Latest Short Film Reviews

Smoking Kills is a 14-second stop-motion short film. It has a comedic tone and features two blue claymation characters: one smoking a cigarette and the other holding a gun. The film's background is white. The title at the start of the film is Smoking Kills.

The blue clay characters have been crudely put together and resemble what a child would make in their early school years. I think this was by design rather than a lack of modelling skill on the creator's part, but I may be wrong. One character appears to have an action-figure gun in their hand, and the other has a small cigarette in their mouth. The white background contrasts well with the blue characters and the red lettering at the beginning and end. The voices are robotic and distorted, which fits the overall production quality. There is very little dialogue, which is to be expected for such a short film. The stepping sound is overly loud and out of sync with the movement, which is a shame. The piano music at the beginning and end fits in well and reminds me of the music used in the silent films of the 1920’s.

Stop-motion filming can be painstaking, and creating only seconds of film can take hours. So this film still requires effort, even though the characters don't appear to be created with a great deal of skill or hard work. So some credit has to go to the creator for making this film, and the characters move at least at a basic level, with some smooth movement involved.

I believe the message is that Smoking Kills, but it’s portrayed in a comedic fashion. The message is lost at the beginning and would have been more impactful had it been at the end. Many educational videos try to add comedy to this serious topic, and they are often quite hard-hitting. This film, however, isn’t one of those and is unlikely to bring about any laughter either. It is an important message, with 10 per cent of adults still choosing to smoke in the UK and many deaths still attributed to smoking. So any attempts to bring this message to an audience are hugely important.

Overall, this is a low-quality film, although there is clear skill to making stop-motion films and time has no doubt been spent on this creation. The message is sadly lost, which is very disappointing. The crude nature of the modelling doesn’t detract and actually works well with the film’s simplistic style. The creator, Max Palmer, has a second film with a similar style called The Worm, so if you like this, it may be worth checking that out too. This film could motivate people to try filmmaking and experiment with claymation, so in that respect it could be positive.

The second short film by director and animator Max Palmer.

Since the duration is twenty five seconds, it would be tricky to review this without spoilers. So, what takes place here? The animation consists of claymation and filmed as one long take. There are characters (three in total) who are figures that are supposed to be humans (men, to be precise, judging by the voices) and they are made out of what looks like plasticine and the surrounding environment consists of a white floor and a white wall. There is a narrative and it begins with a white (completely white that is) character (who appears to be drunk) talking to a blue character about performing an act that will make him (the white one) see the worm, before falling on his face and smashing it and then another blue character enters the frame and as they attempt to help the injured one, they suffer the same fate as him.

Overall, the viewing is amusing, with good sound effects. The splatter parts are probably the highlights here, adding dark humour.

It is evident that this is unskilled and uncreative work, with the claymation being very simple. To be more accurate, the characters hardly look like any kind of figures at all, let alone humans. Without the voices, one could not tell that these plasticine creations are supposed to be people. Additionally, at times, the creator's fingers and hands are visible. Very, very plain work and the voice acting is not of high standards.

What is this film about? What themes does it address? This might be hard to point out. Perhaps it involves drunkenness, naivety and carelessness. It is hard to tell. Or maybe this is intended to be just a fun viewing.

Although it is appreciated that effort was made to create something, the result is an animated short of poor standards. Maybe it would be better if one does not attempt to comprehend the story and the themes or compare the animation to masterpieces and just try to enjoy the silly show.

This short film follows a man (Shashank Arora) through the streets of Bombay as he searches for a guitar after his has been stolen. The guitar plays a vital role in helping him make a living, and part of the act involves dressing up as a cowboy in a red suit with light tassels and wearing a bright white Stetson. He seeks help from many individuals as he tries to make the gig he is due to perform that night. It is clear that the money he will earn is paramount to his survival.

The visual picture of a man walking through the streets of Bombay dressed as a cowboy is particularly striking. It is not an image that you’d expect to see. The music adds to the effect, combining traditional Indian music with a cowboy western sound. The film's highlight is a unique performance of the Song “Ring of Fire.” Again, the music mixes traditional Indian music, including the Sitar and drums, along with the Western acoustic guitar. The musical score deepens the sad story and complements its desperation. Teddy Stern composes the music throughout the film.

This appears to be a breakthrough film for Teddy Stern, and he is heavily involved in the direction, writing and musical score. The film clearly shows Bombay's influence on him, as he previously created Bollywood commercials in India for nearly a decade. He is from New York, and in this short film, viewers can see a blend of Western and Indian culture. This makes for a visually stunning piece. Combining so many elements and playing a major role in every aspect of the film is a challenge, and the result is a success.

The dialogue is predominantly in Hindi with some English. English subtitles appear throughout, although the film isn't dialogue-heavy and the acting makes it easy to follow. Shashank Arora gives a strong performance and conveys the melancholy his character feels as he tries to find a replacement guitar. The audience also hears his desperation as the cowboy seeks help from anyone who crosses his path. As previously stated, the rendition of “Ring of Fire” stands out. Rajesh Balwani adds some humour as the cruel friend dressed as Elvis. It is clear that the cowboy has wronged others as he tries to survive. Some don’t easily forget.

This is a story of survival, not just for the cowboy but for many others working and living in Bombay. The ending is poignant and leaves the viewers with the answers to their questions. Overall, this film was created by someone who understands life in Bombay and appreciates Indian culture. The characters add layers to the plot, thanks to the writer's talent. This story could be developed further as a feature film, as there are still so many aspects of the cowboy’s life to explore. I would definitely be interested in seeing more.

A short comedy drama written and directed by Michael Cusumano and starring Charity Schubert and Espyn Doughty.

12-year-old Jason (Doughty) has a problem: he has school homework to do and the deadline is tomorrow. So, he needs help and who better to ask for assistance than his mother (Schubert), who reluctantly agrees. It is a science assingment involves choosing an element from the Periodic Table, state five facts about it and create a visual aid, illustrating that fact. Jason has chosen plutonium. However, the year is 1989 and there is no internet to save the day. No mobile phones either for that matter. So the two of them need to resort to old-fashioned solutions if they are to succeed.

This rather enjoyable and intriguing race-against-the-clock story brings the viewer back in time, a time where obtaining information about this and that was a lot more challenging and it explores this concept via a last-minute-homework situation. With a light-hearted atmosphere, the vast majority of the narrative revolves around Jackie (the mother's name) phoning a variety of people, among them friends, relatives, even poison control and in comedic ways, they gradually gather the required information.

It is rather interesting observing the ways in which people used to get information back in those days and this film effectively establishes a 1980s environment via the mise-en-scene, particularly thanks to the hairstyle, the telephones and the typewriter. And the electronic music by Bootsy Spankins is another factor that creates an eighties atmosphere.

Doughty's character is a simple young boy, naive, insecure and irresponsible, yet, he means well. Jackie is a responsible parent, an efficient and patient person who knows how to deal with difficult situations. Both actors make their characters appear likeable.

This short is about support, knowledge and working towards a target. Perhaps more crucially, it points out the significance of internet and how technology in general makes people's lives more comfortable and, of course, it shows how things were back then, how everyone managed without the precious internet.

A mother-and-son story on a mission to get all the information they need before time runs out. A fun and moving viewing that works as a reminder regarding life during times when technology was more limited.

A couple of girls working in a local launderette need a bit of a change of pace and decide to put on a last-minute party when the neighbourhood heartthrob comes in to get his suit dry cleaned.

Minnie (Ward-Drummond) and Leah (Gadd) are all washed up. Their life is just a series of cycles that go round and round and round without much in the way of reprieve, or fun, or excitement. They’ve been working in the launderette long enough to get to know the locals, as well some of their dirty habits along with their dirty linen, too. Peter (Fielder), the aging local kook, likes to drop in from time to time to see how the girls are doing, but sometimes he’s more trouble than he’s worth as his idiotic ways offer little in the way of actual relief from the drudgery of the days.

Today, however, Danny (Essiedu), also known as Mr London, has come in to get his suit dry cleaned, and the girls jump at the chance to hang off of him and shower him with praise and attention. Embarrassed by the fact that she has for some reason dyed her eyebrows pink, Leah makes up the excuse that they’re having an impromptu party that evening in the launderette, prompting Danny to say that he’ll come along. Cue a montage of dressing up scenes and catwalking in the backrooms, as the girls prepare for a night that they seem to have been waiting a lifetime for.

Laundreams is the baby of Amber Gadd and Evie Ward-Drummond, who have both written, directed, and starred in this fifteen-minute short film. Their camaraderie together is supposed to be the linchpin for the humour, and therefore the entire scenario, of the short they have created for themselves, and the film basically lives or dies off of how that humour translates to the audience. Helping them along with this, is Nanu Segal’s cinematography which tries to bring in as much colour and excitement into the grey walls of the launderette as possible, and Siim Skepast’s audio design, which brings us from the dull droning of the machines into the life and soul of the party as the music and the dancing get into full swing.

Sadly, a lot of what’s been written and what’s being said doesn’t ever reach the audience, as the humour is often too personal to the writers to really entertain anyone outside of the launderette. There’s a whole bunch of mumbling going on, too, that stops certain lines from reaching the ears of the audience and causes a break in the connection with the characters. The audio recording just seems slightly off when matched to the visuals, and there’s an off-kilter feel to the whole affair that only comes across as badly done, rather than funny or entertaining in any way.

Thankfully, most of the technical aspects of the film really pick up the slack from the writing and add a lot to the feel of the giddy day experienced in the launderette. The original music is sparky and fitting, while Gadd and Ward-Drummond’s direction throws in some nice shots here and there, of the girls at their most vulnerable, that are interesting if not entirely humorous. There’s a lot of heart that’s attached to the Laundreams of the girls, it’s just that some of it gets muddied in with the dirty washing and the rest of it, that in the end leaves the audience hanging out to dry.

Laundreams will be screening at BFI’s London Film Festival 2026.

David Arrow’s “The Drive,” released in 2025, has already won 45 awards and been nominated for a further 17; currently, it remains in consideration for the 99th Academy Awards to be held in 2027. These accolades have been achieved through a jaw-dropping recollection of the assassination of John F. Kennedy, set in 1963, from the viewpoint of our seemingly ordinary and maternal protagonist, Ava (Amber Paul). The short’s starring role was provided to this established actress under intentional care, as Paul had won several awards following her previous work alongside the director, e.g. for her role as Jill in Arrow’s “5 Questions.”

The killing of JFK was amongst one of the biggest culture shocks to ever dawn America at this time, and this film treats the historical event with ultimate consideration, forming a harrowing perspective placed not on Elm Street road itself, but in a car nonetheless. As Ava carries out what appears to be a routine carpooling journey, horror unfolds when this news hits the radio. The following of Ava’s car by a mysterious man, paired with Amber Paul’s excellent non-verbal acting, alludes early on to a more personal involvement for the characters.

Produced by 4A and Lady Girl films (overlooked by Leon Derriey), “The Drive” was fortunate enough to have a bundle of creative minds working in the shadows. Costume and production design, credited to Leon Dobkowski and Rachel Marquez, are to be marvelled at, providing an instantly graspable 60’s autumnal palette through their choice of clothing and colour. Hair design, too, a major role in this immersive detail, carried out by Jennifer Hargrove. Colin Barry-Jester’s polarising sound design is also extremely fitting - the beginning of the film provides a patriotic score over visuals of key monuments in the United States - America is on top of the world! Until the breaking news spreads across the nation, as then the non-diegetic sound transforms into a defeated, haunting affair.

Supporting stars also help to unease the minds of the already tense audience i.e., the trailing mannerisms of the suited man (Allen Guy Wilcox), or the unpierced innocence of the child actors. Despite the assassination never appearing on screen, the event remains looming subconsciously over this plot. A particularly innovative way of such consists of the focus onto an empty seat next to Ava, the same side as John’s positioning during his murder.

Themes of paternal protection throughout tragedy are heavy within this product, demonstrating how life altering moments can disrupt daily tasks in such a short amount of time. The short runtime of 12 minutes plays as an advantage to the film itself, placing the audience directly in the heat of the moment to cleverly create discomfort and display how fast these calamities take control. The pedestrian-based standpoint exhibits that the impact of this day supersedes gender, race and class by showing the standstill effects this information leads to across the population. The eventual revelation of the suited man astonishes beyond viewer expectations, diffusing all fear and leaving a sorrow stain behind as the credits roll. Whereas today it is easy to view such occurrences from decades ago as a basic “fact” established in life, it is easy to forget the emotional toll incorporated - this short ensures that you do not.

This “footnote to history” is an indispensable example of the lost stories upon centuries and centuries of misfortune. Arrow’s vision is executed to a tee, drawing an audience in with false promises of immediate danger and jeopardy to our “regular” character, retaining focus with a more terrifying introspective fate: ignorance. Uncovering a media-driven desensitisation to the intricacies of the JFK assassination may drive viewers (pun intended) to reevaluate their recollection of other national adversities, considering how many lives were forever changed beneath the surface in a plethora of way. “The Drive” leaves behind such a lasting impact in such a small period of time due to it’s concise nature and compelling writing and cinematography, inviting all consumers to a new mindset if they are willing to listen.

A short drama, written and directed by Jack McLoughlin and starring Max Ainsworth, AJ Jones, Sarah-Louise Chadwick and Matthew Mora Hegarty.

Schoolboy Mikey (McLoughlin) is skipping school and when he arrives home, he is greeted by an unexpected visitor, that being his uncle (the titular Tommy, played by Jones), who has travelled here from his home abroad and entered the property via an unlocked door. After Tommy lies to a visiting, concerned teacher (Hegarty) that the youngster is not home, the two of them catch up and play some video games and discuss some of Mikey's issues. Then, Mikey's mum (Chadwick) arrives, resulting in further dramatic revelations.

This ten-minute-long story begins lightheartedly, with Tommy and his nephew having a laugh and relaxing, before things move towards Mikey's lack of motivation and mental health and Tommy's unpleasant situation. Significant drama ensues, with close-ups being utilised to catch the characters' emotions. The screenplay explores the characters' relationship with each other and reveals their struggles.

Ainsworth portrays a typical teenager: naive and irresponsible, who performs well as a student but cannot get himself to commit to academic achievements and keeps cutting class. Additionally, he is also struggling with his mental health. Chadwick plays Mikey's mother, a responsible, no-nonsense parent who is also willing to help. As for Tommy, he is a well-meaning guy who cares about those around him; unfortunately, though, he appears to be unable to pull himself together and constantly finds himself in trouble.

Through a narrative that operates as a nephew-and-uncle, mother-and-son, and brother-and-sister story, this film looks into themes involving mental health, self-reflection, support, and family values.

A short, moving drama that looks into a family's issues. It has its cheerful moments; however, it primarily aims to be serious with the heavy subjects that it brings to the surface.

The Nomophobe follows teenage girl Madison Ashley-Cooper (Beau Gadsdon) as she struggles with nomophobia and tries to break free from her smartphone addiction to restore a close connection with her mother, Laurie (Clara Paget). The Nomophobe premiered at the BAFTA Flickers’ Rhode Island International Film Festival and is a short film that depicts the current obsession with smartphone use and its damaging impact on individuals.

The film is an incredibly moving portrayal of a mother attempting to rekindle a relationship with her daughter, and it's difficult to watch as Madison rejects the idea of human connection through her anxiety-ridden personality. While the film doesn't explore what led to her struggles with nomophobia, it's instantly engaging thanks to the compelling central performances and technical aspects. One of the film's strongest technical aspects is its visual storytelling, which depicts Madison’s smartphone with text pop-ups and puts the audience in her point of view. Due to her addiction to her smartphone, she visualises the world through a digital lens, and she's unable to separate herself from the constant need to capture everything through her phone camera.

The visualisation of the smartphone through text pop-ups and apps is an incredibly creative formal decision that conveys Madison’s anxiety and escapism from the real world profoundly. Formally, the piece rarely puts a foot wrong with seamless editing choices that help the narrative flow without ever overstaying its welcome. Jean-Pascal Beintus’ musical score further grounds Madison’s struggles with isolation, using timeless motifs that underscore the film’s more intimate scenes.

By far the most compelling aspect of the piece is its cinematography by Richard C Bell. The piece utilises wider framing to capture the futuristic visuals from the exterior locations and shifts to extreme close-ups to convey Madison’s deteriorating mental health through the consumption of her smartphone. It's a commendable choice that feels incredibly personal and visceral to witness. Another outstanding use of camerawork is the drone photography that captures a moving vehicle and the text pop-ups surrounding the protagonist as she loses connection on her phone. The dreamlike visuals are also incredibly creative despite the film's budget constraints. It paints a bleak image of the future and how individuals will continually consume media and lose touch with the reality of human connection.

Beau Gadsdon's portrayal of Madison is incredibly remarkable. She conveys the anxiety of being without a smartphone intensely, and it's hard not to empathise with her. It's a performance that may stick with viewers and encourage them to look at nomophobia more openly, as it's increasingly worrying how widespread it is today. The supporting players are also memorable, in particular Clara Paget’s portrayal of Madison’s mother, Laurie. Her chemistry with Beau Gadsdon is moving as she expresses her love for Madison and the frustration of trying to re-spark their connection. It’s difficult to watch as Madison struggles to accept and return her mother’s love.

The Nomophobe is compelling and essential viewing for its depiction of nomophobia and the fear and anxiety it can inflict on an individual. While the narrative's conclusion is uplifting in its character growth, it may also leave audiences concerned for the future of technology, with individuals unable to separate themselves from their smartphones.

Blue (2026) is a short film, set and filmed in Edinburgh. It is written and produced by Joe Dingwall, who also stars as the main protagonist, Sam. The story follows an actor (nicknamed Blue by his partner Kate) who takes a walk through Edinburgh with him as they reminisce about the place they met and went on to visit together. Their journey takes the story into flashbacks of their relationship struggles, as well as many lighter moments also. The audience can begin to understand the stress the relationship was under due to both parties being different types of artists, with desires to take opportunities to expand their careers whilst still prioritising each other. Towards the end of the film, we see Blue walk into an exhibition full of Kate’s paintings. A glass breaks and he turns; when he goes to face Kate again, she is gone.

This is a beautiful narrative about love and eventually loss. Understanding the dynamics of the protagonist’s relationship and its complexities, shared gradually throughout the course of the film was enjoyable. The couple walks through locations they have visited before the film flashes back to memories in those locations. This was an interesting storytelling device that allowed for an engaging non-linear structure.

Despite the performances of Blue (Joe Dingwall) and Kate (Jade Sylvester) being strong and emotionally fruitful, the chemistry of the pair was not always believable and their relationship felt like a jokey friendship a lot of the time. I found some areas of the scriptwriting cringeworthy but was also heart-warmed by many other scenes. The ending depicts Blue looking at the work of his past lover; he stumbles upon a blue painting, created for him. His eyes fill with tears as he admires the work of someone he used to know. Joe’s execution of reminiscing in this scene is extremely powerful; it is one of the most memorable scenes that showcase Joe’s talents as an actor.

The cinematography and colour grading of the film were crisp and professional; my only complaint would be that some scenes in certain locations felt too dark, but I can imagine the lighting in these locations was more difficult to control. When the main character, Joe, performs on stage, he is not in focus throughout, which unfortunately may take viewers out of the story. I also found that the montage of the pair towards the end was touching, yet slightly too long. The music assists the tone of each scene and was competent throughout. The use of many locations in Edinburgh was captivating and framed the city in a beautiful light.

Despite a few technical difficulties, Blue is a passionate film that draws on the human experience. The narrative is tender and has the ability to resonate with many audiences. It relishes in the genuine connection between people and the lasting impression these connections can leave on our lives.

The Party’s Over is an unusual short film which speculatively depicts the Academy Awards dressing-room interaction between two legends of the silver screen, Audrey Hepburn and Grace Kelly. Directed effectively by Skyler Sulby and written, interestingly enough, by its two stars Jessica Ann Brydon and Leah Freilich – this intimate, 7-minute drama is well-photographed, well-performed and satisfyingly structured.

Despite the fact that it’s based on the identities of two of the most famous screen-presences in history, the conceit and overall story structure feels most original. What it is confronting through the characters is the idea of walking away from your career. Kelly famously stops acting once she marries the prince of Monaco. It makes for a deeply moving passage of dialogue as she begins to confront how little choice she’s had in the evolution her life is taking; there’s a lot of nuance to how much she either does or doesn’t want to address about her own personal feelings. And Audrey talks about walking away for now, and the viewer is left to infer a lot from what’s left unsaid.

If there’s one odd effect the film has on the viewer, it’s the following. By stating that the two people you’re watching are Audrey Hepburn and Grace Kelly and then casting people who do look very much like them, you can’t help but then examine their faces and think of all the things that are different about their looks and behaviours. This isn’t really a complaint, but an inevitable aspect of any biopic-adjacent film. It’s almost like a very successful acting exercise, filmed fittingly.

Speaking of which, the cinematography of this film is incredibly impressive. It adopts of high-contrast, soft focus, black and white style to tell its story – and all these elements also contribute to the sense that we’re observing an old, treasured photography (which, in fact, is the very inspiration for the film, as displayed before the end credits). On a technical level, perhaps the greatest accomplishment is the first shot: a quick push in through a living room as the camera dollies towards a television set introducing the Oscars. I’m not certain how the lighting and tracking was achieved all so perfectly, but it’s a sensational way of introducing the concept of the film.

I would actually love to see these writers and performers make a film about themselves as actresses in the current film landscape, and I’d say that’s a good sign. Because even removed from the outside context of Hepburn, Kelly and the trajectory of their careers, our screenwriters manage to hit on some universal themes – such as uncertainty for the future, questioning of one’s legacy, and trying to find hope and freedom within the confines of the life you’ve found yourself in the middle of. These are ideas and emotions worth exploring in a longer form.

I couldn’t have predicted that a short film would choose to depict such an interaction – it almost seems off-limits in some uncanny way. And yet the fact that these talented filmmakers pull it off is testament to the craft behind the work.