A gut-punch of a short.

~ Andrew Robertson -

Genuinely advancing the form of the found footage film by attempting to merge it with the digital.

~ Josh Morrall -

Striking, moving, like being given someone's diary to read.

~ Andrew Robertson -

For fans of Dahl or the director, this is unmissable.

~ Jennie Kermode -

What does it mean when a woman cannot control the visual language through which her body is presented?

~ Jennie Kermode -

Uncertainty is drawn to different poles like a malfunctioning compass.

~ Andrew Robertson -

It has no plot, dialogue or characters, yet is completely entrancing for its entire duration.

~ James Benefield -

Mo Harawe's film is stunning.

~ Andrew Robertson -

It isn’t just the quality of the animation that is stunning. It’s the creativity with which is is deployed to explore these myriad phenomena.

~ Jennie Kermode -

Animating on toilet paper, which soaks up colour in unpredictable ways, would never be easy, but Samo has challenged herself further by creating each frame based on memory and instinct.

~ Jennie Kermode -

Who's Who In Mycology is one of those short films that's so richly imagined that it feels like a fragment of a much bigger work.

~ Jennie Kermode -

Wilson is superb. Brilliant sound design and editing layers the noise we hear so that most viewers will be able to understand its effects without having to suffer to that degree themselves. Her performance does the rest.

~ Jennie Kermode -

White Nanny Black Child strikes a reparative chord, but might leave the inquisitive viewer wondering about those at the periphery of the film

~ Sunil Chauhan -

A fabulous mix of docu-realism, myth and pure imagination.

~ Caro Ness -

The trajectory of this story is fairly obvious but Shushan shows considerable skill in terms of craft.

~ Amber Wilkinson -

An enchanting story with a very dark subtext.

~ Jennie Kermode -

You Guolin's cinematography is crisp, a combination of lens and grading that feels old without feeling tired.

~ Andrew Robertson -

The honesty and simplicity of this picture were then indicative of talent.

~ Andrew Robertson -

I can scarcely commend this enough

~ Andrew Robertson -

This is one of those films whose real power lies outside the span of its intentions.

~ Jennie Kermode -

This is amazing: ephemeral, illuminating, ingenious.

~ Andrew Robertson -

You'll be humming the catchy chorus long after the credits have rolled.

~ Amber Wilkinson -

Weans in hi-viz and high excitement, running and playing and shouting and learning. It is a delight to watch them at play.

~ Andrew Robertson -

Bradley brings loss and adrenaline rush forcefully together.

~ Amber Wilkinson -

Between interviews and archive footage and Lumo's/Mohsen's/Calum's own words there's a lot to draw from here.

~ Andrew Robertson -

Holmes' direction is as fluid as Doherty's movement, as her cinematographer Luca Truffarelli engages his camera in its own dance with Doherty, also capturing the reactions of those watching her at work.

~ Amber Wilkinson -

Kontoyiannis-Guillen makes good use of dual conflict.

~ Amber Wilkinson -

Alexey Lyubimov's performance is rooted in the physical, the palpable.

~ Andrew Robertson -

Arnold has never been one to shy away from the realities of poverty and that clear-sighted view is in evidence here.

~ Amber Wilkinson -

Watching the plucky little bird in flight gives us a tour of the battlefield, and Mullins does as much as he can with the battered landscape, but he’s hampered by the fact that audiences will have seen all this before.

~ Jennie Kermode -

The model work is magnificent, from the appropriately terrifying design of the TV characters to the careful distinctions in style between that world and the apparent reality of the one in crisis.

~ Jennie Kermode -

Even in a more formal, straight-to-camera setting, Nix lets their words play out over footage of them before or after interviews, so that we can see their more natural interactions with their elderly parents or one another.

~ Amber Wilkinson -

Jobling draws attention not just to the cruelty but to the uncivilised nature of a system more interested in the punitive than the productive.

~ Jennie Kermode -

Famotibe is impressive in the central role, wide-eyed and charming yet quickly able to shift his register when things go awry.

~ Jennie Kermode -

The filmmakers also draw on the natural environment of the sea and the wind in order to create a sense of movement that contrasts with the women's stillness.

~ Amber Wilkinson -

Mary Dauterman's gutsy little short packs a lot of story into just four minutes..

~ Jennie Kermode -

What it lacks in originality, Luis Gerard’s Oscar-qualifying short makes up for in specificity and quality.

~ Jennie Kermode -

What's the point? The power of the pencil is greater than NASA.

~ Angus Wolfe Murray -

Professionally produced and nicely styled, Wrestling Yetis is a promising little film that might have benefited from being just a couple of minutes longer.

~ Jennie Kermode -

This is properly Science Fictional, capital S, capital F.

~ Andrew Robertson -

Aneil Karia's film is strong, but it left me discomfited.

~ Andrew Robertson -

The film lacks the lively spark and sense of nationwide collectivism of Jennings' subsequent film, Listen to Britain.

~ Rebecca Naughten -

Unfortunately, documentaries about interesting subjects are not intrinsically interesting.

~ Andrew Robertson -

An animated gem, so simple you are reminded of what better writers used to say about never using an adjective when a noun will do.

~ Angus Wolfe Murray -

The message of Bryan Ferguson’s short is as hard-hitting as the briefly glimpsed acts of brutality it documents.

~ Amber Wilkinson -

Morag McKinnon's script is loosely off its head, part hilarity, part nonsensical innovation.

~ Angus Wolfe Murray -

A slight, but enjoyable tale.

~ Amber Wilkinson -

It's fine, but nothing you won't have seen and heard before.

~ Amber Wilkinson -

Good first impressions were quickly swept aside by the disjointed surreal script, which tries, unsuccessfully, to use shock tactics to impress its viewers.

~ Amber Wilkinson -

As a music video, this has sensuous vibes, based on desire rather than fulfillment.

~ Angus Wolfe Murray -

A wasted opportunity.

~ Amber Wilkinson -

There's no real sequence here, nothing that truly holds the film together apart from the music, and that was applied after the fact.

~ Andrew Robertson -

The scenes of the rescuers in their off-hours show the long reach of the war, with the night’s spent anxiously watching television news of the bombardment or phoning family and friends to make sure they’re alive.

~ Amber Wilkinson -

An exemplary wake-up call from collective consumerist slumber.

~ Anne-Katrin Titze -

This ten minute film is a masterclass in suspense.

~ Jennie Kermode -

Character developement: nil points. In three minutes, what do you expect?

~ Angus Wolfe Murray -

An interesting juxtaposition of techniques.

~ Amber Wilkinson -

Messy, seeming unmoderated.

~ Andrew Robertson -

There is no happy ending. In fact, nothing changes.

~ Angus Wolfe Murray -

Avoids the traditional booby traps and retains an energetic pace throughout.

~ Angus Wolfe Murray -

One wonders if Robyn O'Neil's original artwork would have been aided by being static.

~ Andrew Robertson -

If you’re interested in the rise of New British Country music then this is a doc for you.

~ Paul Griffiths -

It's a film that will sneak up on you emotionally and may have you in tears before you realise what's happened.

~ Jennie Kermode -

Welcome To Twister is ultimately hampered by its visuals.

~ Andrew Robertson -

It's all completely mad, but secretly quite watchable.

~ Angus Wolfe Murray -

The script by Ferguson and Luke Clancy moves with a spring in its step.

~ Amber Wilkinson -

For something so short, this has a punchy sting in the tail that is clever and unexpected.

~ Amber Wilkinson -

Despicable things have always made good musicals.

~ Chris -

Characters in search of a plot?

~ Angus Wolfe Murray -

Frankly, I didn't have a clue what was going on, but whatever it was it looked stylish.

~ Amber Wilkinson -

The sort of documentary that restores your faith in humanity.

~ Amber Wilkinson -

It takes a strong script to navigate this difficult territory and, where it deals with mundane matters, The Waster's is only average.

~ Jennie Kermode -

Tearepa Kahi’s short film is but a snapshot of what was once called “savage culture”.

~ Angus Wolfe Murray -

Clever and beautifully filmed.

~ Angus Wolfe Murray -

Mura is competently made and good to watch.

~ Andrew Robertson -

There's nothing left at the end, except intimations of mortality.

~ Angus Wolfe Murray -

There is a fairytale vibe to proceedings, enhanced by the snow through which he trudges in the parks.

~ Rebecca Naughten -

Olga Grahame's fantastic Yorkshire accent and the droll scripting are what makes the film so watchable.

~ Amber Wilkinson -

This is a tale of a heist gone bad - things are stolen but someone gets hurt - that takes forever to more or less stand still.

~ Amber Wilkinson -

Wagner knows just where to place his camera to get the most interesting shots and just how long to leave it there.

~ Val Kermode -

The delight of the drama stems from the well crafted characters, while its heft hinges on toxicity that may not be immediately obvious.

~ Amber Wilkinson -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

An extraordinarily thorough film.

~ Jennie Kermode -

Writer/director Sandhya Suri - who has a documentary background - is keen to show that everyone plays their part in the prejudices and corruption of the legal system.

~ Amber Wilkinson -

Once again, Guiraudie proves himself the master of setting up a mystery by the means of perfect script economy that functions strictly on “need to know” basis.

~ Marko Stojiljkovic -

The director shows how it’s not just Julie’s tennis skills that have been groomed by the coach but large aspects of her life.

~ Amber Wilkinson -

Cat’s viewpoint predominates, and Zilbalodis has an acute understanding of how the world looks from its point of view, of what catches its attention and how its body follows instinctively.

~ Jennie Kermode -

It’s ironic that a film about a family who have built a perfect facsimile of a life for themselves should feel so overly constructed itself

~ Amber Wilkinson -

Lin and Sun studiously maintain the enigma around Shuo so that we are left guessing as to whether he’s just a disadvantaged teen trying to make his way in the world or a cuckoo in the nest.

~ Amber Wilkinson -