Latest Short Film Reviews

A story of identity and sexuality opens out into one of depression and substance abuse, as a woman living in assisted accommodation tries to live out every day of her life without knowing who she really is.

Shae (Gemma) tells us right from the start that she doesn’t know who she is. She just wants to be normal, like the rest of us, and not have to deal with the rest of the bulls*** that comes with the daily existence of having to put a face on for the outside world. This mental distress has been piling on Shae since high school, and she has turned to alcohol and drugs to block out the constant thoughts that plague her every waking moment. One afternoon, a drug deal goes wrong, and Shae ends up getting stabbed in a bust up in a tunnel, seeing her spiral into a maelstrom of self-pity and soul-searching from which there may be no salvation.

Throwing a lifeline into this wild and crazy storm, however, is Amber (Stewart), the pretty blonde barmaid with a heart of gold. She sees through Shae’s charade and wants to get to know the person underneath. Now that there’s a chance of understanding and acceptance, Shae must take a look at herself and make some choices about who she wants to be in the future.

Based on the life of Rozelle Gemma, who stars as Shae, Behind The Reflection tries to get as close as possible to the truth of the situation in telling her story. With Gemma on board as co-writer and star, there’s a rawness and power that comes from the performance that completely pulls you into the life that she has lived. Playing two characters convincingly on screen is more than enough for most actors, but when you realise that the real performance was all the time, every day, for years, it adds an extra level to what we get to see on screen.

The production, too, keeps things concrete and real and close to the streets, and not just for budgetary reasons either. It’s obvious that the filmmakers grew up around, and have an understanding of, the places where the film is set. The interiors are grimy, and bare, and real, and really help lend Shae’s story another layer of authenticity, as we experience the pressures of life on welfare, in places and around people that are there to grind you down.

The soundtrack to these desolate spaces is very well chosen to reflect the atmosphere and the feeling of Shae’s experience within them, and with Velton J Lishke’s direction, the whole of Shae’s world is pulled together into frame in a visually seamless narrative. The lighting and the camerawork, however, along with a lot of the sound, are what show up the budgetary restrictions the most, and while capturing these elements naturally can sometimes add to authenticity, here we’re just left wanting more than tinny toilet conversations and sitting under downlights.

For what is a very cheap indie movie, crowdfunded, and built almost as a community project, Behind The Reflection has the benefit of having a f***load of heart and integrity behind it. Rozelle Gemma is a force of nature, who has an important story to tell, and who is able to tell it with all the passion, and desperation, and heartache that she experienced first-hand as she just tried to live her life. For the twenty-four minutes we are invited to share in Shae’s life, we see and hear and feel a lot with her, some of it uncomfortably, but in the sharing of the story we are lifted, almost as a form of therapy, as we benefit from her journey. For anyone suffering alone, looking Behind The Reflection, could be just the perspective they need, to think a little differently from now on.

Jujuman follows a South London gang leader, Mani (Caleb Obediah), as he is forced to rethink his attitudes when a mysterious vigilante witch doctor confronts him. The witch doctor has appeared to have placed a curse on him, intended to put his mother’s life in danger. The narrative is based on a true story and is dedicated to the life of Tobi Animashaun.

Jujuman possesses an intriguing premise that blends a fairly grounded narrative set around South London with a fantasy archetype. While the piece can feel disjointed at times, with the mix of comedic and dramatic beats not entirely landing, the fantasy elements are astounding, despite the film's budget constraints. The film's ideas are thematically rich, with the discussions of power and religion present throughout much of the runtime. In particular, the dialogue involving the discussions of the power of Juju is effective, giving the narrative a deeper subtext. Despite the film exploring these absorbing ideas of religion and the power of Juju, it never truly reaches its full potential by not analysing them beyond their surface level. The screenplay rarely explores Mani’s inner turmoil, and it's a detrimental aspect to the film's central themes of guilt.

The camerawork is mostly engaging, as Mani is framed from an overhead perspective, which is an incredibly unique approach to convey his guilt-ridden personality. The switch to handheld camerawork during sequences of conflict is mostly apt and gritty in its depiction of gang rivalry in South London. During a chase sequence, however, the editing is unfortunately choppy, with a jarring number of cuts, making these moments rather incomprehensible at times. The musical score occasionally feels upbeat, but it doesn't align tonally with the film during moments of conflict. That being said, the film, for the most part, retains its gritty and uncompromising vision of South London.

The performances across the board are incredibly raw and nuanced, particularly Caleb Obediah’s portrayal of Mani. He conveys a great level of empathy and care for his mother, and despite his flaws, he tries his best to protect her. Golda John, in her portrayal of Funmi, is also commendable, as she tries to understand Mani’s lifestyle while feeling at odds with the choices he makes despite her love for him. The chemistry between the gang members is also engaging as it perfectly blends the humour and severity of the situation.

Unfortunately, the pacing of the piece is fairly stagnant throughout and really takes its time to kick into gear. While the film does pick up dramatically once conflict arises, it never quite finds its stride and flows in a rather meandering fashion. Despite its incredibly brisk runtime, the duration feels prolonged due to these pacing issues. If the narrative had delved more into the crime aspects of Mani’s gang, his characterisation could have been more fleshed out as to why he fell into that lifestyle.

Jujuman is a frustrating experience as the ideas presented are incredibly engrossing; however, the piece rarely explores the implications of Mani’s characterisation enough. While it is well-acted and blends a grounded premise with some effective fantasy elements, it never quite explores its themes in depth, given their integral role in the film’s central ideas.

A moving short film written and directed by Anjini Taneja Azhar and starring Jyothi Janath, Kabir Pahwa, Suchitra Pillai, Shaurya Tyagi and Avinash Razdan.

Shot along the banks of the Ganges River in Varanasi, India and under challenging circumstances, this short was created thanks to the collaboration between British Airways, Indian businessman Ness Wadia, former Ferrari Formula 1 Racer Jacques Lafitte, Trifilm Studios and Shore Scripts.

Just explaining that ''Nanu'' means Grandfather in Hindi.

The film begins with young girl, Isha (Janath) attending her late grandfather's ceremonial cremation at the Ganges River. A short while later, she encounters a little boy her age (Pahwa) who claims to be a much younger version of her grandpa. The two of them end up going on a journey together, contemplating the past and strengthening their bond.

This project was inspired by the life of the director's grandfather and the result is a film that starts off as a story about loss, before turning into an otherwordly journey about connection. The main emphasis is the rapport that develops between Isha and her grandfather (his spirit apparently) that ends up being a chance for both of them to get to know each other and form a connection that can never be broken.

The mise-en-scene is impressive and interesting, particularly during a sort of dream sequence that involves Isha finding herself on the moon (she is told that when people pass away, they go to the moon), in the middle of ruins and on a large tree, threatened by a snake. Azhar does a great job with the directing, bringing the screenplay to life with well-executed shots and Alex Winkler provides significant contribution with the beautiful music.

As the main protagonist, Isha is a simple girl who wishes she had known her grandfather better and she gets the opportunity to make her wish come true, learning more about him, herself and life in general. Pillai and Tyagi are sympathetic as Isha's loving parents. Pahwa plays the most intriguing character, a child version of a recently deceased elderly man, a boy with the maturity of an adult. Interestingly, Pahwa's character is the only one who speaks in Hindi.

With a story that explores the afterlife, this short is a commentary about grief, self-reflection, reminiscing the past and the significance of connection. The main message appears to be that people who pass away will always be with the ones they love.

This film is about loss, about losing someone and finding them again and being with them forever. It is a journey and a family drama and a very personal project that tells a story that is sad but also uplifting as it indicates that death does not separate people. And it pays tribute to the extraordinary life of the director's grandfather.

Michael Solace is a new dark-comedy about a neurotic screenwriter in Hollywood who fears, more than anything else, that he’s selling out. We’re introduced to the hero of our story in a restaurant, awaiting a meeting with a studio agent of some kind who is about to offer Michael an artistically and ethically conflicting deal for a script of his. What is then expressed is a Kafkaesque journey of guilt and paranoia as he traverses through various locations, encountering externalised expressions of violence, belittlement and self-hatred. A dynamic directorial approach makes this a refreshingly energetic and stylistically concise movie. I’m certain that this film will find an enthusiastic audience with those embarking on a spiritually damaging journey in the entertainment industry – and I mean that as a compliment!

The three obvious inspirations for this film are Adaptation (for clear reasons), Eyes Wide Shut (for one scene) and (the most effective aesthetic parody) Barton Fink. These are strong works to steal from. In the case of the first two examples, their influence can be found in isolated images or lines of dialogue; but the Fink of it all goes even deeper. You could view our protagonist almost as a modern-day reincarnation of the terrified, self-important, eternally desperate Barton Fink persona perfected by John Turturro and the Coens in the 90s – same spectacles, outfit and scenario etc. And because we’re all so familiar with this image of the tortured artist existing in a world which is out of his control, it allows the filmmaker here to explore an experiment with the expectations of that image.

This is a movie about the existential terror that comes with compromising one’s vision; the damage caused to creativity when it collides with corporate interest. It’s also amusing, and prescient, to see Hollywood depicted as a cult of illicit activity, with this script its success contributing to a corrupt system. One criticism a viewer could make is that the film is more than explicit about these things. Michael Solace hits you over the head with allegory and metaphor until it stops becoming those things (by its own choosing). Yet that is the exact kind of maximalist sensibility the filmmakers have consciously opted for. Have all these things been depicted before in movies? Yes. Does it make them any less valuable? No. This is a fresh take from real artists who are lending their perspective on a classic conundrum.

But beyond all of these topics, ideas and iconographic references is something even more valuable: a tone, a style and a sense of humour which is completely formed and completely entertaining. There’s so much to love about the visual flourishes and rapid editorial language of this short. Most every shot feels specific for its composition, and the same can be said of the montage for its purposeful and rhythmic nature. There’s a strong use of whip-panning and cutting on motion which maintains the energy, keeps the story moving and holds us in the mind – in the self-loathing guilt-trip – of our hero. Unlike the situation this unfortunate soul finds himself in, it does not feel like any creative compromises were made in the production of this exceptional film!

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, 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.

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.

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.

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 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.