2nd Annual HollyShorts London Film Festival - 2025
The 2nd Annual HollyShorts London Film Festival is happening Thursday, November 13th-Sunday, November 16th!!!
Over 75 Oscar and BAFTA qualifying shorts are being screened!!! Check out reviews of what I have been able to catch so far!!!
Selected Short Films
Ado
⭐️⭐️⭐️⭐️⭐️
A Friend of Dorothy
⭐️⭐️⭐️⭐️⭐️
Borscht
⭐️⭐️⭐️⭐️
Boyfighter
⭐️⭐️⭐️⭐️⭐️
Bury Your Gays
⭐️⭐️⭐️⭐️
Care
⭐️⭐️⭐️⭐️⭐️
Fighting Demons
⭐️⭐️⭐️
Highway to the Moon
⭐️⭐️⭐️⭐️
Largo
⭐️⭐️⭐️⭐️
Magid/Zafar
⭐️⭐️⭐️⭐️⭐️
Night Terrors
⭐️⭐️⭐️
The Pearl Comb
⭐️⭐️⭐️⭐️⭐️
Pearls
⭐️⭐️⭐️
The Professional Parent
⭐️⭐️⭐️⭐️⭐️
Rise
⭐️⭐️⭐️⭐️
Rock Paper Scissors
⭐️⭐️⭐️⭐️⭐️
The Second Time Around
⭐️⭐️⭐️⭐️
The Secret Assistants
⭐️⭐️⭐️⭐️⭐️
Snipped
⭐️⭐️⭐️⭐️
Stomach Bug
⭐️⭐️⭐️⭐️⭐️
Two Black Boys in Paradise
⭐️⭐️⭐️⭐️
The Woman in the Wardrobe
⭐️⭐️⭐️⭐️⭐️
Ado
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Company: Pedantic Duck Productions
Rating: NR / Run Time: 16 minutes
Language: English
Director: Sam Henderson
Writer: Sam Henderson and Ryan Romaine
Starring: Jenifer Lewis, Zach Lane, Karis Henderson and Lucas Krystek
“Boy, they can’t pay me to love you. What I do here is all about love.”
It’s almost showtime: a middle-school production of Much Ado About Nothing is underway, and veteran teacher Ms. Hopkins (a commanding Jenifer Lewis) is doing everything she can to hold it together. Her two young leads—Kenneth and Maddie—are each struggling in different ways: Kenneth can’t seem to memorize his lines or inhabit his role, while Maddie bristles under self-doubt, questioning whether she’s good enough to continue. Ms. Hopkins offers encouragement, gentle but firm reminders that the work matters, that their voices matter.
Suddenly, the school goes on Lockdown Green: there’s an active shooter, and a shot rings out. Ms. Hopkins quickly directs the students to hide, but her own mobility is limited by a limp. The tension escalates to a chilling standoff when she comes face to face with the shooter — a former student, Bradley Taylor (Zach Lane). In a heart-stopping exchange, she tries to connect with him, reminding him of their shared history in the auditorium years ago. The students listen in fear as Ms. Hopkins does everything she can to diffuse the situation.
Henderson’s film is more than a tense thriller. In just sixteen minutes, it captures the raw, complex emotions teachers often carry — their frustration, care, and the enormous weight of responsibility. Lewis delivers a powerhouse performance, blending vulnerability, authority, and heartfelt conviction in a way that feels authentic and human. Henderson and Romaine’s script allows the story to breathe even amidst the suspense, balancing fear with heart.
The film’s structure expertly shifts between calm, everyday classroom moments and moments of life-or-death tension, keeping the audience on edge while highlighting the human connections at the story’s core. Small gestures, glances, and dialogue carry significant weight, reminding viewers that sometimes even minor acts of care can have profound consequences. All in all, Ado is a powerful, intense short that blends suspense and humanity, leaving viewers floored and reminding us of the importance of listening, empathy, and the impact one person can have in another’s life.
Review by Cinephile Mike
A Friend of Dorothy
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Filthy Gorgeous Productions,
A Marlow’s Production, Double Dice Films and Namesake Films
Rating: NR / Run Time: 21 minutes
Language: English
Director: Lee Knight
Writer: Lee Knight
Starring: Alistair Nwachukwu, Oscar Lloyd, Stephen Fry and Miriam Margolyes
“Perhaps you are the first person, ever, truly, to see me.”
When JJ’s (Alistair Nwachukwu) football accidentally finds its way into the backyard garden of Dorothy (Miriam Margolyes), fate steps in in ways neither of them could have imagined. Dorothy is an 87-year-old widow living in a cozy home surrounded by art and a collection of plays that would make any theatrophile giddy with excitement. During their brief first encounter, Dorothy asks if JJ has an interest in drama. He admits it’s only a hobby—his parents would much rather he follow in the footsteps of his older brother, a professional footballer.
Dorothy recognizes something in him and asks him to read an excerpt from Matthew López’s The Inheritance. Upon hearing him, she sees a spark—a performer waiting to be encouraged. Slowly, a friendship blooms. JJ begins helping with chores, errands, and, most importantly, Dorothy’s daily “pruning” ritual—opening her can of prunes. We’re treated to a wonderful montage of scenes showing them dining, dancing, and simply finding comfort in each other’s company. When Dorothy’s grandson Oliver (Lloyd) arrives, he’s skeptical of the friendship, but life goes on as their bond deepens.
This is a touching story about friendship, connection, and identity. Set to an uplifting score by Stuart Hancock, it reminds us that love and understanding often appear in the least expected places. While the narrative carries some predictable beats (especially with its nonlinear structure), the journey remains wholly rewarding thanks to stellar performances. Nwachukwu shines as JJ, giving a lived-in portrayal of a young man searching for who he is—and what it truly means to be “a friend of Dorothy.” Opposite him, Margolyes is her usual scene-stealing self, delivering hearty laughs one moment and heartfelt tenderness the next as a woman longing for companionship.
A touching story, this short—though only 21 minutes long—stands alongside similarly themed works like Lost in Translation and the recent Eleanor the Great. It challenges the notion that people decades apart can’t be friends, reminding us that kindred spirits can meet at any point in life. All in all, Knight crafts a beautiful story about the friendships we make and reminds us that age is but a number, and the heart is all that matters.
Review by Cinephile Mike
Borscht
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Än-fän Terríble Productions, Atlant Pictures,
Stovetop Films, and The Uncertain Kingdom
Rating: NR / Run Time: 14 minutes
Language: English
Director: Vika Evdokimenko
Writer: Vika Evdokimenko
Starring: Laura Marcus, Rade Serbedzija, Éva Magyar, Goran Kostic,
Avital Lvova, Kenneth Collard, Irina Kara and Davis Quinn
“This is why we never have family gatherings.”
Masha (Marcus) wants to impress her date, Lorenzo (Quinn), and decides to cook her grandmother’s famous borscht — a dish that connects her to home, now distant due to the ongoing wars in her native Russia. As she chops, stirs, and prepares the pot with care, she thinks she’s in control. But then, unexpectedly, her deceased grandfather, Oleksandr (Serbedzija), emerges from the bubbling pot — covered in borscht and looking more like a crash victim than a family elder — ready to critique her every move.
The chaos only escalates. One by one, more family members rise from the pot: Great Aunt Zoska (Magyar), her Bulgarian third cousin Kiril (Kostic) and his wife Nadejda (Lvova), and her Jewish uncle Edik (Collard). Each has opinions, each has grievances, and each is armed with sharp critiques about the proper way to make borscht. Finally, the matriarch, Masha’s grandmother (Kara), emerges, and the kitchen descends into a full-blown, blood-soaked war zone — a deliciously absurd family feud played out in soup and gore.
Evdokimenko’s direction cleverly blends horror and comedy, turning a domestic cooking scene into an outrageous dark comedy. The cast fully commits to the mayhem: Marcus’ wide-eyed shock balances perfectly with the over-the-top antics of the rising family members, while the visual effects team delivers splatter and chaos reminiscent of cult classics, making the film both grotesque and hilarious. The humor works because it’s grounded in family dynamics — the petty squabbles, the pride, the generational clashes — exaggerated to extreme, bloody effect. All in all, Borscht is a wildly inventive short that serves up comedy, horror, and family dysfunction in equal measure. It’s messy, chaotic, and utterly memorable — a dish that leaves a lasting flavor.
Review by Cinephile Mike
Boyfighter
⭐️⭐️⭐️⭐️⭐️
Short Film
Production Companies: Indeed, 271 Films and Hillman Grad
Rating: NR / Run Time: 17 minutes
Language: English
Director: Julia Weisberg Cortés
Writer: Julia Weisberg Cortés
Starring: Michael Mondo, Chase Robin, Nicole Acosta and Tameka Bob
“I fight so you don’t have to.”
Diego (Mondo) is a retired bare-knuckle boxer — a man who once fought not out of choice, but out of necessity. With limited options, he used the only skill he had to provide for himself and his son, Paquito (Robin). Aggression was his language, his survival tool. Through flashbacks, we see Diego literally fighting to the bloody end, as blood drips onto the money he earns from each brutal bout. His son witnesses it all and begs to be trained, wanting to become a fighter like his father. But Diego insists he fights so that Paco doesn’t have to. Despite his father’s wishes, Paco can’t help but follow in his footsteps, and as glimpses of the past unfold, we see the cycle continuing.
In the present day, Diego faces the harsh truth that sometimes we become our parents despite our best efforts not to. Years of distance have created a rift between father and son, and fate brings them together again under painful, unwanted circumstances. Now, Diego must confront the life he unintentionally passed on to his child — and the choices that shaped them both.
As Diego, Mondo delivers a commanding performance that captures a man haunted by the life he’s lived and the legacy he’s left behind. Cinematographer Matheus Bastos frames him in tight, expressive closeups that reveal a lifetime’s worth of pain, regret, and longing. Mondo’s work transcends the archetype of the broken fighter — he makes you feel every bruise, every breath, and every ounce of sorrow in this taut 17-minute short, where his presence never lets up.
Writer/director Julia Weisberg Cortés crafts a powerful meditation on fathers and sons — and the lives we inherit versus the lives we want. It’s about far more than two generations of fighters; it’s about the struggle to break cycles, to forgive, and to accept. All in all, this film offers a look beyond the toxic masculinity that haunts the development of many and offers a glimpse into a hopeful future.
Review by Cinephile Mike
Bury Your Gays
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Deadbeat Studios and Charge Films
Rating: NR / Run Time: 20 minutes
Language: English
Director: Charlotte Serena Cooper
Writer: Charlotte Serena Cooper
Starring: Jude Mack, T’Nia Miller, Harry Trevaldwyn, Sophie Melville
and Blake Harrison
“Welcome to Hollywood’s queer purgatory.”
If there’s one thing Grace (Mack) can’t wrap her head around, it’s this: why does she always die in every role she lands? After finishing her latest job — playing a comatose patient — she simply gets up from the hospital bed, walks off set, and steps through a door… directly into a bright, white purgatory overseen by The Agent (Miller). Has she died? Not exactly. Her character has — again. As The Agent explains, Grace is fulfilling her fate as prescribed by the old Hays Code and its lingering legacy: the infamous “dead lesbian syndrome.” Her entire career path is structured around dying over and over again in every imaginable genre. And, as The Agent warns, she has nine lives. Once she uses them up, she’ll be forever relegated to the dreaded role of “gay best friend,” a character with no arc, no depth, and absolutely no future. With five lives already gone, Grace is running out of time to change her trajectory.
Determined to break the pattern, she throws herself into new projects across genres — horror, drama, rom-coms, thrillers — but the results remain hilariously grim. Still, on one particular job, she begins to sense a loophole, a way to outsmart the system if she’s willing to take the risk. If she doesn’t, she may end up stuck in a fate she desperately wants to avoid.
Writer/director Charlotte Serena Cooper skillfully crafts a sharp, self-aware satire that skewers the long history of reductive LGBTQ+ tropes in film. Through Grace’s increasingly absurd attempts to survive her own stories, the film blends biting industry commentary with a surprising amount of heart. Mack’s running narration — calmly identifying which trope she’s embodying each time — is both funny and painfully accurate, hitting that sweet spot where the joke is also the truth. Even so, the film leaves room for hope.
Jude Mack is terrific in the lead, grounding the film with quick wit, bright energy, and impeccable comic timing that keeps these twenty minutes brisk and engaging. T’Nia Miller is equally delightful as The Agent, delivering deadpan wisdom with a wink and getting a standout moment that mirrors the film’s mission to bend, twist, and ultimately reclaim harmful stereotypes. All in all, Bury Your Gays is a sharp, witty, and insightful short that cleverly exposes the systemic limitations of queer representation in Hollywood, offering both humor and hope for a change in narrative norms.
Review by Cinephile Mike
Care
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Fine Line Productions, First Flights,
Goldfinch, The Uncertain Kingdom and This Little Rock
Rating: NR / Run Time: 17 minutes
Language: English
Director: Stef O’Driscoll
Writer(s): Sophie Ellerby and Stef O’Driscoll
Starring: Eben Figueiredo, Keith Allen and Jade Anouka
“Don’t let life pass you by without telling someone special that you love them.”
Ali (Figueiredo) is serving time in prison for an unspecified crime, with a parole hearing on the horizon. A tense phone call with his sister reveals just how deeply his incarceration has fractured the family: their mother is gravely ill, their father overwhelmed, and his sister left carrying the emotional weight alone. Ali desperately wants to return home before it’s too late, but he has little control over how — or when — that might happen.
Inside the prison, guard Tanya (Anouka), who seems to genuinely see Ali for the man he is beyond his worst mistake, assigns him to care for James (Allen), an elderly prisoner suffering from dementia. It’s meant to be a simple cleaning task — one that other prisoners have struggled with because James is prone to accidents and confusion — but Tanya reminds Ali that taking this on could help his chances at parole. Reluctantly, he accepts.
Day after day, Ali returns to James’ cramped, bleak cell. At first, it’s a struggle. But small exchanges lead to moments of real connection, especially in the brief windows when James is lucid. As their bond grows, it becomes clear that Ali is finding in this caretaking role a way to express the compassion he can’t offer his ailing mother. For James, Ali becomes an anchor in a world slipping away from him. Yet as James’ condition worsens, Ali fights to get him transferred to a facility better equipped for his needs — pleas that seem to disappear into a system indifferent to both men.
Inspired by true events, Care is a deeply affecting short that finds enormous heart inside the tightest and bleakest of spaces. Keith Allen gives James a fragile dignity that makes his decline painful to watch, and Eben Figueiredo delivers a beautifully restrained performance, grounding Ali in warmth, empathy, and a quiet desperation that never needs explanation. By intentionally leaving their crimes unspoken, the filmmakers keep the focus squarely on humanity, not judgment — a choice that strengthens every scene. All in all, this story reminds you of the power of human connection, and sometimes can come when we least expect it.
Review by Cinephile Mike
Fighting Demons
⭐️⭐️⭐️
Short Film (Documentary)
Film Production Companies: Tales Enterprise
Rating: NR / Run Time: 33 minutes
Language: English
Director: Simon Stock
Writer: Simon Stock
Starring: Paul Hilz, Harvey Dossett, Tony Lafferty and Tamlyn Williams
“I enjoy violence in a very controlled environment.”
In the long tradition of sports documentaries, writer/director and first-time filmmaker Simon Stock thrusts us into the world of BKB — Bare Knuckle Boxing — a sport presented with both reverence and raw immediacy. Co-founded by Jim Freeman and Joe Smith-Brown, BKB gives fighters a space to push themselves in all the blood-soaked, high-adrenaline glory the sport promises. Through Stock’s photographer’s eye, we get an intimate, sometimes startling look at the subculture and the people who choose to enter the ring.
To anchor the film, Stock follows four fighters whose paths into BKB could not be more different. Paul Hilz, in his 40s, fights despite scoliosis and severe spinal curvature, powered by pure love of the sport — and the unwavering support of his young daughter. Harvey Dossett, still in his 20s, is already a five-time amateur boxing champion and the youngest professional bare-knuckle fighter in the UK, proudly carrying on his family’s three-generation legacy. Tony Lafferty brings a veteran’s perspective, fully aware of the physical toll but unwilling to step away from the rush. And finally, there’s Tamlyn Williams — the first British female BKB fighter — whose passion for the sport is complicated by the life-altering reality of expecting a child.
As their personal and professional challenges unfold, Stock’s collaboration with cinematographer Chris Stevens and editor Steven Waltham results in a visceral sensory experience. The training sessions, the blows, the aftermath — all of it is captured with a kinetic immediacy that practically puts you in the ring. You can feel the sweat, the bruising, the grit, and the astonishing dedication these fighters bring to their craft.
Yet for all its stylistic power, the documentary’s thematic focus feels a bit unfocused. Some fighters receive significantly more screen time and personal exploration than others, leaving the emotional arc uneven. And the film never quite lands on what it wants to communicate: is it an ode to the thrill of the sport, a psychological dive into why fighters choose this path, or a commentary on the cost of it all? The material is compelling, but the messaging doesn’t fully cohere.
Still, as a debut, Stock shows clear promise as a documentarian. His background in photography serves him well — the film is beautifully composed, even when showcasing something many might dismiss as chaotic or brutal in person. There’s a genuine respect for the artistry of the athletes and the world they inhabit. All in all, this is an interesting introduction to the world that may raise some wonderings about the individuals who do it.
Review by Cinephile Mike
Highway to the Moon
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: 3.16 Productions and WeTransfer Studios
Rating: NR / Run Time: 26 minutes
Language: English
Director: Letitia Wright
Writer: Letitia Wright
Starring: Kenyah Sandy, Victor Prescott, Jr., Abdolaye Touray,
Sekou Toure and Treva Etienne
“It’s not home, but we have each other.”
Micah (Kenyah Sandy), dressed to the nines in his school uniform, finds himself lost in a barren desert landscape, unsure of where he is or how he got there. Soon after, he encounters three young men — Khalil (Prescott Jr.), Dayton (Touray), and Junior (Toure) — who welcome him and explain that he has arrived in the Inbetween, also known as the Valley of the Lost Kings. It’s a realm they describe as “after Earth and before forever.”
The trio leads Micah to a forest filled with other souls who speak affirmations and declare their devotion to one another as brothers. At first, Micah struggles to comprehend what’s happening, but soon the truth dawns on him: he has died. Now, he must determine his next steps in this liminal space — trying to understand why he is here, suspended in a world where both the sun and moon share the same sky. As fragments of Micah’s life surface, we begin to piece together the story of his passing and witness his acceptance of what lies ahead.
In her directorial debut, Wright delivers a stunning meditation on life, death, and the possibilities of what comes after. She proves herself as confident behind the camera as she is in front of it, drawing nuanced and heartfelt performances from her cast. Kenyah Sandy stands out as Micah, channeling raw emotion through expressive eyes and minimal dialogue, guiding us through the stages of grief with quiet power. Aboulaye Touray also shines as Dayton, particularly during a moving campfire scene that invites reflection on the meaning behind senseless loss.
As a writer, Wright constructs the story like an empowering lyrical poem, finding moments of light and unity even within trauma. The film evokes shades of Peter Jackson’s The Lovely Bones through its ethereal, otherworldly imagery — beautifully realized by cinematographer Andrew Yuyi Truong, who captures both vibrant forests and stark desert expanses that mirror the duality of beauty and tragedy. A haunting, mesmerizing score by James William Blades further enhances the dreamlike atmosphere, pulling us deeper into this spiritual odyssey. All in all, this film is a strong debut for Wright, who confronts tragedy and acceptance in a balanced way that will touch your heart.
Review by Cinephile Mike
Largo
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Slick Films, Studio Good Luck, Plan
Nine Pictures and Good Chance
Rating: NR / Run Time: 19 minutes
Language: English and Arabic with English subtitles
Director(s): Salvatore Scarpa and Max Burgoyne-Moore
Writer(s): Salvatore Scarpa and Max Burgoyne-Moore
Starring: Tamsin Greig, Zack Elsokari, Ammar Haj Ahmad and
Kevin McNally
“Remember, home is like a turtle in its shell, you take it with you wherever you go.”
Musa (Elsokari) is a 10-year-old Muslim refugee living in foster care with Grace (Greig), a widow trying to give him a good life on their small fishing island in the UK. With the influx of refugees into this economically challenged town, Musa overhears the bitterness of locals like Angus (McNally), who makes it clear he’d rather not have “them” around. Even the local youths echo these sentiments, parroting the prejudices of adults without fully grasping the weight of their words. One day, Musa realizes he needs to find his parents. Discovering an old boat with the name “Largo” painted on its side, he cobbles together his own makeshift vessel and sets out on a journey—one that won’t come without challenges.
In their second collaboration as writing and directing partners, Scarpa and Burgoyne-Moore craft a poignant tale that sheds light on the refugee crisis. A postscript reminds us that in the UK alone there are 127,000 child refugees—just a fraction of the 1.3 million across Europe. The filmmakers handle this sensitive subject with empathy, presenting the reality of opposing perspectives while also highlighting the importance of compassion in society. In his acting debut, Elsokari makes a strong impression as Musa, whether standing up to peers or asserting himself when confronted by adults who reject him. Though the ending feels a bit rushed, the film is unwavering in the clarity of its message. All in all, Largo speaks powerfully to the urgency of our current moment, offering its perspective with heart rather than heavy-handedness.
Review by Cinephile Mike
Magid/Zafar
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: BFI Films, Film4 and Lovechild
Rating: NR / Run Time: 18 minutes
Language: English, Urdu and Punjabi with English subtitles
Director: Luís Hindman
Writer(s): Luís Hindman and Sufiyaan Salam
Starring: Eben Figueiredo and Gurjeet Singh
“If you’re gonna do this…I just wanna make sure…so this is it.”
Set in the fast-paced world of a busy Pakistani restaurant, Magid (Figueiredo) barely has time to breathe. The orders are flying in, the space is loud and electric, and everyone around him is buzzing with excitement as they prepare for his wedding. Following tradition, Magid is entering an arranged marriage that will bring his family pride and stability. He’s agreeable, willing to do what is expected, and surrounded by relatives in traditional garments — though notably, he is not. He’s doing whatever he can to keep the peace, even as his phone won’t stop buzzing. Text after text after text from Zafar (Singh), who’s just trying to get his attention.
With his phone taken away, Magid tries to focus on work — until Zafar arrives. Magid’s family is thrilled to see him and instantly invites him to the wedding. Magid tries to disinvite him, but they insist. The chaos continues, and then suddenly Zafar appears in the kitchen. The two slip into the back to talk, and the tension between them thickens. But then the tone shifts. It becomes clear that nothing here is simple. Magid stands at a crossroads between tradition and his own independence, and Zafar may be the catalyst pushing him toward what he truly wants.
The film begins with the kinetic intensity of Sean Baker’s Take Out before transitioning into the intimate emotional territory of something like Ang Lee’s Brokeback Mountain. It’s a huge tonal shift to pull off in a short film, but Hindman executes it beautifully. Working with a skilled team — the quick, rhythmic editing of Joseph Taylor, the vibrant restaurant imagery captured by Jamie Ackroyd — he shifts us into long, quiet, emotionally loaded close-ups in a muted storeroom. Dialogue that once bounced as quickly as incoming orders suddenly gives way to silence. The stillness becomes its own kind of pressure, building to a final moment that lingers long after the credits roll.
Figueiredo and Singh have excellent chemistry, and in that second half especially, you can feel the internal struggle in every glance: between expectation and desire, tradition and selfhood. Hindman and Salam’s script challenges cultural and religious norms with nuance, allowing the actors to communicate volumes in moments where words fall away. Even in scenes of joy, the ache beneath the surface never really disappears. All in all, this is a beautifully executed and emotionally resonant short — a tender, tightly crafted story about choosing between the life you inherit and the life you hope to claim, and it leaves you wanting just a little more time with these two men.
Review by Cinephile Mike
Night Terrors
⭐️⭐️⭐️
Short Film (Narrative)
Film Production Company: Mindseye
Rating: NR / Run Time: 5 minutes
Language: English
Director: Ben Hector
Writer(s): Hayley Morris and Josh Pearce
Starring: Hayley Morris, Jack Barry and Christopher Hall
“What if we connected to the speaker and we play scary music and
we’d freak ‘em out and we’d spook ‘em out of here?”
Georgia (Morris) and Harry (Barry) are asleep when a mysterious sound rouses Georgia. Convinced they’re being burgled, she wakes Harry, who initially dismisses it as a dream — until he hears it too. Their attempts to call the police fail: Harry’s phone is downstairs, and Georgia’s dead, thanks to a charger mishap. Cornered, they retreat to the closet to devise a plan. One quirky idea after another leads to an elaborate, costume-assisted scheme to confront the intruder — but, of course, things do not go according to plan.
Despite its tiny runtime, this short comedy hits its beats perfectly. The absurdity of Georgia and Harry’s predicament pairs brilliantly with Rhys Timson’s tense, atmospheric score, creating a delightful contrast between panic and humor. Morris and Pearce’s script cleverly subverts expectations, leading to several genuinely funny twists that keep the audience laughing until the final frame. All in all, Night Terrors is a tiny, tightly executed short that delivers laughs, suspense, and a cheeky reminder to always keep your phone charged.
Review by Cinephile Mike
The Pearl Comb
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Production Companies: Dunninger Films, Pindrop and Stigma Films
Rating: NR / Run Time: 21 minutes
Language: English
Director: Ali Cook
Writer: Ali Cook
Starring: Beatie Edney, Ali Cook, Simon Armstrong, and Clara Paget
“You shall have your wish and I promise you that your family shall never come to want.”
In late 19th-century Cornwall, Betty Lutey (Edney) serves as a doctor in her county and is credited as the first person to cure someone of tuberculosis. Living alone, she is soon visited by a relative and fellow doctor, Gregory Lutey (Cook), who is investigating her claims and skeptical of her abilities. Gregory questions both the source of her talents and the notion that a woman’s place could be anything beyond the home. Betty explains that her gift comes from a bit of magic, bestowed by her husband, Lutey (Armstrong).
She recounts how one day, while collecting leaves to treat a terrible rash Betty suffered from, Lutey encountered a mermaid (Paget) in the sea. The mermaid promised to grant any wish. Proving his selflessness, Lutey does not ask for wealth or immortality, but for the ability to care for his wife and others. In return, the mermaid gives him a pearl comb, granting the power to heal patients in ways that make traditional doctors nearly unnecessary. Yet, as with all Faustian bargains, there is always a price to pay.
Returning to the present, Gregory and Betty sit at a table, confronting the tensions between magic and medicine, as well as the rigid gender roles of the time. Inspired by the true story of the Edinburgh Seven—the first women to study medicine in the UK—writer/director Ali Cook masterfully blends reality and fantasy in this short film, weaving drama, mystery, horror, and comedy into a visually stunning narrative. The film immerses viewers with natural seaside sounds and a muted, striking color palette captured by cinematographer Dave Miller, creating a sense of presence as if standing alongside the characters.
In his directorial debut, Cook proves himself a skilled storyteller, subverting expectations and keeping audiences hooked from start to finish. He draws out strong performances from formidable women, both in Paget’s enchanting mermaid and Edney’s trailblazing Betty, who are far more than they initially seem. All in all, this film celebrates the resilience of women, boldly asserting their power and agency at a time when society expected silence, and delivers jaw-dropping moments in its powerful closing scenes.
Review by Cinephile Mike
Pearls
⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Trainwrecked Productions and Lunar Dragon
Rating: NR / Run Time: 15 minutes
Language: English
Director: Alastair Train
Writer: Alastair Train
Starring: Rory Murphy, Helen Jessica Liggat and Mark Wingett
“Sometimes all we need is a little push.”
Tony (Murphy) is struggling in the bedroom with his wife Linda (Liggat), and the one thing they both want is a child. Tony, facing fertility issues, tries various methods and materials before discovering a pamphlet for Frederick’s Frisky Oysters, which promises to increase sex drive, improve testosterone, and enhance sexual function. Hoping this is the answer, he ventures into the orbit of Marvin (Wingett), whose factory sits in a rather questionable locale. Tony takes the oysters home, and while they have some of the desired effects, there are consequences neither he nor Linda anticipated. In this short horror film, Train presents an interesting Faustian premise, but the story never quite reaches its potential.
The setup is promising, yet the aftermath and character motivations feel underexplored, and the 15-minute runtime leaves some ideas hanging. Wingett brings a compelling presence as Marvin, though it’s a shame the film doesn’t delve further into his character. The prosthetic and makeup effects by Rebecca Birch and Francesca Reidie are effective, delivering genuinely unsettling moments. All in all, while the film has strong visuals and performances, it struggles to fully develop its concept, leaving the audience intrigued but ultimately wishing for a deeper exploration of its darker premise.
For an exclusive discussion with Writer, Director and Executive Producer Alastair Train, click HERE.
Review by Cinephile Mike
The Professional Parent
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Dog 95 Film Factory and Rova Film
Rating: NR / Run Time: 14 minutes
Language: Slovak with English subtitles
Director: Erik Jasaň
Writer: Erik Jasaň
Starring: Ela Lehotská, Klara Sviteková, Olga Solárová and Marianna Kroková
“You have to take care of the children we assign to you 24/7.”
Ingrid (Lehotská) is a single mother living in a cramped Slovakian apartment with her ailing daughter Martinka (Sviteková) and her elderly grandmother (Solárová). Times are tough. Between market shifts and sex work, Ingrid is doing whatever she can to survive. Even her grandmother must travel to Austria to find employment. Seeking a more stable and legitimate income, Ingrid applies to become a Professional Parent—essentially a paid foster caregiver. After passing a legal check, she’s cleared to take in a child, though only one. To help with what’s uncomfortably referred to as “the Roma problem,” she accepts a young Romani girl named Samantha (Kroková), despite a warning from her supervisor that Samantha has already been returned from two previous placements.
From the moment Samantha arrives, tensions flare. Boundaries are tested, and Ingrid is pushed in ways she didn’t expect. While not a documentary, writer-director Erik Jasaň presents this short film with raw, documentary-like intimacy, exploring class, poverty, and prejudice in eastern Slovakia. He doesn’t make things easy or neat—biases aren’t spelled out, but rather implied in small gestures and quiet contradictions. Characters say one thing, act another, and what's driving them often lies just beneath the surface.
Jasaň skillfully subverts the expected beats of “troubled foster child” narratives by keeping the story grounded in economic and emotional reality. There’s no overt moralizing here—just a difficult situation with no easy answers. Anchored by a deeply felt performance from Lehotská, The Professional Parent uses its brief 14-minute runtime to spotlight the cost of survival and the complicated intersections of caregiving, bias, and survival.
All in all, this is a film that may leave audiences divided by its ending, but that’s also what gives the film its staying power. It doesn’t pretend things will be okay—just that they’re happening, and we should pay attention.
Review by Cinephile Mike
Rise
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Rating: NR / Run Time: 22 minutes
Language: English
Director: Jessica J. Rowlands
Writer: Jessica J. Rowlands
Starring: Sikhanyiso Ngwenya and Tongayi Chirisa
“No lying, no begging, no streetfighting.”
Rise (Sikhanyiso Ngwenya) is an orphaned boy wandering the streets of Zimbabwe in a distressed coat, constantly bullied and beaten by local youths. One day, he meets boxing coach Tobias (Tongayi Chirisa) and begs to be trained. Rise is only eight years old, weighing barely 46 pounds — but he dreams of being like John Cena. Tobias is reluctant at first, yet soon recognizes that this boy needs more than lessons in boxing; he needs confidence and guidance. Eventually, Tobias takes him under his wing, and through training with him and the other fighters, Rise finds the father figure he’s been missing.
Determined to prove himself, Rise sets his sights on a real competition. With Tobias’s help, they raise the funds needed for him to compete. However, when they arrive, the only available opponent is nearly twice Rise’s size. Even so, the young fighter refuses to back down — embodying the very spirit of his name and showing that heart can outweigh strength.
Inspired by the true story of Tobias Mupfuti, a Zimbabwean boxing coach who took in vulnerable youth and gave them purpose through the sport, writer/director Jessica J. Rowlands crafts a deeply moving portrait of resilience and generosity. Tongayi Chirisa delivers a layered and heartfelt performance as a man torn between discipline and compassion, while newcomer Sikhanyiso Ngwenya shines as Rise, radiating pure spirit and determination. His performance calls to mind young talents like Quvenzhané Wallis in Beasts of the Southern Wild, Brooklynn Prince in The Florida Project, and Haley Joel Osment in The Sixth Sense — magnetic presences who can carry an entire story with honesty and emotion.
If anything, Rise feels ripe for expansion into a feature film. The world Rowlands builds and the emotional setup are powerful, and while the journey between Rise’s training and his climactic fight could be more fleshed out, what’s here leaves a lasting impression. All in all, this film will touch your heart and have you cheering “RISE” for all of its different reasons.
Review by Cinephile Mike
Rock Paper Scissors
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: National Film and Television School
and Who’s Here
Rating: NR / Run Time: 20 minutes
Language: Ukrainian and Russian with English subtitles
Director: Franz Böhm
Writer: Franz Böhm
Starring: Oleksandr Rudynskyy, Sergey Kalantay and Oleksandr Yatsenko
“Have you ever fired a gun in your life?”
Ivan (Rudynskyy) is a 17-year-old Ukrainian boy working alongside his father, Bohdan (Kalantay), in a small hospital housed inside a bunker. Together, they treat patients—many of them victims of Russian attacks—doing the best they can with limited supplies and under constant threat. Despite the chaos and danger surrounding them, they continue their work with quiet determination.
When the hospital becomes overcrowded, Ivan and his father await an evacuation truck to move patients to safety. But when Ivan receives word over the radio that the truck cannot approach due to nearby Russian soldiers, he rushes outside—only to witness the vehicle blown up on the road. Faced with impossible choices, Ivan takes extreme measures to protect the bunker, including seizing the weapon of a wounded Russian soldier they were treating. Yet when he learns there are not two but eight enemy soldiers approaching, he realizes his actions may have devastating consequences.
Director Franz Böhm has crafted a timely, harrowing thriller that grips you from its opening frame and refuses to let go—even through the jaw-dropping postscript revealing that this is not fiction, but fact. Based on true events in Ukraine, Rock Paper Scissors is anchored by a powerful, layered performance from Rudynskyy, who carries the emotional and moral weight of the story. His portrayal of Ivan captures both the vulnerability and courage of a young man forced to grow up too soon.
The tension is heightened by Marcin Mazurek’s bold, pulsing score and the visceral, almost documentary-like cinematography of Hsien Yu Niu, which places us right beside Ivan amid the chaos. At times, it evokes the nerve-shredding realism of Kathryn Bigelow’s The Hurt Locker. All in all, this 20-minute film delivers a gut punch that lingers long after the credits roll, reminding us this is only one fragment of the countless stories unfolding overseas.
Review by Cinephile Mike
The Second Time Around
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: 42, A Marlow’s Production, Drop the Bottle,
Dull Boy Pictures and Two Magpies Films&Art
Rating: NR / Run Time: 12 minutes
Language: English
Director: Jack Howard
Writer: Jack Howard
Starring: Caroline Goodall, Hannah Onslow, Genevieve Lewis and David Ashton
“This is the first time I’ve been back here since.”
One stormy night, while closing up the café, Elle (Onslow) receives an unexpected visitor. Standing drenched in the rain is a woman (Goodall) peering through the door. Hesitant but concerned, Elle lets her in, and the woman asks if she can step inside to see if she left her umbrella behind. Elle offers her a cup of tea to warm herself, and as they sit together, the woman begins to share a story: long ago, she had met the love of her life there. Now deceased, she reflects on the life they shared and the things she wishes she could have said. Elle listens intently, offering comfort as the woman reveals her heartbreak, creating a quiet, tender connection between the two.
To say more would spoil this touching, delicate story, which begins in a melancholic tone and gradually shifts through subtle dialogue and gesture. Unfolding in real time, the interaction between Elle and the unnamed woman feels intimate and authentic. Caroline Goodall is exceptional as the lost yet hopeful woman, her makeup smudged from the rain adding vulnerability and depth. As the wide-eyed, sympathetic waitress, Hannah Onslow is a calming presence, grounding the emotional core of the short. Complemented by a melodic score from Benjamin Squires and masterful stormy-night cinematography by Ciaran O’Brien, the film draws viewers into this brief, intimate sojourn.
Writer/director Jack Howard presents a beautiful reflection on connection and the human need for it. In its crisp 12-minute runtime, the film tells a full story, both through what is said and what is left unsaid. All in all, this short will remind you to always speak your mind and your heart because time is not forever.
Review by Cinephile Mike
The Secret Assistants
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: LHB LichtHaus Berlin, Peninsula Picutres
and Smiling Ray Productions
Rating: NR / Run Time: 20 minutes
Language: English
Director: Katey Lee Carson
Writer: Katey Lee Carson
Starring: Camille Rutherford, Richard Hope, Emily Kusche and Ruth Rosenfeld
“Don’t worry, he’s still 100% on board with the plan.”
Sophie (Rutherford) is on the verge of a major career breakthrough. As a journalist, she has secured an interview with Henry Mann, a titan of the film industry and her former boss. Henry’s company, The Light of Day, is celebrated for nurturing young talent through its PA Ladder program, which hires ambitious interns willing to work tirelessly to achieve their dreams. Once part of that system herself, Sophie now has the power to challenge it and to hold Henry accountable.
The interview begins cordially, with Henry exhibiting his polished, charismatic persona. But Sophie has her sights set on a controversial question: the accusations made against Henry by Fiona Williams, a former PA Ladder participant. At first, Henry deftly dodges, but as Sophie presses, the tension escalates. His demeanor shifts from suave to patronizing, then threatening, and back again, revealing the predatory and manipulative aspects of his character. Rutherford plays Sophie with subtle power and controlled intensity, keeping her composure while conveying the anxiety and stakes behind every question.
Carson’s direction heightens the tension through meticulous cinematography by Birgit Dierkin, who captures not just the principal exchange but the reactions of assistants and crew members observing from the sidelines. The framing evokes a Frost/Nixon-style intimacy, where every glance, pause, and shift in tone feels consequential. The narrative crescendos to a startling conclusion that leaves viewers questioning both the power dynamics and the decisions that follow. Carson demonstrates an adept hand at storytelling, balancing the delicate interplay between journalistic pursuit, ethical responsibility, and the human cost of power. This is a tense, essential, and unforgettable watch. All in all, The Secret Assistants is a masterful, provocative short that confronts pressing issues in Hollywood with nuance and courage.
Review by Cinephile Mike
Snipped
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: M&M Productions
Rating: NR / Run Time: 13 minutes
Language: Danish and Arabic with English subtitles
Director: Alexander Saul
Writer: Alexander Saul
Starring: Louis Bodnia Andersen, Nicolas Bro, Ellaha Lack
and Imad Abul-Foul
“That’s it. The rest is between you and God.”
Adam (Andersen) is preparing for a new chapter in his life: converting to Judaism. But before he can complete the process, there’s a small operation he must undergo, taking him to the office of Doctor Hassan (Abul-Foul), whose practice has flourished since the local Jewish doctor retired. Adam is informed that, being an adult, his procedure will be more atypical than most.
His father, Martin (Bro), accompanies him for support. When offered the chance to undergo the operation himself—with a father/son discount—he declines, having already had his own. Their relationship is unique: a grown man facing a life-changing moment with his father there for emotional guidance. The absurdity of the situation provides plenty of uncomfortable humor, with moments that may make grown men wince, particularly as Adam climbs onto the bed. While we never learn exactly why he chose this moment to undergo the procedure, we are with him every step of the way.
Writer/director Alexander Saul excels at finding comedy in discomfort, balancing laughter and cringe with precision. Andersen is a charming everyman, conveying every feeling of the process without needing words. Abul-Foul delivers endearing humor as the doctor, complemented by Ellaha Lack’s poised performance as the assisting nurse.
Yet this story is more than a medical procedure—it’s a glimpse into father/son relationships and all their complexity. The score, crafted by Henrik Goldschmidt, Bilal Irshed, and Rosanna Lorenzen, blends varied influences, while Jonas Møller’s intimate cinematography enhances the emotional resonance. All in all, this film takes an absurdly comedic yet meaningful look at faith, family, and society with the sharpness of a scalpel’s point.
Review by Cinephile Mike
Stomach Bug
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: BBC Film, National Film and
Television School
Rating: NR / Run Time: 15 minutes
Language: English
Director: Matty Crawford
Writer: Matty Crawford
Starring: Leslie Ching, Alice Thoma, Gary Bates, Joanna Brookes and Katya Morrison
“I can assure you it’s just a stomach bug.”
In this inventive short, empty nest syndrome takes on a literal and terrifying form. Manny (Ching) begins experiencing severe stomach pain, initially dismissed by his doctor as “just a stomach bug.” As his discomfort escalates — culminating in a profuse nosebleed — the tension between his physical reality and emotional anxiety becomes increasingly apparent. Manny attempts to connect with his daughter Joy (Thoma), who is preoccupied with her new summer job, highlighting the bittersweet challenges of parent-child relationships and the inevitability of change.
As the narrative unfolds, Manny’s symptoms become increasingly extreme, blending body horror with metaphorical commentary on loneliness, anxiety, and the struggle to maintain connection. Crawford’s direction balances the surreal with the relatable, immersing the audience in Manny’s visceral experience while evoking empathy. Ching delivers a compelling performance, capturing Manny’s vulnerability and frustration with nuance, while the special effects heighten the horror without tipping into camp.
The sound design by Oliver Mapp is integral, layering suspenseful music and realistic ambient noises to amplify the intensity of Manny’s ordeal. Every detail — from the pounding heartbeats to the echoing hospital halls — draws the viewer further into his perspective, making the experience both thrilling and emotionally resonant. All in all, Stomach Bug is a brilliantly executed short that combines suspense, horror, and empathy, leaving viewers both startled and moved. It’s a vivid reminder not to take the health, comfort, or presence of our loved ones for granted, and that sometimes the smallest signs can carry the largest weight.
Review by Cinephile Mike
Two Black Boys in Paradise
⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Company: One6th
Rating: NR / Run Time: 9 minutes
Language: English
Director: Baz Sells
Writer(s): Dean Atta, Ben Jackson and Baz Sells based on the
poem by Dean Atta
Starring: Arun Blair-Mangat and Jordan Stephens
“Maybe paradise is just meant for two people at a time.”
Dula and Eden (voiced in whispers and expressive sounds by Blair-Mangat) are two teenage Black boys deeply in love, finding joy, comfort, and peace in one another. Yet the world outside their relationship is far from accepting. Walking hand in hand down the street, they face judgment, hostility, and suspicion from people of all ages, races, and genders. A confrontation with a police officer for a crime they did not commit underscores the harsh reality of systemic racism and homophobia that shapes their daily lives.
To escape this oppressive world, the boys have created a paradise of their own—a safe, private space where they can freely embrace their love and identities without scrutiny or fear. Baz Sells’ 2-D stop-motion animation vividly brings this world to life, with a color palette that contrasts the harsh streets with the warmth and serenity of their personal sanctuary. The visual style, reminiscent of Aardman’s playful aesthetic, highlights the innocence and universality of their story while enhancing its emotional resonance.
Jordan Stephens narrates an extended version of Dean Atta’s poem with a soothing, heartfelt baritone that carries the longing and hope of the story. The choice to limit dialogue, with Blair-Mangat providing only subtle grunts and sighs, draws focus to the words and message of the poem. Composer team Jasper Dent, Lanre Diko, and Adam Grigg underscore the film with a lush, contemplative score that mirrors the peace Dula and Eden find in their private paradise. It’s a gentle but powerful wake-up call about the ongoing realities of racism and homophobia, offering both a critique of the world outside and a tender, resonant vision of what a truly accepting space can feel like. All in all, Two Black Boys in Paradise is a beautifully rendered, deeply moving animated short that confronts societal prejudices while celebrating love and identity.
Review by Cinephile Mike
The Woman in the Wardrobe
⭐️⭐️⭐️⭐️⭐️
Short Film (Narrative)
Film Production Companies: Feminist Centre for Racial Justice
and June & Stella Productions
Rating: NR / Run Time: 7 minutes
Language: English
Director: Ruby Phelan
Writer: Ruby Phelan
Starring: Afsaneh Dehrouyeh
According to the UNFPA, “About 800 women die every day from preventable causes related to pregnancy and childbirth—an estimated 500 of these deaths are in countries with humanitarian crises and conflicts.” The Woman in the Wardrobe situates us directly in this reality, following Nadiya (Dehrouyeh) as she isolates herself in a wardrobe in her home while explosions and chaos erupt outside. On the brink of giving birth, she faces unimaginable circumstances alone.
In a nearly dialogue-free performance, punctuated only by whispered prayers, Dehrouyeh conveys every contraction, wince, and surge of fear with haunting authenticity. The tension is immediate: as bombs explode nearby, the audience wonders if she will survive the ordeal, both physically and emotionally. Her isolation is palpable, and the film draws viewers intimately into her struggle for survival.
Cinematographer Ebba Hult enhances the claustrophobic intensity with sharp framing and striking imagery, while composer Andrea Boccadoro’s score elevates the tension, juxtaposing powerful music with the ambient sounds of conflict outside. Ruby Phelan’s direction ensures that every element—the visuals, the sound, and the pacing—builds toward a final, metaphorically resonant shot that lingers long after the seven-minute runtime. The Woman in the Wardrobe is a gripping, urgent short that immerses viewers in a visceral, life-or-death struggle while also serving as a powerful call to attention for preventable maternal deaths in crisis zones. All in all, it’s a haunting, essential piece of storytelling that resonates far beyond its brief runtime.
Review by Cinephile Mike
