SHORT FILMS – a recap of some recents (2024)
Greetings again from the darkness. With so many short films being released each year, I usually try not to devote too much time to them until the Oscar short list is announced. That’s the point when the narrowing down has occurred and there is a manageable list to work through. A number of film festivals act as ‘qualifiers’ for short films, and in the years where I attend a few festivals, I always try to schedule in a block of shorts. The creativity displayed by these filmmakers never disappoints, and many will go on to write and/or direct feature-length films. Below is a brief recap of some of the short films I’ve recently watched:
TEA (12:37)
It’s normal to get nervous before asking someone out on a date, or even having that first conversation. One particular young man, Nick (Michael Gandolfini, THE MANY SAINTS OF NEWARK, 2021,) takes it to an extreme as he videos himself rehearsing for the big moment. When a bee stings him just as the opportunity with the dream girl arises, Nick’s severe allergic reaction leaves the girl (Olivia Nikkanen, “The Society”) initially confused by his slurred speech, and ultimately in a race against time to save his life.
Written and directed by Blake Winston Rice, the film infuses humor and tension to create an unusual short film based on the monologue (written and performed) by Isaac Lee. The setting of a parking lot behind the store is a nice touch, adding to Nick’s sense of isolation. It’s also a reminder that epi-pens should be readily available.
LUKI & THE LIGHTS (10:40)
Explaining a severe disease to kids is among the most difficult situations a parent can find themselves in. This happened to Sascha Groen and her husband Anjo Snijders, after he was diagnosed with Amyotrophic Lateral Sclerosis (ALS, still commonly referred to as Lou Gehrig’s disease). The couple collaborated with co-writer Janna Brower-Schouten and writer-director Toby Cochran in this terrific animated film that addresses a need … and does so beautifully.
Luki is a friendly, happy robot who enjoys hanging out with his friends. One day while playing soccer, his hand won’t function properly. Luki’s tests by the doctor confirm the diagnosis of ALS, a neurodegenerative disease for which there is no cure. Rather than feel too sorry for himself, Luki maintains his spirit and love of life and friends. He even builds his own ‘Rascal’ so he can get around.
It’s a story of true friendship and passion for life, and his friends stay with him until the light goes out. After that, they celebrate their memories of Luki. While we long to protect kids, circumstances sometimes require us to explain the tough breaks. This little film works wonders.
For ALS information, educational material, and more, please visit globalneuroycare.org
ANUJA (22:11)
There is an old adage, ‘you do what you have to do’. But what if the choice isn’t easy or obvious? Such is the dilemma of nine-year-old Anuja. She has dropped out of school to work with her older sister Palak at a local (probably illegal) garment factory in New Delhi. The girls are orphaned and doing their best to get by.
Palak (Ananya Shanbhag) has a bit of a rebellious streak, and also understands that Anuja’s opportunity to test for enrollment at a boarding school is her sister’s one chance to escape a life of poverty, and will sacrifice anything to give her sister this chance. Anuja is played by Sajda Pathan, who lived on the streets of Old Delhi before finding assistance from social workers.
The burden carried by this young girl is painful to watch, as she wants nothing more than to continue her life with her sister, and certainly take no steps that would harm her. Director Adam J. Graves includes an early story about a farmer’s wife, daughter, and mongoose that sets the stage for what we see. The film was awarded the “Best Live Action Short” at this year’s HollyShorts Film Festival.
IN THE GARDEN OF TULIPS (13:38)
We immediately feel the tension between 16-year-old Cari and her father as they take a car ride through the Iranian countryside. The air lightens a bit as they stop at a roadside fruit stand for green plums, and then the two cut loose for a silly song about the plums.
The mood dramatically shifts again when law enforcement pulls the car over and begins questioning them. It’s not until the final scene that we realize this is the height of the Iran-Iraq war and we underestimated the stress and tension involved with this father-daughter road trip.
This film from director Julia Elihu and writer Ava Lalezarzadeh has been an award winner at some film festivals, and beyond that it’s a stark reminder of what’s at stake during war time. Ms. Lalezarzadeh also portrays the daughter, and excels in both writing and acting. The film was named ‘Best Live Action Short Film’ at the St Louis International Film Festival.
HIS MOTHER (13:27)
It’s probably not necessary to promote this as ‘inspired by a true story’. Writer-director Maia Scalia has perfectly captured an all-too-often-overlooked portion of an all-too-often-occurrence. A frazzled woman is working her way through traffic and desperately making phone calls.
Bethany Anne Lind (“Ozark”) plays Julie, the mother so desperate to reach her teenage son, her too-busy husband, and the Law Enforcement service too overloaded to understand the purpose of her calls. Her desperation is fed by the videos her son Harrison recently posted. When Julie gets a call from a friend “hoping” Harrison is safe since there is an active shooter at his school, the pieces all come together for us and we share the pit of the stomach turmoil with the mother.
Ms. Scalia’s film and Ms. Lind’s performance perfectly capture a parent’s nightmare, the societal concern with mental health issues, and the horror and far-reaching effects of school shootings.
TECHNICIANS (17:00)
Everyone has their own story, and by definition, “I’m just doing my job” offers a perspective through a one-sided lens. We first see David (J. Alphonse-Nicholson, “P-Valley”) as he’s taking care of his sick mother and struggling financially. He anxiously accepts a phone call offering a chance to work and earn. The writing-directing team of twin brothers Kevin Luu and Kelly Luu examine a large issue through a short film.
David has been hired to install automated manicure stations at a nail salon. The successful completion of his job will result in numerous technicians losing theirs … and he feels the scornful looks from the staff as he arrives. Befriending one of the technicians brings into focus the clash of two needs, and how the nail industry dives deep into Vietnamese culture.
With the recent conflict between the shipyard workers’ union and management over the use of technology, we certainly understand how the issue is widespread. The film finds a temporary solution, and ends on a welcome note of personal sweetness.
CALF (14:46)
After all these years, no one has yet been able to comprehend or explain or predict the behavior of teenagers. Even knowing the sometimes extreme nature displayed by teens, we can’t help but be shaken while watching Cait’s (Isabelle Connolly) reaction to an accident that occurs on her family farm in Ireland. Disturbing is the best description of this stunning film from writer-director Jamie O’Rourke … and it’s not all due to Cait.
This film grips you tightly early on, and doesn’t loosen the grip until well after it’s over. The desolate landscape and the simplicity of the family belies the hardships on the farm and within the family. Everything appears normal as one of their cows prepares to give birth in the barn. Cait carries her secret as the day progresses and she has a few interactions with her mother (Kate Nic Chononaigh), but nothing outside the norm.
Moments of suspense multiply here despite most of what we see being part of a regular day. The exceptions are extraordinary, and it’s not until the finale that we realize Cait’s behavior makes sense. This revelation heightens what has already been a gut-wrenching film to watch.
MILDRED 4 A MILLION (21:15)
Marla Gibbs is probably best known for her role as Florence on the TV series “The Jeffersons”, which began airing in 1975. She’s now 93 years old, and still capable of carrying this short film from writer-director Kimmie P. Callaway. Here, she plays Grandma (and great Grandmother) Mildred who loves to chat with everyone (whether they asked for it or not). She can’t wait to share that her great-grandchildren are coming for a visit. She’s a lonely woman who lives for this moment of connection.
Of course, the reality is, no matter how much the silver shines or how many Snickerdoodle cookies you bake, kids are kids … great-grandmother’s house is but another playground to call their own. She’s especially excited to bond with 8-year-old Stella (Obriella Genesis Witron) as two share a middle name … Gigi. The visit ends too quickly as her granddaughter (Brie Eley) apologizes and explains, the only way to get her kids’ attention is to have a million followers on Tik Tok. So that’s exactly what Mildred sets out to do.
Now, Mildred is the type who has her cell phone hidden away in a drawer “for emergencies”. She asks her millennial postal worker (Hayley Keown) to help her get it set up, and then proceeds to go down her physical therapist’s (Julian Ashley Mitchell) checklist of nine ways to capture followers (number 8 is a sex tape!). The comedy here plays to Ms. Gibbs’ strength and she pulls off most every scene. The good time watching the film is balanced with a reminder that the world moves very fast for kids today, and sometimes grandparents just want to slow it down and concentrate on … just talking.
Posted by David Ferguson 
Greetings again from the darkness. George Clooney and Brad Pitt are both two-time Oscar winners and are both north of 60 years old now. This latest film from writer-director Jon Watts (three Spider-Man movies) seems to ask the question: Are they still cool in a wise-cracking action movie star way? It’s been twenty-three years since the two long-time friends co-starred in the first (of 3) “Ocean’s” movies, and there is no doubt they were the epitome of cool then. But what about now? And does it matter? The argument can be made that it does matter since so few non-superhero and non-comic book movies are capable of drawing big crowds to the theater these days. Unfortunately, this film won’t answer the question about drawing power, as a very limited one-week theatrical release will be followed by a run on Apple TV+.
Greetings again from the darkness. The seeds of some of the best comedies are sown in real life scenarios and take advantage of the awkward reactions of everyday folks. The first feature film from writer-director Brandon Tamburri and co-writer Jean S Monpere takes on a cringeworthy situation that likely happens more frequently than we’d expect: a drunken woman sleeps with a guy and ends up pregnant from the encounter. Her decision tree is questionable leading to drama with real world ramifications. To make this palatable, the filmmakers take a comedic approach.
Greetings again from the darkness. Eighteen-year-old Elliott is counting down the twenty-two days remaining until she leaves home for her freshman year of college. For anyone who was once 18 or has raised an 18-year-old, you know that 22 days is the future. Writer-director Megan Park follows up her excellent feature film debut, THE FALLOUT (2021), with a different tone, albeit another one that focuses on the stress of being a teenager.
Greetings again from the darkness. ‘Coming of Age’ films typically lean heavily into either comedy or tragedy. In his first feature film, writer-director Sean Wang (Oscar nominated for his documentary short NAI NAI & WAI PO, 2023) takes a different approach. While he certainly injects some humor, it’s isolation and awkwardness – that feeling of not fitting in – that takes center stage. It’s quite possible, even likely, that some of this is autobiographical for director Wang. That’s a safe statement since most every teenager can relate to bits of this story.
Greetings again from the darkness. It seems wrong (and a bit cheap and obvious) to use the word “unorthodox” to describe this latest movie from writer-director Nathan Silver (STINKING HEAVEN, 2015) and co-writer C. Mason Wells. However, that description fits … even if a bit too perfectly. The word also accurately describes the look and camera work from cinematographer Sean Price Williams, using harsh close-ups for immediacy and a filtered soft look for connection.
There are approximately 150 Oscar-qualifying festivals for short films each year, and the competition is always tough. So many filmmakers are looking to make their mark in short films, with many hoping to garner support for future feature-length films. Recognition is difficult to come by, although as one who watches dozens of short films each year, I find the quality of storytelling and filmmaking in this segment to be quite extraordinary.
Greetings again from the darkness. Even before the opening credits roll, we get a scene with gunpoint humor, as Antonio Banderas skips right over ‘chewing scenery’ and dives into devouring the scene. Banderas takes his crime lord Gabriel over-the-top, quoting Machiavelli, so that we understand we are in for an action-crime-comedy. Directed by Jon Keeyes and written by Matthew Rogers, some of it works and some of it doesn’t.
Greetings again from the darkness. It’s understandable if this movie makes you consider whether penguins might make better friends than people. David Schurmann directs a script from Kristen Lazarian Paulina and Lagudi Ulrich that is ‘inspired by a true story’. By now, we all recognize this as code for dramatic license has been taken, and it’s up to the viewer to differentiate fact from fiction.
Greetings again from the darkness. Add this to the long list of films reminding us to temper our expectations and high hopes prior to viewing. Still, optimism seemed reasonable given an excellent director and strong cast. Director Doug Liman has delivered such entertaining films as SWINGERS (1996), THE BOURNE IDENTITY (2002), EDGE OF TOMORROW (2016), and this year’s remake of ROAD HOUSE (2024). Matt Damon and Casey Affleck both have Oscars on their mantels, and Hong Chau has a recent Oscar nomination. To top it off, the supporting cast includes such favorites as Jack Harlow, Alfred Molina, Michael Stuhlbarg, Andre De Shields, Ron Perlman, Toby Jones, Ving Rhames, and Paul Walter Hauser. All the pieces were in place. So, where’s the spark … the pizzazz … the fun?
Movie Reviews from the Dark 