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BREAKING THROUGH THE FEAR | EVERY TIME I SEE A YELLOW CAR | KILORAN BAY
MAGID/ZAFAR | THIS LOVE ISN'T TAUGHT | UBIQUITOUS | YELLOW BUCKET


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There's a kinetic pace to this earthy short drama, which inventively depicts an internal conflict in an environment that doesn't offer a moment to think. Filmmaker Hindman shoots this in a grainy, edgy style that makes the most of the messy setting and frazzled characters.

It's set in a Pakistani takeaway restaurant on a very busy night, where Magid (Figueiredo) works alongside various family members who are congratulating him on his impending marriage. But his phone is also buzzing with messages, and his boss won't give him time to reply. Refusing to accept the silence, Zafar (Singh) turns up, furious about being ghosted. Eventually, these two young men find a moment of peace in the storeroom.

"This came out of nowhere," Zafar says angrily, although he is also clearly concerned about Magid, who is caught in an impossible situation and must now decide which world he wants to live in: accepting a family-arranged marriage or living as himself with Zafar. This dilemma is brought to life with unusual power, thanks to the open-handed performances and the visceral setting, with its colours, sound, motion, heat and smells. This is a beautifully assembled film that ripples with emotion, urgency and tenderness.

25.Mar.26

Open emotionality pulls us into this story of a man who finds himself at a crossroads in his life, caught between the life he chose and the one he needs. Beautifully shot with a strong sense of light and colour, this is a simple story sensitively told with some lovely textures, allowing the audience to experience the surging feelings.

At the centre is Jordan (Byam), who lives happily with his girlfriend Chelcie (Olumilua) and their young son Elijah (Mushangwe). Then one night at a groovy house party, he runs into an old friend, the sassy Atlanta (Clarke). They clearly have unfinished business between them, as Atlanta is still angry that Jordan simply disappeared. But the attraction between them is too much to ignore.

After their awkward encounter, they end up in Atlanta's bedroom, where Jordan is forced to see what he has done to Atlanta and then make a decision about where he wants to go next. Director Brandrick maintains a soulful vibe throughout the film, highlighting the underlying feelings that Jordan is trying to escape. So while the story is a bit slight, it is also a powerful confrontation about identity.

25.Mar.26

Flickering between two men as they struggle to express their feelings, this short film features lovely cinematography that inventively uses light and colour to add a sense of contrast between people and locations. Writer-director Maroutitch skilfully blends music and visual artistry to explore a big idea.

A young man (Scott) is struggling to send text messages to his friend (Matthew) that adequately convey how badly he wants and needs him. Flickers of phone videos and party balloons stir into the jumble of thoughts and questions about himself, leading to a heavy sigh of frustration that feels overwhelming.

This is a thoughtful short cinematic poem that captures the feeling of isolation as someone grapples with self-loathing, which in turn feeds into a crippling fear of rejection. The introspective approach makes it very easy to identify with how this young man is feeling. And Scott's performance is earthy and riveting, grounded in authentic emotions.

25.Mar.26

With a driving nonlinear narrative, this short plays out as a gripping psychological thriller that builds in intensity until it reaches a shattering revelation. Writer-director Chandler makes expert use of colour, filling the screen with incredible imagery that adds power to the way the film grabs hold of us, pulling us deeper into the emotional turmoil at its core.

In therapy, Olly (Tennant) is trying to work through his trauma with his therapist (Nri), but this sends him down a rabbit hole of memories that hinge around his brother Liam (Buchanan). He equates his feelings to the game the brothers used to play as kids, punching each other every time they see a yellow car and wondering why they suddenly seem to be everywhere. Olly connects this to the fact that he told Liam what happened to him, and Liam's reaction changed everything.

The topic here is sexual assault, and the point is that Olly and Liam are dealing with what has happened through their own personal filters. So it's understandable that Olly regrets ever telling Liam the truth, because by saying it out loud he now sees it everywhere. With its vivid visuals and openly emotional sensibility, the film churns with gritty power. Because it digs so deeply into the characters as the details coalesce, it's ultimately both grim and darkly moving.

25.Mar.26

Intimate and moving, this short explores a pivotal moment in time for a gay couple grappling with the aftermath of a hate crime. Director Brade shoots the film beautifully, and brings out wonderfully emotive performances from the lead actors. So even if it gets a big melodramatic, it feels grounded and real.

It opens in a bathroom, as Charlie (McPherson) sits in a daze while his partner Toby (Pavitt) struggles with how to help him. Charlie is frightened to go outside, crippled by anxiety following an assault. And Toby is patiently trying to help, even as he feels guilty that he wasn't there to protect Charlie. Eventually, they nervously leave the flat, and Charlie panics that others in the street might know that they're gay.

The feelings between these men are vivid, as they long to recover their happy, free life. It's understandable that Charlie's worries about going out. He thinks Toby's scarf is a bit too flamboyant and can't even begin to think about holding hands. The point here is that it can be difficult to remember that the vast majority of people only have good thoughts about you, and that it's impossible to truly live if you're consumed by fear. The important point is that even if it takes time, don't give up.

25.Mar.26

Bracingly original, this fantastical short is both funny and scary, playfully exploring big ideas through a flatly absurd premise. Writer-director Brooke finds brittle humour everywhere, even as he takes on a much bigger issue. And the film's fast, loose pace is disarming, keeping us laughing even as we realise that there's something much more serious at stake.

It centres around teenager Connor (Baxendale), who arrives home from school with his boyfriend Silas (Joi). Connor's parents (Owens and Ridgeway) tease them relentlessly, but are full of genuine affection, inviting Silas to stay over. Then they see a TV report that hearing a female sing and seeing the colour yellow triggers the gay gene at age 6. And Connor's younger brother Max (Ciriaci) is having his 6th birthday tomorrow. Suddenly everyone's behaviour changes.

Each of these characters is unusually vivid for a short film, packed with personality and played in a way that makes their quick-fire banter spring hilariously to life. Dad is happy that Connor is so strong, sensitive and kind, so why would he swap the yellow bucket for a blue one at Max's party? All of this is solidly grounded even within the surreal premise, which makes it both amusing and engaging. This is an expertly written, directed and performed short that is able to be smart, funny and very silly at the same time. And it has a thoughtful sting in its tail.

25.Mar.26

In just 13 minutes, filmmaker-songwriter Michael Bruce stages a full-on musical that catches our imagination and leaves us feeling emotionally overwhelmed in all the right ways. It's a buoyant film that builds a full world for its characters in very little time, then tells a story in which buried but not forgotten past feelings fact off against present-day realities.

At a lively wedding ceilidh in the Scottish Hebrides, the groom Torquil (Cumming) is frustrated that his father (Hayman) won't dance. But he knows he was the boy who left home and didn't come back. This sends him through his memories, remembering that as a teen (Wolfe) he had a sparky life with his dad and brothers until his father caught him kissing his boyfriend. And he knows it's time to confront the strain between them.

All of this plays out with the use of gorgeous cinematography and beautifully expressive songs, performed in eye-catching sets and locations. A dance on the beach between Cumming and Wolfe is particularly beautiful, both yearning and soaring. Even with the fantastical flourishes, the story plays out in a way that's remarkably realistic, sometimes even tough in its honesty. It's a terrific reminder to stop avoiding awkward memories. And the ending is wonderful.

25.Mar.26