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
A Friend of Dorothy
⭐️⭐️⭐️⭐️⭐️
Boyfighter
⭐️⭐️⭐️⭐️⭐️
Highway to the Moon
⭐️⭐️⭐️⭐️
Largo
⭐️⭐️⭐️⭐️
Pearls
⭐️⭐️⭐️
Rise
⭐️⭐️⭐️⭐️
Rock Paper Scissors
⭐️⭐️⭐️⭐️⭐️
Snipped
⭐️⭐️⭐️⭐️
The Pearl Comb
⭐️⭐️⭐️⭐️⭐️
The Professional Parent
⭐️⭐️⭐️⭐️⭐️
The Second Time Around
⭐️⭐️⭐️⭐️
A Friend of Dorothy
⭐️⭐️⭐️⭐️⭐️
Short Film
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
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
Highway to the Moon
⭐️⭐️⭐️⭐️
Short Film
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
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
Pearls
⭐️⭐️⭐️
Short Film
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
Rise
⭐️⭐️⭐️⭐️
Short Film
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
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
Snipped
⭐️⭐️⭐️⭐️
Short Film
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
The Pearl Comb
⭐️⭐️⭐️⭐️
Short Film
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
The Professional Parent
⭐️⭐️⭐️⭐️⭐️
Short Film
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
The Second Time Around
⭐️⭐️⭐️⭐️
Short Film
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
