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.
Greetings again from the darkness. There is no obvious explanation for my connection to and appreciation of Tim Blake Nelson on the big screen … well … other than his talent. He certainly doesn’t possess the traditional attributes of a movie star, yet that’s exactly what he is. Not only is he one of the most dependable character actors around (see O BROTHER WHERE ART THOU and MINORITY REPORT), but he’s also terrific in lead roles (see OLD HENRY and ASLEEP IN MY PALM). With this latest film, director Vincent Grashaw and screenwriter Will Janowitz (who also has a role in the film) benefit from the actor’s audacious and fearless performance.
Posted by David Ferguson 
Greetings again from the darkness. Most of us scoot through life never being labeled as “the prettiest” anything. That’s fine. We accept it. Still, we apply the label periodically and it was Bunny Yeager who was known as “the world’s prettiest photographer”. Not many would argue with the designation as Ms. Yeager was an incredibly talented photographer, while also being described as a bombshell … a pinup model and actress herself.
Greetings again from the darkness. Having one’s name or work associated Hitler typically (but somehow not always these days) marks one as a pariah or persona non grata. For artists, the rules can be a bit blurred, and filmmaker Andres Veiel takes on the story of Leni Riefenstahl, in hopes of removing some of the blur.
Greetings again from the darkness. Ben Masters’ follow-up to his outstanding documentary, DEEP IN THE HEART: A TEXAS WILDLIFE STORY (2022) is even more stunning, more remarkable, and more important. Narrated by environmentalist, model, and actress Quannah Chasinghorse, the breathtaking photography is complemented by a history lesson and cautionary warnings about where things are headed.
Greetings again from the darkness. For fourteen-year-olds, there’s often very little difference in passion for something and obsession with that same thing. Writer-director Nicholas Colia (reimagining his 2017 short film, ALEX AND THE HANDYMAN) brings us the coming-of-age story of Griffin (a fantastic newcomer in Everett Blunck), whose passion for art is undeniable and plays a role in his newfound obsession (this time we can tell the difference).
Greetings again from the darkness. The reality of today’s world is that some folks aspire to ‘go viral’ on social media, while others struggle to imagine anything worse. There are those who dream of being famous – even if it’s for only a moment in time. Others value anonymity to the point where they can’t imagine giving that up. This first feature film from writer-director Gustavo Martin and co-writers Matt Anthony and Vishy Ayyar touches on this very topic. By drawing from Ayyar’s real life (he also stars), we see how one of the reluctant types can use unsolicited fame as an advantage … a means to an end.
Greetings again from the darkness. This is the type of movie that almost begs to be criticized, while at the same time, deserves to be enjoyed for being exactly what it tries to be. Author Richard Osman now has five books in this series, and the first has been adapted by co-writers Katy Brand (GOOD LUCK TO YOU, LEO GRANDE, 2022) and Suzanne Heathcote (“Fear the Walking Dead”). It’s directed by Chris Columbus, known for HOME ALONE (1990), MRS DOUBTFIRE (1993) and a couple of the Harry Potter movies. These are professionals who know how to entertain … and just as importantly, they know how to cast.
Greetings again from the darkness. Put me down as one of those saps who struggles mightily watching kids in peril … even if ‘it’s only a movie.’ Writer-director Dan Kay taps right into my weakness in the opening scene. Two sisters find their mother on the floor of the rural house – dead from an overdose. It’s a situation where initially we have hope. Perhaps the girls will be better off without a druggie mom. But life is rarely that simple.
Greetings again from the darkness. Car chases are prevalent throughout movie history. Some are quite exhilarating and famous: BULLITT (1968) and THE FRENCH CONNECTION (1971). Some are over-the-top: pretty much every driving sequence in the F&F franchise. The directorial debut of writer-director Shawn Simmons revolves around a talented getaway driver, and there are certainly a couple of heart-pumping sequences, but the movie is as much a look at how bad decisions impact one particular character, Edie.
Movie Reviews from the Dark 