‘Sojourn’ presents a very relevant story, and shares it in an interesting, unexpected manner. As an investigation unfolds between Athena and Detective Sanger, we realize this is an exchange of equal adversaries. 

While one side may have come dangerously close to overpowering the other, soon the scales tip out of balance, and the narrative ropes in a notable employment of sci-fi thrill. A past defined by a grotesque coupling of kindness and violence, of compassion and cruelty is brought to life, one that forms the backbone of the film. 

The end result is not only engaging, but also furthers a crucial conversation in an impactful manner. It definitely leaves the door open for a longer project that dives deeper and longer in the world of the characters presented thus.

Sojourn | Short Film of the Day

What would happen if Victor Frankenstein were to bring a monster to life in contemporary times, with access to modern technology, his research being part of an online course titled Cadaver Reanimation? The two would be called Frankie and Benny, to begin with. 

Our modern-day version is marked by a bonhomie, or at least the desire for it, instead of the cold repulsion of a creator from his monster. When Frankie brings his dead friend Benny to life, he realizes he has on his hands something very different from his dreams of a rekindled friendship. Instead, he now finds himself with an 'abomination', as he calls Benny himself, who is here to stay for life, and not simply for Christmas. 

The resultant narrative is marked by humor, but also, by the brutal aspects of existence and the human body that creep up on the viewer in the most unexpected ways. They make you flinch, but at the same time, also ensure that you cannot look away from this story of grief, guilt, friendship, loss, and the eventual circuitous path back to hope and companionship. The chemistry of actors, and the other crucial components of the film’s world - make-up, sound design, writing, visual grammar - all supplement the endeavor to ensure ‘Frankie and Benny’ becomes an endearing, entertaining narrative about the experiences of a shared bond between two friends.

Frankie and Benny  | Short Film of the Month

Florence is stuck in a dead-end job which has left her with a strange stress rash on her thigh, her body’s way of articulating, neigh, screaming in protest against the circumstance it has found itself trapped in when the reticent protagonist is unable to do so herself in her life. 

She carries the weight of this stress everywhere - to her home, dates, and even in bed, as the persistent rash continues to take all over her body. Alongside this is the unmissable image of a dream, the fantasy of soaking in the sun on a warm beach, a vision that remains as stubbornly recurrent in her life as the redness on her skin. 

The narrative does a notable job of juxtaposing the two, and in the process, presents an unmissable contrast. Florence is brought to life with an endearing vulnerability that not only makes us route for her passionately but also endows the story weaved around her a universality, an echo of companionship for anyone who might find themselves in equally disturbing situations. The writing and screenplay both work successfully in sharing all of this, and some more, with audiences.

Florence in Customer Care | Short Film of the Day

An empty subway takes you into the world of the film marked by a very strange event that threatens to annihilate the very existence of humanity. Amidst it all is a protagonist, Sunny, confined to a bar with only a dog for company, awaiting the arrival of a friend or colleague. The introduction to the latter is only by way of voice messages, while the former moves from one corner of emotional and physical isolation to another. 

 The visuals come across as one of the most standout characteristics of the film, along with the efficient use of limited space, and a smooth edit. The performance of the film's sole actor also does a notable job of bringing out the effects of isolation, along with the despair and uncertainty of waiting. 

 In the process, Last Call becomes a unique, engrossing union of a joie de vivre vibe with an apocalyptic reality. The union can perhaps even serve as a disconcertingly lovely metaphor for contemporary existence. On the whole, the visuals and performances triumph over the other elements in the film, not because the rest are any less, but because these two are specifically skilled. It would be interesting to see the short film developed as a longer, more cohesive narrative.

Last Call | Short Film of the Day

Set in a world that is dominated more by shadows than light, by an all-pervasive sense of despair than prosperity, and by a potential crumbling of a familial structure as opposed to the intimacy one might associate with the space, 'Cera' takes you headlong into its world right from the word go. When the film opens, a violent event has already occurred. Our protagonist, John (Jason Isaacs) is in a desperate frenzy to get urgent medical aid for his wife who lies on the floor, bleeding profusely. Amidst it all, the overpowering presence of Cera never truly leaves the viewer even though she is absent from the visuals unfolding before you so far. The story develops gradually to reveal its dystopic world of artificial intelligence gone terribly wrong. <h2>Of the film's setting and casting, director John Robinson Irwin says, "We shot outside of a small town, a couple hours north of Los Angeles. The logistics around getting a cast and crew of 20 people up there, finding a place for them to stay and keeping the budget around a level that wouldn’t break me, was quite a challenge. 

The fact that Jason Isaacs was delighted to be in the short was truly unbelievable. He was so humble and incredibly helpful throughout the whole process. It was marvelous to work with a true professional like him, someone with such an absolute love of the craft and a clear understanding of what makes a compelling story."</h2>

It is also worthy of note that though similar themes have been a subject of exploration previously in film and media, Irwin brings his own unique voice to the subject. 

<h2>When asked what are the motivations behind exploring its darker aspects, he replies,
"I have two kids and as I’ve watched them grow up, I’ve noticed how many apps, technology and devices we have to help our life feel a little more organized. There are all these new services and technology, but there’s also plenty of distraction keeping us from actually connecting with people. I realized I wanted to tell a high-stakes story of a family putting trust in the wrong places and only realizing the connection they’ve lost with those they care for the most."</h2>

It is indeed this dependency on technology that gets amplified and portrayed in John's young daughter Hailey's relationship with Cera, the AI caregiver of the child. As truly disturbing events come to be, perhaps orchestrated by Cera herself, the plot plants its feet firmly into the ground, ensuring the viewer has now reached a point of no return. 

 Interestingly, the film is intended to be a proof of concept for a longer project titled North End. 

<h2> Irwin describes the latter as being "more focused on this family who has built a life around avoiding relationships, but is then forced to connect with each other after being flung in such a traumatic situation. John and Hailey’s best hope for survival is to stay on the water and get as far from civilization as possible until they know the extent of what’s happening... He’s just gone through hell to get himself and Hailey to safety and the hardest thing he has to do now is forge a relationship with his own daughter. As the two head further and further up river, they start to piece together what’s happening, and what they inevitably have to do to stay together." </h2>

At its close, the film presents to you the visuals of a despondent rural space as the father-daughter duo make their escape against a horizon dotted with aircrafts, ensuring that the question about their fate never truly leaves you, even long after you are done watching the short film.

Cera | Short Film of the Day

The world of The Paranormal Communicator is most fun and entertaining. Despite the potentially gruesome aspects that constitute it, namely, murder, violence and a haunting, it remains a realm you find yourself heading deeper and deeper into. The characters are endearing, and sure to stay with you after you are done watching the film. 

Michael (Michael Benjamin), a medium for spirits, visits Veronica to help her in the aftermath of her brother’s demise. After an awkward introduction, the former more awkward than the latter, the two lead the viewer by the hand into the heart of things. 

The humor which is invoked in the process, remains smooth and effortless. The plot, that is based on characters made famous by Benjamin on TikTok, is engaging throughout. Consequently, the film presents to you a story which does not seem to take itself too seriously, and yet ensures that all the punches land. The endeavor is sincere and devoted, and leaves one with a lovely union of horror and comedy at the end of it all.

The Paranormal Communicator | Short Film of the Day

The film begins with the protagonist, Elise arriving at a house party. With her attention more focused on something that unfolds in the darkness of the night, however, away from the general frolic around her, Elise is no more than an outsider here. She is a little out of place both inside this house, as well as outside - be it at a gas station or a convenience store. As the night progresses, a strange presence is soon felt, and the protagonist eventually engages with it with more ease than we have seen her exhibit up until this point. 

Could Elise have found something, or someone, where she perhaps feels easier to follow their lead? The question becomes one of the many that the film raises, choosing to conceal more than it reveals as a notable storytelling device. The visuals, editing, and approach to the overall treatment invoke a disorienting realm of sci-fi and extraterrestrial otherworldliness. It presents a moment, a brief encounter with the protagonist, and the extremely uncanny events unfolding around her, establishing a premise for hopefully a longer project in the future, one that takes the viewer deeper into the film's world.

The Events Of That Night, As Best I Can Remember | Short Film Nominee

‘Frayed’ presents a single circumstance, and deliberately lets the viewer fill in on the beginning and the conclusion of the plot. The middle is what we are allowed engagement with. By hurling the audience right into the heart of action, it conjures a world where people are mysteriously disappearing. 

The protagonist is returning home in this disorienting reality, and panic is rife. A call from his anxious girlfriend, followed by another from a friend, who is equally worried and scared, further mount the tension. As the protagonist himself attempts to make sense of the swiftly unfolding events, a truly shocking development awaits him. 

The film presents all of this while sustaining high-paced action, ensuring the viewer’s attention never wanders. The performance of each actor, whether we see them on screen or only hear their voice, simply bolsters this endeavor further. Notably, 'Frayed' ends at a crucial juncture, perhaps suggesting how the short can be an apt concept for a longer project.

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