COUNTRY DOCTOR (2025, doc short)

October 27, 2025

Greetings again from the darkness. With healthcare in the headlines most every day, this 37 minute documentary short film from co-directors Shari Cookson and Nick Doob couldn’t be more timely, nor more important. Rather than present a general overview of the crisis in rural America, the filmmakers present one specific real world case study from tiny Fairfax, Oklahoma, with a focus on the local doctor and the foundering hospital.

Dr. James Graham (not ‘Moonlight’ for you FIELD OF DREAMS fans) has practiced in the area for 41 years and has treated multiple generations of residents. Despite growing up poor and having had two kidney transplants himself, Dr. Graham is one of two doctors at the Fairfax hospital. He’s also the only doctor providing service to the local nursing home and three clinics … and he makes house calls and gives out hugs and philosophy (hope) to patients in need. It’s not unusual for his patients to pay him with fresh produce from their own gardens … sometimes secretly delivering these to the back end of his truck. This community knows how fortunate they are to have Dr. Graham, and it’s obvious he cares deeply about providing care to these neighbors – many he’s known since they were born.

Filming of this story dates back to pre-pandemic, and Dr. Graham mentions how many patients were lost due to COVID and the limitations brought on by the struggling hospital. It was a hosptial run by a group/individual who committed fraud and apparently put little effort toward medical care, the efficient running of the hospital, or the proper management of staff. Dr. Graham went as far as to speak directly with state politicians to explain the situation. He was met with, “Let us know if we can help …”, the infamous empty words politicians have become known for. The hospital was put up for auction, and the film covers the fascinating process. When a group run by Newport Beach (California) physician Dr. Elizabeth Pusey won the bid, skepticism was noted by Dr. Graham, the community, and the local newspaper. Capital improvements and infrastructure expansion began, yet communication from Dr. Pusey’s group was minimal.

What makes this documentary so powerful is that it’s a real-world example of what’s occurring around the country. So many citizens are at risk. More than 140 rural hospitals have closed since 2010, and more than 600 others remain at risk. It’s a travesty that the elected officials don’t share the humanity displayed on a daily basis by Dr. James Graham.

This documentary short premieres on HBO beginning October 28, 2025

WATCH THE TRAILER

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Posted by David Ferguson

HOLLYSHORTS FILM FESTIVAL (2025)

August 17, 2025

This is the 21st annual HollyShorts Film Festival. For the years I have covered the festival, I have always come away impressed with the quality of films and stories. What really stood out in the group I watched this year was the quality of production. Nothing looked cheap or amateurish, and I have so much respect for how the overall quality of these short films has improved over the years. There are filmmakers who specialize in Short Films and there are filmmakers hoping their Short Film will garner enough attention to shift them into Feature Film mode. Both are passionate about what they are doing. Time prevents me from covering even more of the lineup, however, here’s a recap of those I watched. These are not in order of preference, as there’s not a dud in the batch.

***** FIVE STARS  (7:49)

The line between reality and fantasy has been blurred thanks to the proliferation and popularity of social media, on-line porn, and violent high-def video games. Writer-director-producer Todd Wiseman Jr nabbed a prime opening night slot for the film’s premier at the festival.

With the byline, “a French teenager racks up death and destruction in Florida, before dinner”, Wiseman’s film provides a vivid example of how glorified violence in video games has become accepted as fun and entertainment. Milo Machado-Graner (ANATOMY OF A FALL), stars as the teenager who is evaluating the latest and greatest game release. The visuals, and his reactions, are disturbing to watch … especially for those of us who don’t partake in this type of game. There is certainly a message here for anyone who will listen.

A FRIEND OF DOROTHY  (21:24)

The directorial debut of writer-director Lee Knight takes full advantage of the always interesting Miriam Margolyes (a 60-year tacting career), who stars as an 87-year-old widowed grandmother (Dorothy) living alone, surrounded by her beloved books and plays. Like so many of the elderly, she’s lonely in her daily routine of medication and crosswords. In fact, opening that day’s can of prunes has turned into her biggest challenge.

An accidental kick of his football into Dorothy’s garden sends 17-year-old JJ (Alistair Nwachukwu) knocking on the front door. His then simple gesture of kindness lights the fuse to an unlikely friendship that blossoms. The two, separated by at least a couple of generations, find much to share with each other. A late scene features Stephen Fry (Harry Potter franchise) as an attorney and Oscar Lloyd (“Emmerdale Farm”) as Dorothy’s cocky and entitled grandson, Scott. The ending shows just how important friendship and kindness is for the elderly … they want to be seen. It’s a stark reminder to us all.

HALFWAY HAUNTED (16:36)

How about a ghost story that’s scary and funny and insightful all wrapped up in a satirical commentary on some of today’s social issues? Writer-director Sam Rudykoff and co-writer Bryn Pottie manage to deliver a most entertaining short film, while also forcing us to think about certain topics.

The film opens with stressed out Jess (Hannah Younis) rehearsing for a crucial job interview. If she lands the job, she might finally be financially stable enough to move out of the haunted flat she’s in. And by haunted, I mean … she shares the space with a ghost. Her stress level skyrockets when a knock at the door reveals her new landlord, Stephanie (Sugar Lyn Beard), and a two-month notice to evacuate so the building can be torn down and replaced with condos. Stephanie’s electric smile hides her contempt for Jess’ situation.

What follows is a negotiation between Jess and the ghost (Kristian Bruun, READY OR NOT, 2019). The first rule of negotiating with a ghost is … don’t trust the ghost. They seem to be on the same team, and this ghost is very convincing (and deceitful). There are twists and turns, giving us a wild ride that takes us places we don’t expect. Horror-comedy is tough to pull off, but this one does so very well … and leaves us wondering if a feature might be next.

IT’S OUR BALL (11:20)

David Morrison is a long-time cinematographer, and this is his first official time in the director’s chair. His film caught my eye immediately by opening with a quote from legendary coach John Wooden, who loved “the purity of women’s basketball.” But don’t mistake this for a profile of Caitlin Clark. Instead, this is about the passion and pure joy of senior women playing hoops.

We don’t really see much game action during the film. Rather than focus on the court, Morrison interviews a handful of women who explain what the game means to them. When contrasting to the way men play the game, one of the women states, matter-of-factly, in their Sunday games, there are no ball hogs. Anyone who has ever played the game knows exactly what she means.

Every hobby should bring as much joy and satisfaction as these women receive from playing the game. It’s no exaggeration when they claim you can tell a lot about a person by how they play the game. How refreshing to hear they don’t feel old, and when on the court, “I am myself.”

JAMES HYDE – THE VERY THOUGHT OF YOU  (10:12)

World War II produced many heroes, and the tales of these individuals remain fascinating and inspiring all these years later. Fortunately, filmmakers like Benjamin Uttley and Simon Uttley are committed to telling the stories of these courageous folks who helped save the world. This film is based on the true story of James Hyde.

He was a man from Trinidad, one of many who volunteered for the RAF. Hyde flew 71 missions, and this is the story/reenactment of his final dogfight. For historians, it was the Operation Market Garden in Holland where Hyde and his fellow airmen were ambushed by 30 Nazi pilots. Uttley puts us in the cockpit of a 1944 Spitfire with Hyde (portrayed by David Jonsson, “Industry”), and we experience his flashbacks to memorable times with his wife, Mary (Margaret Clunie, “Victoria”).

The film features stunning camera work for the dogfight over Nijmegen, where on September 25, 1944, Hyde was shot down. It’s not just his bravery that the film recalls, but also his humanity.

NERVOUS ENERGY (15:24)

As youngsters, we are counseled to ‘follow your passion.’ Of course, we learn that the road to success is bumpy with potholes and wrong way streets. The commitment required sometimes approaches superhuman levels. To top it off, there are no guarantees for success, regardless of passion, commitment, or even talent.

Writer-director Eve Liu presents the story of Jay (Lucie Zhang, PARIS, 13th DISTRICT, 2021) and Kiki (Sonia Yuam, DRIVE MY CAR, 2021). They are best friends with a shared dream, “Let’s make beautiful films.” They re-evaluate their lives and the stasis on the death of art. Doubt and disincentive are everywhere … even between each other. Collaboration proves to be yet another obstacle. The break of a friendship can be more painful than the end of a dream.

RIVER OF GRASS (17:27)

The challenges faced by returning war veterans are many and have been the focus of numerous movies over the years. This has not softened the impact of their stories, and likely hasn’t caused much improvement for them once they are back. Writer-director Derek Magyar and co-writers Jon Bloch and Chad Christopher bring us the story of one vet caught in a particularly cruel net.

Young Larry (Dylan McTee, “Roswell, New Mexico”) returns from the Vietnam War and receives a less-than-warm welcome from his Florida Everglades family. No longer the high school football hero, Larry takes some grief from his gruff older brother Robert (Victor Webster, “Continuum”), who says to him, “You almost look like a man now.”

The 4th of July fireworks bring out Larry’s PTSD, but when the family matriarch (Marceline Hugot, BLOW THE MAN DOWN, 2019) insists he join the family’s criminal business, Larry has no choice. This is a deep rural family that views college as a place that corrupts with liberal agenda. The family expectations serve also as the limitations for a man changed by war.

SUNDAY SAUCE (14:25)

It’s a Sunday family dinner. What could go wrong? Well, what if it’s a boisterous Italian family? What if unexpected guests have been invited? What if the tomato sauce is on the verge of boiling over … but it’s not the hottest part of this gathering? Over just a few minutes, writer-director Matt Campanella delivers an awkwardly comedic scenario that stirs in multiple spicy topics.

Brace yourself for the first awkward scene as the film opens with a gentleman taking some ‘personal’ time in the bathroom while on a dating app. As this is progressing, the family matriarch (the great Cathy Moriarty) is cooking dinner and loudly expressing opinions and explaining the reason for inviting the guests. The gent from the bathroom must face an incredibly awkward situation when the other end of his dating app shows up as one of the invited guests.

A burnt hand, lobster claw, the need for salt, heavy guilt and embarrassment, and repenting for sins come into play, and Campanella brilliantly sets a family argument to Pavarotti. It’s a risqué film filled with comedic and ticklish moments.

SUSANA (15:24)

One has to admire a middle-aged American woman who is brave enough and independent enough to fly solo on her vacation to Mexico City. Susan is portrayed by familiar face Bonnie Hellman (AMSTERDAM, 2022) as the tourist making her way around, despite her state of melancholy, bordering on outright loneliness.

Co-writers/directors Gerardo Coello Escalante and Amandine Thomas show us how Susan perks up when she joins up with a group of younger Americans. Despite the generational differences, her energy level jumps up and a smile crosses her face as she drinks, dines, and dances with the youngsters. Of course, reality tends to rear up when things are a bit too good to be true. It’s never too late for another life lesson.

THE PAINTING & THE STATUE (20 min)

It’s not really forbidden love. It’s more like inexplicable love … or at least the worst of luck. A statue is clumsily relocated to a grand room in a palatial estate where a lovely painting is already hanging on the wall.  Over the next 200 years, various circumstances prevent the eyes of the painting from meeting the eyes of the statue.

A chandelier, the positioning of the painting, a threatening war … all conspire to prevent this meeting of artistic works from across the room. Frequent actor Freddie Fox (“The Great”) steps behind the camera to direct his second short film, and it’s a gem. A couple of familiar faces, British actors Mark Gatiss and Fenella Woolgar, have multiple roles through the years, and when, after a couple of centuries, the art world concedes, we have Tanya Reynolds as the painting and professional dancer Andrew Monaghan as the statute giving their best shot at life.

THE PEARL COMB (20 min)

If you are familiar with the mythical legends of mermaids, you know quite well that the tales are rarely of the Disney variety. Writer-director Ali Cook (his debut as director) offers an early tease of the Disney tone, and then quickly shifts towards the mystical version that borders on folk horror.

The film was inspired by the story of the Edinburgh Seven, women who sought access to medical education in the 19th century. Set in an 1893 Cornish fishing village, the story finds  old man Lutey (Simon Armstrong, “Game of Thrones”) encountering the mermaid (Clara Paget, “Black Sails”). The gift of a pearl comb leads Betty Lutey (Beatie Edney, “Poldark”) to cure a local of consumption/tuberculosis. This ‘miracle’ sends a stuffy doctor, who happens to be a Lutey relative, to investigate and disprove this surely false claim.

The production value here is top notch. The cliffside of the sea and the set design of the Lutey house are of a big budget feature, and beyond that, the story is exceptional both in execution and the multiple levels upon which it works (a woman’s place). This is a superb short film in all aspects … and the siren of the sea and the corresponding magical power provides added bonus.

THE SECOND TIME AROUND (12:17)

Most of us appreciate a creepy little mystery. That’s what made Rod Serling’s “The Twilight Zone” so popular. This latest from prolific short film creator (writer-director) Jack Howard is certainly in that mode, and it works very well thanks in no small part to the setting and the acting.

It’s a dark and rainy night (of course) when an old lady (Caroline Goodall, THE DRESSMAKER, 2015) knocks on the door of a closed coffee bar. A young waitress named Elle (Hannah Onslow, EMPIRE OF LIGHT, 2022) takes pity on the woman and allows her to come in and warm up. Elle has a remarkably welcoming demeanor and lends a kind ear as the woman tells her tale and re-visits a distant and crucial memory.

Their time together is brief, and the dots are connected after the woman leaves and a young woman named Joan (Genevieve Lewis, “Doctors”) shows up. Rod Serling would likely be impressed. I certainly was.

TRAPPED  (15:12)

We’ve all had one of those days. That’s what came to mind watching Joaquin (Javier Molina, ABSOLUTION, 2024), a high school janitor attempting to go about his business. On a evening where family circumstances have forced him to bring along his young kid, things spiral out of control to the point that Joaquin could lose his job.

Co-writers, co-directors, and brothers, Sam and David Cutler-Kreutz present their follow up to last year’s superb Oscar nominated short, A LIEN (2024). Their filmmaking style seems to thrive with tension, as evidenced by both films. Joaquin’s evening sinks into turmoil thanks to some entitled students and their ‘senior prank’. Wisdom and experience play a role here, as does the desperation involved when someone fears losing something they value. It’s a taut suspenseful short film that rewards the viewer.

WHITCH (5:42)

It seems like everyday someone posts that their Amazon or Uiber-Eats order was delivered to the wrong house. This latest short film from writer-director Hoku Uchiyama (made a name with his music videos) finds Aura, (Alicia Blasingame) a young mother, reading a bedtime story to her daughter. Afterwards, she confronts a strange woman in her living room.

The intruder is persistent about having Aura join her in some type of bloody ritual before the clock strikes midnight. Despite the blood and the overt visuals with the elderly lady and the rabbit, this little short film provides a couple of chuckles to go along with the setting and tone of horror.

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Posted by David Ferguson

PLAYING GOD (2025, short film)

May 15, 2025

Greetings again from the darkness. As one who watches twenty-plus movies every month, it’s a bit of thrill when one offers something out of the ordinary – a unique viewing experience. Such is the case with this short film from writer-director Matteo Burani and co-writer Gianmarco Valentino. Of course, we’ve all seen stop-motion animation and claymation films … just last year, WALLACE AND GROMIT: VENGEANCE SO FOWL was outstanding. But Burani’s film from Studio Croma is something altogether different (and likely influenced by the great David Cronenberg).

We open in a dimly lit space showcasing some bizarre looking creatures – each apparently deformed, yet somehow similar. A human figure enters the room and begins working a hunk of red clay into a form. Soon, we discover that he’s attempting to create life. According to the project book he’s maintaining, this is attempt number 875. A moment of possible connection gives a flash of hope that this turn could be a success.

The human face remains mostly in the shadows and instead of dialogue, it’s Pier Danio Forni’s haunting music that guides us through. Italy and France are listed as countries of origin for the distinctive film, and Arianna Gheller is credited as the film’s animator … work that deserves to be lauded. A brief nine-minute run time is all it takes to deliver messages about striving for perfection, dealing with rejection, and the burden of failure. It’s a memorable film that sticks the landing.

Will premiere at 2025 Tribeca Film Festival

WATCH THE TRAILER

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Posted by David Ferguson

SLAMDANCE FILM FESTIVAL 2025 – short films

February 28, 2025

SLAMDANCE FILM FESTIVAL 2025 – Short Films

Below are recaps of some of the short films I watched at this year’s Slamdance Film Festival.

FISHMONGER (25:30)

No rules apply to film festival shorts and writer-director Neil Ferron and co-writer Alexandra Dennis-Renner succeed in pushing the envelope with their surreal spin on Catholic mythology. Accurately billed as a supernatural dark comedy, the film plops us right into the middle of a crisis taking place on a remote Irish island. Christie O’Mallaghan’s mother is in the throes of a self-inflicted disease that finds her near death, and with sores that spew puss on him whenever he gets near.

Local beliefs are that if a mother passes, leaving an unmarried son, her soul is to burn for eternity. Christie loves his mother (having been dependent upon her in the cringiest of ways), and now, to save her soul, faces the choice between suicide and marrying the only unwed woman on the island, Penny O’Brien (played by Penny O’Brien). Since the two have never spoken, the latter seems unlikely. Father Heaney (Mark Bramhall) offers a possible solution. Christie, a hapless fisherman, is to paddle out to the cove, offer up specific gifts to the sea creature, and request his wish be granted to marry Penny.

The sequences here include a duet right out of a stage musical; tentacle sex with Sinead the sea creature, the likes of which caused me to look away; and a developing love story yielding yet more cringing (from me). Dominic Burgess plays Christie, Donnla Hughes is Sinead, and Mari Weiss is the suffering mother. It’s a bonkers premise that will surely draw comparisons to Robert Eggers’ excellent THE LIGHTHOUSE (2019). And though we admire Christie’s apparent willingness to do whatever is necessary to save his mom, the ending is sure to stun.

ONE REHEARSES, THE OTHER DOESN’T  (15:00)

As part of the “Experimental” category, this short from writer-director Jessica Hankey was co-written by playwright Victor Kaufold and the film’s subject, Marjorie Annapav. Ms. Annapav plays herself in the film as she engages with Gerrie (Ann Randolph), a performance teacher, so that Marjorie’s life can become a stage presentation.

Admittedly (and purposefully), this one is a bit tricky for viewers to follow. It’s more like a slideshow of the process, with the insight coming from the verbal exchanges between the women, at least more so than in the physical performances. There is a sequence regarding a once heavily-used Rolodex that provides some context, yet mostly this requires focused attention from viewers to grasp the specifics of Marjorie’s life, including her marriage to surrealist and pop artist, William Copley.

GURGLING  (13:06)

A conversation with a girlfriend leads to confession that a previous boyfriend broke up with her since she “lacked imagination”, a break-up that led to the friend taking advantage of the situation. Writer-director Christine Margaret Wu seems to really understand the young housewife who spends her days caring for her elderly in-laws while her husband works.

That same husband is constantly ‘too tired’ to show her any affection, so when she notices a voyeur spying on her while she showers, something ignites within her. She so longs to be desired and appreciated as her husband builds a “safe and stable life”. The film is from Taiwan and expertly captures the woman’s pent-up emotions.

THE SPHINX  16:22

Well, surely this one has a premise you’ve never seen before, even though I won’t spoil it for you. Writer-director Jesse Padveen takes us on a first date. The couple is awkwardly conversing in a restaurant booth. As the young man spins the tale of how he became a locksmith, the woman struggles to maintain some level of interest – or at least tries to appear that she’s listening.

Suddenly something jarring occurs sending the man off to ‘fix’ the issue. He’s embarrassed but she’s now surprisingly intrigued. The two head off to her friend’s party where he’s encouraged to perform his special party trick. This leads to humiliation for the man, and we follow him first to his mom’s place, and ultimately to his dad’s … where one of our questions is answered and we also learn of his dad’s specific (and understandable) fetish. This one is for those anxious to see a creative short.

TWO OF HEARTS 5:56

Although it’s slotted in the “Narrative Shorts” category, this quirky little film from writer-director Mashie Alam includes very little of anything we would traditionally label as narrative, at least conventionally speaking. With an opening credit that gives off soap opera vibes, we are soon engulfed in an oddball (limited) verbal competition between brother and sister.

“It’s always been the two of us” leads into each of siblings battling the other with the same comeback, “It should be you.” It’s not until the end when we are clued in to what they are debating, but it’s clear they are building up to a big decision … one they must come to agreement on. Equally surprising is how this sharp looking film concludes with Nilsson’s “Everybody’s Talking”. Given how things are these days, it’s a relief to see any debate end with benevolence.

DEATH DRIVE  5:55

The woman shoves a handgun into the glove compartment of a classic Ford Mustang. Is she headed out to kill? To be killed? To see where the night takes her?  We are never really sure of much other than she loves to give that car the gas. A dashboard camera and the squealing tires keep us a bit disoriented, but then so do the images of the mostly elderly folks illuminated by the car’s headlights.

The only clue we have is the idling black sedan that may or may not be death, and may or may not be after the woman this evening. Writer-director Eli-Bella Wood also plays the woman who is driving, and the artsy slow-motion effects and the nighttime setting combine with the lack of dialogue to make this a film that revs in your mind … even after the man on the horse tips his Stetson.

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Posted by David Ferguson

Short Films (October 2024)

October 6, 2024

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.

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Posted by David Ferguson

HOLLYSHORTS FILM FESTIVAL 2024

August 20, 2024

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.

Held in Hollywood, California, 2024 marks the 20th anniversary of the HollyShorts Film Festival, and as usual, the lineup was deep and diverse. I had limited viewing time this year, so my recap (including filmmakers’ names) is limited to the 16 (sixteen) Short Films I watched in 3 (three) categories: Dark Comedy, Comedy, and Thriller. Only one of the films I watched ended up a prize winner on the festival’s final day, but there’s not a dud in the bunch.

Dark Comedy

BATHROOM BREAK 9:49

Dave Canning

An unusual tale set in an office environment, where Ben locks himself in the bathroom stall to avoid attending a mandatory meeting. We’ve all been there … can’t bring ourselves to attend yet another meeting, no matter how hard our co-workers insist. This time Ben finds an unique way to escape.

OFFICE ROYALE 13:24

Sam Baron (director), Harry Kershaw and Chris Leask (co-writers)

Remember the standoff in Tarantino’s RESERVOIR DOGS? Well this one has quite the twist – an office environment where the boss finds his own way out, while pitting the staff workers against each other. Oh yeah, they are armed and the stakes are high. This one truly earns the ‘dark comedy’ designation.

SEE SAW  11:40

Matt Porter

A data breach or system hack is not an uncommon occurrence these days. What happens when a targeted attack mistakes an innocent guy over the corporate type with the same name? Upheaval in the poor guys life is painful to watch as it impacts all facets.

GOOD GRIEF 12:03

Megan Chumbley (director), Rachel Brunner (writer)

The dark comedy block of shorts wouldn’t be complete without an extreme family drama entry. A death in the family brings everyone together, and it’s not a pretty sight. An airing of grievances that would fit any Festivus celebration shows how a small thing (pronunciation of a name) can be important to some. We do end on an emotional point.

Comedy

BAD DRIVER 6:16

Antonia Grilikhes- Lasky

This is short even for a short, but the twist is worth a laugh … and we need it after the lady behind the wheel recounts her story with a certain guy in excruciating detail. I enjoyed the punchline.

PEE PEE PLATTER 11:00

Jon Conklin

“Revenge ain’t got a shelf life.” That’s the life philosophy of a kitchen worker to a waiter who is confronting his childhood bully while waiting tables. As these things so often progress, we find a pissing contest between the two emotionally-stunted adults. And this time it’s literal.

GOLDEN CHILD  10:07

Hannah Levin (also stars as Lulu)

This one constituted a streak of two films where urine plays a crucial role … as does revenge. Avenging childhood drama is never easy, yet often satisfying. Familiar face Gillian Vigman appears as one who doesn’t much appreciate Lulu’s plan of attack.

LIBBI’S TRYING 9:53

Andrew Carter

Breaking into acting is difficult and sometimes emotionally draining. Divorce, especially when a kid is involved is also both of those things. Libbi is trying to juggle both, even taking her young one on an audacious audition.

DEEP TISH 13:35

David Paige

This film won ‘Best Comedy” at the festival, and it blends the add-on of a deep tissue massage with the difficulty of matching for a first date in Los Angeles. Creative and odd … a good choice for an award.

KNEAD 11:30

Timothy Michael Cooper

First film I’ve seen that includes pastry school in Paris with an invasion by extraterrestrial slugs. It helps to keep in mind that “need” is a synonym of “knead”.

Thriller

RAPT 11:50

Margot Budzynq (writer-director), Christian Tasiopoulos (co-writer)

An even more bizarre acting audition plays out here for Thea, as she takes on the pressure required for admission into an elite acting program run by Marc Menchaca (“Ozark”). The surreal proceedings are mind-bending, and it ends with The Everly Brothers’ “Little Hollywood Girls”.

HOME SAFE 8:36

Alison Winter

It’s impossible for a man to truly comprehend what a woman must go through traveling alone at night through the city. Danger is always lurking This film creates some of that tension by showing a young woman riding the metro solo after an evening with her friends.

WEIGHT 10:01

Stefan Dezil                

It’s frightening when a bad marriage turns worse. It’s a creative look at the relentless emotional burdens when things take a wrong turn, especially if an evil spirit may be present. You only think the bad news is your weight on the bathroom scale.

BORDOVASCA 11:21

Giuseppe Zampella

A beautiful sunny day in Italy finds a family on an outing at a local swimming pool. A father and daughter banter back and forth on the young girl’s hesitancy to complete a head-first dive. Quickly, their playful manner goes terribly wrong.

STILL 11:53

Rakefet Abergel

Opening on a woman holding a dirty baby, the film then jumps into the mental anguish and chaos that can accompany a traumatic event. Visions, voices, doubts, and guilt are on display, and at the end, the “in loving memory” tribute makes quite an impact.

A MATTER OF MINUTES 11:34

Hannah Beach (director), Phoebe Campbell-Harris (writer)

EpiPens … when you need it, every moment matters. A girl is attending a house party with her friend, and as happens too frequently, peer pressure kicks in followed almost immediately by pure panic. The “Based on True Events” opening banner makes this all the more stressful.

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Posted by David Ferguson

NATE & JOHN (2024, short film)

June 5, 2024

Greetings again from the darkness. I am always in awe of filmmakers who find a way to connect with viewers through short films. And this latest animated film from director Jumai Yusuf is exceptionally short at just 7 minutes (including credits). Now you may be one of those who swears it takes longer than that for a story to affect you, and if so, this one provides a nice litmus test.

Co-written by Michael Bickel and veteran TV writer David Bickel (“Young Sheldon”, “The King of Queens”), the film allows us to witness the beginnings of a lifelong bond when a dad brings his long-haired son to Tony’s Barbershop, and an upstart barber gets his first client. We never hear a word of dialogue between Nate and John, but the montage takes us through the years as both men mature and live their lives … John always stopping in for a trim from Nate.

Frank Capra’s classic IT’S A WONDERFUL LIFE (1946) allowed George Bailey to see the lives he touched, and here, we get to see how a humble barber touches many lives from all walks of life over the years. Certainly, human connection is a key to a happy life, and we should all take the time to express our appreciation to those who have a positive impact on us. The film played at Cannes and will also play at Tribeca on June 8, 2024.

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Posted by David Ferguson

CLODAGH (2024, short film, Ireland)

May 22, 2024

Greetings again from the darkness. No dialogue is spoken for the first two minutes, which is significant when you note this is a 16-minute Short Film. That first couple of minutes features Mrs. Kelly (Brid Ni Neachtain, THE BANSHEES OF INISHERIN, 2022) diligently going about her business as housekeeper and assistant for a rural Irish priest. As she polishes shoes, vacuums the church, and scrubs the tub, it’s clear Mrs. Kelly is a woman of faith and structure.

Though we are a bit surprised to learn Mrs. Kelly also runs a dance school, it’s no shock when she initially blocks a new student from entering the class since the proper paperwork hasn’t been completed. “We’ll have no Dallas, Texas here”, Mrs. Kelly sternly informs the young girl as she wipes away the glitter make-up. This new student is Clodagh (Katelyn Rose Downey, THE NUN II, 2023), and she unwittingly awakens something in both Mrs. Kelly and her fiddle player, Mr. Hickey (Jim Kitson).

This is the fourth short film from writer-director Portia A Buckley, and the script is co-written by Michael Lindley (TWIST, 2021). The film expertly sets up the internal conflict that plays out as commitment and dedication versus inspiration and passion. This little gem is making the festival rounds, including Tribeca in June 2004.

Here is an 18 second TRAILER

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Posted by David Ferguson

OSCAR Nominated Shorts – Documentary (2022 releases)

March 3, 2023

Greetings again from the darkness. Every year this is one of my favorite categories. Typically, these filmmakers are committed to a subject and have very little money to work with, making their work easily categorized as passion projects. This year is no exception, and once again we are amazed at the wide range of topics and subjects covered: the transformation of an angry war veteran, true love at an elephant sanctuary in India, a profile of a key player during the Watergate era, the effects of climate change on walruses in the Arctic, and a father-daughter video project covering 16 years. Below is my breakdown of this year’s nominees:

THE ELEPHANT WHISPERERS

Director Kartiki Gonsalves introduces us to Bomman and Bellie, indigenous Kattunauakans working together to care for Raghu, an elephant rescued as an injured orphan in Tamil Nadu, India in 2019. The elephant preserve where they live and work is run by the Forest Department, and Bomman’s hut is right next to the stall where Raghu sleeps.

The love they share for Raghu soon develops into a romance between Bomman and Bellie. They talk to Raghu, train him, feed him, bathe him, play with him, and even tuck him in bed at night. Later when they also become caregivers for 5-month-old Baby Ammu, we can see the similarities to raising human children. Both elephants make it into the wedding day pictures of Bomman and Bellie, but when Raghu is re-assigned to other caregivers, we witness the grieving of the couple, as well as that of Ammu, who has lost a friend and role model. The 41-minute film serves to show how animals and people can live off the same forest and share a love.

HAULOUT (UK, Russia) 25 min

For the first few minutes, we aren’t sure what we are watching. Maxim is huddled in a rustic cabin on the shore of the Russian Arctic. He eats canned good (from the can), boils his water, and recycles his cigarettes. One morning he awakens to the grunting and groaning noises occurring outside. What follows is a stunning and spectacular shot of tens of thousands of walruses huddled on the beach by his hut.

It turns out Maxim is a Marine Biologist, and he spends 43 days observing this annual ritual of walruses as part of a 10 year study. Although the walruses show up every year, the effects of climate change are obvious. There is no longer ice for them to rest on during the trek. This exhausts the creatures, causing the death toll to increase each year. Co-directors (and brother and sister) Maxim Arbugaev and Evgenia Arbugaeva deliver a beautiful (considering the harsh conditions) 25-minute film, and a stark reminder of how animals are being forced to adapt to the changes.

HOW DO YOU MEASURE A YEAR

We must admire Jay Rosenblatt’s foresight as a father. It’s a simple idea, yet brilliant in it’s lasting impact. Beginning on his daughter Ella’s second birthday, Mr. Rosenblatt maintained a tradition of videotaping an “interview” with her each year. This tradition, or ritual, continued through her 18th birthday. The result bounces between predictable, stunning, sad, joyful, and touching … all in a condensed 29-minute run time.

To watch the progression of a precocious two-year old and three-year old toddler obsessing over a lollypop and make-up to a poised eighteen-year old on the brink of independence is fascinating. As a parent, we recognize the many stages … some so cute, others so challenging … each to be treasured.

Dad’s questions include: What do you want to do when you grow up? What are you afraid of? What is power? What are dreams? What is most important to you? You get the idea. He wants to document her progression as a person and as a thinker. In addition to the lollypop and desire to wear make-up, Ella’s singing voice develops beautifully as she grows into a 12-year-old who has learned sign language, and a 13-year-old fresh off her Bat Mitzvah. We see her with braces on her teeth, and as a 14-year-old toting the burden of her age. It’s those last couple of years that really give us hope for Ella’s future, and an insight into what the project has meant.

As a teenager, what would you have told your 25-year-old self?

THE MARTHA MITCHELL EFFECT

Fifty years have passed, yet the Watergate scandal continues to provide us with stories. Co-directors Anne Alvergue and Debra McClutchy turn their attention to one of the fascinating figures of the era in this 40 minute short. Martha Mitchell was the wife of Richard Nixon’s campaign manager and subsequent Attorney General, John Mitchell. Outspoken Martha was a colorful personality and characterized as “a menace” by Nixon himself.

The directors utilize archival footage and news reels to show how Martha became a media darling during one of the most closed-off administrations in recent history. Reporters such as Helen Thomas and Connie Chung bring a media perspective, as do the numerous newscast clips shown. However, things took a pretty dark turn for this charming lady, and her story provides a stark reminder of just how corrupt and extreme the Nixon administration became.

Once news of the Watergate break-in hit the news, Martha seemed to vanish from the public eye. Her story is that she was held captive, basically kidnapped, as the administration advanced a public character assassination on her. When the secret tapes were revealed, and Martha discovered her husband had conspired with Nixon on the break-in, she became a high-profile whistleblower, After Nixon’s resignation, Martha became a celebrity, frequently seen on talk shows. Cast by many as a ‘crazy’ lady, the “Martha Mitchell effect” became the description for those whose ‘delusions’ turned out to be true. The recent TV miniseries “Gaslit” also focused on Martha Mitchell, who died in 1976 from a blood disease.

STRANGER AT THE GATE

Should you ever doubt that kindness and understanding can make a difference, please watch this film from director Joshua Seftel (WAR, INC, 2008). The 29 minute run time may just rejuvenate your faith in human beings to change their attitude and be accepting of those they once distrusted.

As a Marine, Richard “Mac” McKinney was trained to hate and kill Muslims. He was informed that they were terrorists out to destroy his country, and September 11, 2001 was all the proof he needed. A simple question from his young daughter Emily convinced him he needed to act, so he plotted to bomb the Islamic Culture Center of Muncie (Indiana). So this former Marine, a trained killer and hater, headed to the mosque to obtain the “proof” he needed to convince his daughter that his actions were righteous.

A funny thing happened. Mac was treated kindly by the folks there. They asked him questions and guided him to a better understanding. Now this didn’t happen overnight. A shift in beliefs never occurs quickly. However, their treatment of Mac not only (unknowingly) saved their own lives, it saved his as well. He may have been trained to not think of his war targets as human beings, but he found them to show him more humanity than he’d ever known. It’s chilling to see Emily ponder what it would have been like to have a mass murderer as a father, and mostly we are inspired to see good people work so diligently at accepting someone who initially showed them nothing but hatred. Nobel Prize winner Malala Yousafzai is one of the producers of the film.

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Posted by David Ferguson

SPITFIRE 944 (doc short, 2006)

April 14, 2020

Greetings again from the darkness. I watch a lot of short films, yet post very few of those reviews on this site. For this special film, I am not offering up any type of review other than to encourage you to take 14 minutes and watch this documentary short.

Filmmaker William Lorton’s Great Uncle was Jim Savage, who was an Air Force field surgeon during WWII. When he died, Lorton discovered some untouched footage his Great Uncle had shot at an airbase.  One sequence in particular caught his eye: a wheels up landing in a grassy field by a Spitfire, followed by some airmen huddled up afterwards. After some research, Lorton tracked down the pilot, (retired) Lt Col John Blyth, who agreed to meet with Lorton and his crew.

The film clips are fascinating, but it’s 83 year old Blyth recalling his missions that is truly captivating. Blyth flew reconnaissance missions in a British Spitfire retrofitted with extra fuel tanks and cameras. What was missing? Guns. Blyth actually flew over Germany with no guns or escort!  Lorton films Blyth as he views the clip for the first time. It’s quite something to behold.

You can watch the documentary short here (thanks to Sundance, and a friend of a friend for sharing):

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Posted by David Ferguson

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