleasant and slightly cartoonish and would maybe benefit from a 'less is more' approach. Whilst this critic enjoys violence in movies, I'm not sure how much blood-squirts and casual, city-based murder adds to this kind of music video. Nevertheless, the filmmakers made a purposeful decision and committed fully to it, so this is more a matter of taste than a creative failing.

Peekaboo is a worthy five-minute viewing, both as a music video and a work of visual storytelling. And particulalrly if any readers are interested in this genre of music, you could easily seek this one out on YouTube. Additionally, the fact that Elkum acts, directs and produces the music – and that it all comes together – is a pretty impeccable achievement in itself.

A young wannabe actor struggles to find that one breakout role and begins to fantasise about how his life would turn out if he could just get the big break that he is looking for.

As with most struggling actors, the lead (Janneh) in writer/director, Lyud Hristov’s debut short film, remains anonymous. When we first meet him, he’s filming himself on his phone in his bedroom, trying to make an audition tape for the next big thing which is finally going to catapult him towards the success that he knows he deserves. First though, he has to deal with interruptions from his long-suffering mother (Smales) and from his flatmate (Lawrence), as he desperately tries to keep things professional in front of the camera.

While his friends are always on hand to offer soothing words of encouragement, his mother tries to give him the best advice she can, which is to give up on such a silly dream, and to put his efforts into finding himself a proper job with real, actual prospects. However, the struggling actor must always stand strong in the face of setbacks, rejections, adversity, and others’ lack of faith, and with this one last chance to prove himself, he’s determined to claim a part in this new production and set himself off on the path that he knows is waiting for him.

Unfortunately for our plucky protagonist, nobody is taking him seriously and he’s not being offered any sort of time or space to really let his range shine through. From his self-important acting coach, to his manager at the bar where he works, he is belittled, and undermined, and stopped from ever getting to give his best. As pressure piles upon pressure, something inevitably breaks, and soon our struggling actor is finding it hard to remain in the real world, retreating into fantasies, daydreams, and false reminiscences, to help himself cope until he finally receives the call he has been wating for all this time.

Even though we never get to learn his name, in the eleven minutes that we get to spend with the struggling actor, we find out a lot about him as a person and are party to a lot of his hopes, fears, dreams, and motivations. Abdul-Malik Janneh does a sterling job of portraying these emotions and themes through the character, and is able to ‘turn it on’ when getting into the roles that are being asked of him, even though he never gets very far into the performance before being stopped.

Writer/director, Lyud Hristov keeps his scenes pacy and engaging, especially with the music choices, which set the tone for the film and for the actor’s personal struggles, while also adding in some nice visual touches and continuity gags to reward the more discerning viewer. There is a lot going on in every scene of The Chronicles Of The Struggling Actor and Hristov makes sure that everything comes together seamlessly, from the visuals, to the performances, to the sound, to help pull us into the actor’s story and live it alongside him. Once the more fantastical asides come into play, this then gets amped up by a level or two, and the frantic, desperate nature of the struggling actor is revealed to us piece by piece, as he begins to fall apart.

There is a definite frustrated nature to the entire production of The Chronicles Of The Struggling Actor, mirroring the feelings that most people will have experienced in trying to break out into a creative profession. Hristov understands the nature of the business intimately and successfully transfers this frustration, desperation, and disappointment into every frame of his film. They say to write what you know, and it seems that here, even in his debut short film, Hristov has laid out everything he knows and understands about how it feels to be the struggling artist, maintaining his vision throughout and truly captivating the audience into the process.

For what is a fun and evocative eleven minutes, The Chronicles Of The Struggling Actor will take you out of your comfortable armchair, and will make you squirm, sweat, and laugh as you go on the journey of anonymity with our failed lead, hoping against hope for a positive outcome and the fabled Hollywood happy ending.

The Date is a coming-of-age short piece set in the vibrant streets of Mumbai. The narrative follows Vijay (Adnan Ahmed Mullick), an introverted photographer and traveller, as he meets Devi (Gaurav Choudhary), a sex worker with an uplifting spirit. Intrigued by her resilience, he asks her out on a date, wanting to connect before he leaves the city. The piece is a journey of self-discovery set against the backdrop of the bustling markets within Mumbai.

The Date is an incredibly lived-in and intimate experience thanks to the two central performances and technical elements throughout. Firstly, every aspect of the piece has beautifully developed characterisation. The city of Mumbai feels like its own character, with its vibrant nightlife brought to life through its rich culture and bustling food markets. While the piece has an incredibly minimal runtime, the narrative wastes no time and fleshes out both central characters to a suitable degree without ever overstaying its welcome. Secondly, the themes of self-discovery and identity are highly universal, woven seamlessly into the narrative without ever feeling rushed or underdeveloped. It’s paced exceptionally well, without ever putting a foot wrong, with each sequence flowing seamlessly into the next thanks to apt editing choices from Bhaswan Chatterjee.

The camerawork throughout the piece is tremendous, as cinematographer Hrithik S. Naudiyal frames each sequence with a delicate edge. Most of the narrative consists of close-ups with both characters always at the centre of the frame, never losing sight of the character-driven focus. It’s a commendable choice, as the audience is consistently invested in both character arcs because the experience feels so intimate. The fixed camerawork is also a highlight as it perfectly complements the steady pace of the narrative. Despite how minimal the music is throughout, it's incredibly impactful with majestic motifs that perfectly complement the tonal balance and setting.

The narrative is exceptionally well-structured, and despite its runtime, the film leaves viewers deeply invested in both Vijay and Devi, thanks to their well-developed, compelling character arcs. It's a powerful and emotionally resonant experience because the filmmakers delicately tackle the themes of anxiety and grief. The themes are apt and integral to the character arcs of both Vijay and Devi. Vijay is an introverted character who expresses his feelings through photography, and the relationship he grows with Devi is delightful to experience. Devi is grappling with her identity, and the more she opens up to Vijay, the more vulnerable she becomes.

Both central performances are the heart and soul of the narrative, making their chemistry one of the film’s most heartwarming qualities. Adnan Ahmed Mullick delivers a terrific performance as Vijay, convincingly capturing the character’s anxiety-ridden nature while sharing remarkable on-screen chemistry with Gaurav Choudhary as Devi. Gaurav Choudhary’s portrayal of Devi is the biggest delight of the piece as she has an incredible screen presence that exudes charm and restraint as she opens up to Vijay.

The use of flashbacks is another apt choice that further fleshes out Devi’s character arc and concludes the narrative in an emotionally resonant manner. All the dramatic beats land thanks to how well developed both characters are, and the piece tackles the theme of self-acceptance exceptionally well.

The Date is an astounding piece of indie filmmaking that explores coming to terms with one’s identity while thoroughly examining anxiety and grief. It’s an emotionally powerful coming-of-age story, elevated by two outstanding lead performances and an intimate, uncompromising portrayal of self-discovery. A flawless sensory experience that may stick with viewers for days after the credits roll.