THE PRIFFZINE

THE PRIFFZINE Uplifting Global Voices In Cinema

G G N I N I C C U U D D O O R R IINNTTESSTT OOFF TTHHEE E BB ESSTT!!

FFE

PHOENIX RISING:

FESTIVAL DIRECTORS ON THE EVOLUTION OF PRIFF #1

The PRIFFZINE

Stuart Street Luton, England. www.priff.co.uk priffuk@priff.co.uk IG @priffuk

EDITOR-IN-CHIEF

ART & CONTENT DIRECTION

Victor de Almeida

Victor de Almeida

CONTRIBUTING WRITERS

Joe Horne and Bec MC Jagger

Contributors Patrick Ireland

Adrian Perez

Sophie Essmat

Writer/Director of Ill Fares The Land

CEO of Lonelywolf International Film Festival and Filmfinity.

Writer/Director of Dancing PRIFF UK 2024 Selection Amid Fire, Rising Above Committe member.

Ruins

Anna Agoryan

PHOENIX RISING:

The Evolution of PRIFF UK – A Conversation with Co-Founders Victor de Almeida and Ewa Habdas

"We wanted to create a platform where emerging filmmakers could be heard, especially those often overshadowed by larger institutions."

Now entering its third year, the Phoenix Rising International Film Festival UK (PRIFF UK) has emerged as a vibrant platform for independent filmmakers. What began as a small, local event in Luton has grown into an exciting festival in the heart of London, attracting a diverse array of films and filmmakers.

Co-founders Victor de Almeida and Ewa Habdas reflect on the festival’s journey, their vision for the future, and how PRIFF UK continues to stand out in an ever-evolving industry.

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From Humble Beginnings to a Growing Festival When asked how PRIFF UK has evolved, both Victor and Ewa note that the growth in submissions has been a testament to the festival’s rising reputation.

“We’ve grown by about 40% versus last year and about 150% compared to our first year,” Victor shares enthusiastically. “It shows a trust in the brand and what we’re doing.”

Ewa echoes this sentiment, highlighting how experience has allowed them to improve their selection and judging processes. “Our first edition was very limited with only a few screenings and attendees.” she explains

The addition of an award ceremony was also a major shift, creating a space for filmmakers to celebrate their hard work, something Ewa believes is essential.

The Inspiration Behind PRIFF UK The idea for PRIFF UK was born from a shared love of cinema and a desire to create an authentic, filmmakercentric event. Victor explains, “Ewa and I, both being filmmakers, noticed there was a need for a festival that truly honoured indie films.

Too often, festivals seem to favour films with logos from big institutions like NFTS, BFI, or BBC. It’s not that these films aren’t great, but they often overshadow brilliant work from lesser-known or emerging filmmakers. We wanted to create a platform for those voices to be heard.”

Ewa adds, “What also sets us apart is our commitment to live screenings. There’s something special about seeing your film on the big screen with an audience— something you just don’t get with online festivals. It’s not just about watching films; it’s about connecting with the community.”

A Diverse Selection Process and Emerging Themes This year, the festival has attracted a strong and diverse group of films, with several recurring themes emerging.

“We had a very high-quality selection this year,” Ewa says. “Thanks to a fantastic group of selectors and script readers, we were able to carefully review each submission. Some of the themes that really stood out were films exploring rightwing politics, the complexity of sisterhood, and grieving.”

Victor emphasizes that the festival aims to offer a platform to a wide range of voices and stories. “The variety in themes we see each year is incredible. It shows that filmmakers are using their art to explore personal and societal issues, and we’re thrilled to be able to showcase these works.”

Embracing Diversity and Inclusion A focus on diversity has always been central to PRIFF UK, but this year has seen new steps taken to further champion inclusion.

“We introduced a Best Woman Director category this year,” Ewa notes. “We wanted to encourage female filmmakers to submit their work and provide a space where their talents are recognized. The response has been great—this category received a lot of attention and submissions.”

However, Victor points out that there’s still room for improvement. “While we also have an LGBTQ+ category, we noticed fewer submissions in this area this year. It’s a reminder that we need to continue outreach to all communities and ensure they feel welcomed at our festival.”

Challenges and the Power of Collaboration Running an independent festival comes with its own set of challenges, particularly for a small team. “The biggest challenge has always been time,” Victor admits.

“We both have full-time jobs and other commitments, so juggling that with running a festival can be tough.

But this year, we made a significant change—we brought in volunteers to help with film selection and script reading. That’s been a gamechanger. We owe a lot to our team of selectors and readers; without them, it would have been impossible to manage the volume of entries.”

Ewa agrees, adding that while the process remains demanding, the involvement of a passionate team makes all the difference. “There are always obstacles when organising an event of this scale, but having a strong support system allows us to overcome them and focus on delivering a great festival experience.”

"We’ve always had the goal of making PRIFF UK the go-to indie short film festival, focused on emerging and underrepresented voices."

The Role of Film Festivals in Emerging Filmmakers’ Careers Both co-founders are keenly aware of the importance of film festivals in shaping filmmakers’ journeys. “For many filmmakers, festivals like PRIFF UK are the first major step in getting their work seen,” Victor says.

“It’s not just about showcasing your film—it’s about gaining confidence, meeting others in the industry, and learning from feedback and experiences.”

Ewa adds, “Festivals give filmmakers a chance to meet their audience and fellow creators in person. The connections made during these events can often lead to collaborations and open up new opportunities.”

Looking Ahead: Future Goals for PRIFF UK As PRIFF UK continues to evolve, both Victor and Ewa have ambitious plans for the future. “We want to grow into a bigger event with even more screenings, panel discussions, and opportunities for filmmakers to network,” Ewa explains.

“We’re also keen to expand our year-round presence with more filmmaker interviews, podcasts, and community engagement.”

Victor concurs, adding, “We’ve always had the goal of making PRIFF UK the go-to indie short film festival, similar to Raindance, but focused more on the emerging and underrepresented voices.

Building a year-round ecosystem where filmmakers can feel supported is the next step, but securing funding will be key to making that vision a reality.”

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Programme 2024

SATURDAY

Stories of Survival: Journeys Through Fear, Hope, and Transformation

APALACHI A man restlessly wanders around his hometown after failing to warn about the possibility of something happening.

Director Simon Reinhardt, Genre Music Video, Language English, Country UK, Runtime 4 mins.

13.00

THE PROMISE GOBLIN The Promise Goblin’s antagonist is a descendant of The Krampus: a hairy, pointy-tongued, cloven-hooved, beast-like creature from the folklore of Alpine countries; a nightmare-made-flesh who punishes bad children during the Yule season. He works in the ‘Promises’ section of The Naughty List and, when he finds out that Santa has delivered presents to naughty and nice children, he hunts down the badly behaved children… as there "need to be consequences".

13.04

Director James Atkins, Genre Short Film (Narrative), Language English, Country UK, Runtime 18 mins.

DON’T TAKE PICTURES In 'Don't Take Pictures', a brave young woman goes into an abandoned place in order to prove the existence of an urban legend. Taking a picture in the depths of the place will have dangerous and unexpected consequences.

Director Daniel López Izquierdo, Genre Horror, Language Spanish, Country Spain, Runtime 6 mins.

13.22 6

CAKES! In this bonkers Best of the Fest nominated microshort, a grieving woman follows a singing cake into a magical world within her oven.

Director Johnny Herbin, Genre Microshort, Language English, Country UK, Runtime 2 mins.

13.29

COMPOSURE In an effort to create a piece of music to meet his final deadline, Otto finds himself out of ideas for the very first time. Composure tells a story about unavoidable disruptions that change our everyday lives, all in pursuit of the things we value most.

Director Finlay Ross, Genre Short Film (Narrative), Language English, Country UK, Runtime 9 mins.

13.33

MAKE ME MURDER I“Everyone is a killer”. A determined psychology student sets out to prove herself right but entangles herself in a dangerous game of knowledge and power. How far is she willing to go?

Director Rahel Parker Genre Short Film (Narrative), Language English, Country UK, Runtime 20 mins.

13.43

POLARIS

In a sinister forest, a man is looking for a treasure. His greed drives him to follow mysterious polaroids appearing on his way.

Director Charlie Alphonse, Tommy Bruent, Genre Horror, Language French, Country France, Runtime 14 mins.

14.05

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THE MIDNIGHT SLEEPOVER CLUB

In a chilling twist on their annual midnight sleepover club, four students arrive early at their school, only to be tormented by the vengeful spirit of the caretaker.

As the night unfolds, they must figure out a way to fend off The Caretaker and escape.

Director Jack Parr, Genre Short Film (Narrative), Language English, Country UK, Runtime 9 mins.

14.20

MY HUSBAND IS A DOG Do you believe in reincarnation? My Husband Is A Dog is a black comedy following the reunion of a widow and her dead husband who has been reincarnated as an adorable dog. They could be happy together again…. if only the dog didn’t have an owner!

Director Sara Jordan, Genre Comedy, Language English, Country UK, Runtime 13 mins.

14.30

TENDER In an attempt to impress head chef Charles Monet, James, a chef trainee shifts away from traditional cooking methods for a more unorthodox approach.

Director Kieran Shayle Genre Short Film (Narrative), Language English, Country UK, Runtime 17 mins.

14.44

QUICK CUTS

Guy, a television editor on a deadline, has a scene he just can't make work. Memories of a failed relationship threaten to overwhelm him until he realizes the solution to both his problems is the same: embrace the emotion.

Director Curtis Krick, Genre LGBTQ, Language English, Country US, Runtime 18 mins.

15.04 8

FUGUE Mia, a drug courier, is hunted by the vengeful gunslinger Kane. A drug deal gone wrong puts him back on her scent, and armed only with a six-shooter and a spiritual bond to London's foxes, Mia has one night to outrun Kane and save a stranger’s life.

Welcome to Fugue, a tale of survival in a lawless city.

Director Alberto Lais, Genre Short Film (Narrative), Language English, Country UK, Runtime 23 mins.

15.24

THE GREAT BRITISH GYMNAST A sports awareness documentary that follows the journey of a former gymnast who quit the sport twenty years ago and is now back in the game at the age of forty, ready to prove that age should not define the sport by competing at the British Championships 2023.

Director James Donnelly, Liam Richards, Genre Documentary Short, Language English, Country UK, Runtime 10 mins.

15.47

DANCING AMID FIRE, RISING ABOVE RUINS Tara, a young Kurdish girl in Iran, finds joy in a pair of red shoes amidst war. However, the harsh realities of life shatter her dreams. Years later, as a woman in Norway, Tara finds solace in providing her daughter with the opportunities she never had. The red shoes, a forgotten memory, resurface, connecting her past to her present and reminding her of her resilience.

Director Sophie Essmat Genre Animation, Language English, Country Norway, Runtime 6 mins.

15.57

STAND UP, STAND OUT When people take to the streets to protest discriminatory and oppressive systems, they often use their bodies to make a statement. This film uses fashion film and documentary elements to pay homage to looks that have fought for change, been the target of discrimination and have helped give us the freedoms we know today.

Director Ronita Awoonor-Gordon, Genre Microshort, Language English, Country UK, Runtime 4 mins.

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16.07

I AM KANAKA A local Hawaiian hero fights to save his culture by teaching traditions, sustainability and life skills to disadvantaged indigenous kids.

Director Genevieve Sulway, Genre Documentary Short, Language English, Country UK, Runtime 15 mins.

16.11

EMMA (MAM ANTHOLOGY) Struggling with the loss of her own mother, Emma must now fill the shoes of the families matriarch and take care of everyone else first.

Director Laura Lee Daly, Genre Short Film (Narrative), Language English, Country UK, Runtime 6 mins.

16.26

SCREAMING SILENCE In the hauntingly enigmatic and dialogue-free short film, 'Screaming Silence', Elizabeth, a young woman in the aftermath of a traumatic event, navigates her world through a haunting soundscape of everyday noises, which 'peoples' her world and forces her to face her reality of circumstances and her fear of reaching out for help.

Director Kalyn Elizabeth Wood, Hal Waghorn, Genre Experimental, Language English, Country UK, Runtime 17 mins.

16.33

RAT The fear of infidelity can have drastic consequences.

Dorothea Jones plays Lena, a woman who's become paranoid about her boyfriend Josh having an affair. Are her fears justified? and what happens when her dark imagination confronts reality?

Director Davin Jeayes Genre Horror, Language English, Country UK, Runtime 8 mins.

16.53

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THE FLY AND THE SPIDER Two sisters try to free themselves from the wound of incest that has consumed them since childhood. This day comes when they find the Power to reveal everything.

Director Oriane Polack, Celine Perra, Genre Microshort, Language French, Country France, Runtime 3 mins.

17.03

BEYOND BORDER A movie exploring the profound human bond between two individuals from vastly contrasting backgrounds, forged within a brief encounter.

Director Shiva Boloorian, Genre Experimental, Language German, Country Austria, Runtime 5 mins.

17.06

I WANNA BE A STATUE

Despite their disinterest, a young child tries to convince her local community she wants to become a statue.

Director Harvey Auerbach-Dunn Genre Animation, Language English, Country UK, Runtime 3 mins.

17.11

ABLAZE “I’ve never felt safe walking home…” Amidst the empty fields of a quiet, country town, an innocent first meeting becomes something much more sinister.

Director Dani Fenech Genre Short Film (Narrative), Language English, Country Australia, Runtime 5 mins.

17.15

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FABULOUS FEMININITIES Fabulous Femininities is a feature documentary that explores the lives and journeys of six unique burlesque performers across the UK. This is a shorter 20-minute cut suitable for short film festivals

Director Jonothon Lees, Genre LGBTQ, Language English, Country UK, Runtime 20 mins.

17.20

TREBLE ME THIS A murder mystery circulating three separate crime scenes.

Director Guy Nicholls, Genre Mid-Length, Language English, Country UK, Runtime 39 mins.

17.40

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SUNDAY BLOCK A: Journeys of the Heart and Mind

BUBBLING SYNAPSES An idea... needs space, time & love to grow... But, at what cost? Your friends ? Your wife ? Your kids ? Of course not, it needs to be set aside, in a bubble, waiting for the right moment... The wait is long, too long… This must emerge from its bubble, it must come to life, now !

Director William Eguienta, Genre Animation, Language French, Country France, Runtime 4 mins.

14.00

RUFFLE Minoo, a lonely girl who has some problems has been invited to a big important party, she tries to get ready with the help of her mysterious housekeeper, but something confronts her to the truth.

Director Sara Farzardfard, Genre Mid-Length Language English, Country US, Runtime 31 mins.

14.05

PRESS CONFERENCE

After winning biggest fight of his career, boxer is confronted with information that will put new perspective on his victory.

Director Alexander Hilli, Genre Short Film (Narrative), Language English, Country Czech Republic, Runtime 7 mins.

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14.37

FAUVE

A woman. A man. An apartment under construction. Let the game begins.

Director Clara Ziegler Genre Short (Narrative) , Language French, Country France, Runtime 9 mins.

14.45

THE LITTLE ROMANCE OF WILL-O’-THEWISP AND RAINDROP It's the love story between a man who burns what he touches and a woman with a magic umbrella.

Director Baptiste Denuit, Johan Denis, Genre Microshort, Language French, Country Belgium, Runtime 2 mins.

14.55

TO SEE On New Year's Eve, 8-year-old Oleg senses tension between his parents, realizing their love is fading.

Determined to bring them back together and refocus their attention on the family, Oleg struggles to figure out how to mend their fractured connection before it's too late.

Director Mika Lipman, Genre Short Film (Narrative), Language Russian, Country Russia, Runtime 11 mins.

14.58

THE BOOK OF LOVE After bumping into the girl of his dreams, Leon, attempts to woo librarian Kayleigh by pretending to love books.

However, as he goes deeper and deeper into his facade, his pretence becomes a passion, and Leon soon learns that an intellectual connection goes far beyond just a physical one.

Director Anderson J West Genre Comedy, Language English, Country UK, Runtime 13 mins.

15.09 14

HERE WITH ME

Elisa and Julie are sisters. They don't see and don't speak to each other very much and doesn't understand one another for years. But, one day an event will bring them together and force them to confront what is left unsaid. At least, this is what Elisa hopes for...

Director Adélaïde Nicvert Genre Short (Narrative), Language French, Country France, Runtime 9 mins.

15.13

ROOM 224 After the painful end of a long-term engagement, a lonely banker hires an escort for a night of escape, but as their conversation deepens, they confront their hidden vulnerabilities and find unexpected solace in one another.

Director Jack Haynes, Genre Short Film (Narrative), Language English, Country UK, Runtime 15 mins.

15.23

FLO FLO is inspired by the life of a young WWII nurse who survives alone in a tiny cabin. Flo's future self quietly visits her to witness her accepting that her husband will never return from the war.

Director Bridget Farr, Genre Short Film (Narrative), Language English, Country Canada, Runtime 7 mins.

15.39

WILDERNESS When a successful, but emotionally exhausted woman seeks to find herself on a solo hike, she must face a primal darkness or lose herself entirely.

Director Amelie Leroy, Genre Horror, Language English, Country UK, Runtime 14 mins.

15.47

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KNIGHT TO QUEEN

1417, France. After years of mediating a bitter civil war, Queen Isabeau is a prisoner in her own kingdom.

Gambling on the Duke of Burgundy, a ruthless warlord, the Queen searches for a divine sign as the pieces move into play. Based on historical events.

Director Sara Lotfi Genre Short (Narrative), Language French, Country France, Runtime 12 mins.

16.01

16

SUNDAY

BLOCK B: Edge of Reality - Confronting Darkness and Change

TWO KNIGHTS After being separated for millennia, Lucifer invites Archangel Michael to a seemingly innocent game of chess, which becomes a deeply personal meditation on the nature of good and evil, the love they once shared and their ultimate place in the world.

Director Piotr Szkopiak, Genre Short Film (Narrative), Language English, Country UK, Runtime 16 mins.

16.45

APART A Swedish woman, just a few hours before her retirement party, discovers that her adopted son of Indian origin has become a right-wing extremist. Later on during the party, the adopted son provokes a political argument among the guests, forcing the adoptive mother to break the silence.

Director Luca Pirero, Genre Short Film (Narrative) Language Swedish, Country Sweden, Runtime 15 mins.

17.01

ILL FARES THE LAND

Mermaids. Migrants. And the Far Right. A young boy finds a mermaid washed up on the shores of his seaside home while his older brother is swept up in the rising tide of far-right nationalism.

Director Patrick Ireland, Genre Short Film (Narrative), Language English, Country UK, Runtime 18 mins.

17.17

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OFFSPRING

An annual festival, in celebration of a Deity, suddenly turns into a cultist ritual and forces a gruesome sacrifice upon the village.

Director Oliwia Sledzikowska, Genre Animation, Language English, Country UK, Runtime 3 mins.

17.37

PRESSBURG Pressburg is a Slovak dramedy TV mini-series that humorously explores Slovak and Hungarian national stereotypes while questioning identity in a multilingual world. The story follows Zita, a cosmopolitan from Bratislava, and Attila, a rural Hungarian Slovak, who fall in love despite their contrasting backgrounds.

Director Csaba Molnár, Genre Webseries, Language Slovak, Country Slovakia, Runtime 15 mins.

17.40

STATIONHEADS Three educated (and bored) twenty-somethings are working a dead-end job in a gas station. Their futures are grim. When a group of bank robbers turn up fresh from a heist and fresh out of fuel, things get a bit more interesting.

Director Stu Gamble, Genre Comedy, Language English, Country Hungary, Runtime 17 mins.

17.55

RAW CHEMISTRY A zombie virus has spread around the world, slowly turning all the men into zombies, but AJ is still hopeful that she can find love when Duncan asks her out to dinner. In this zombie rom-com, AJ risks it all to go on one last first date.

Director Sarah Sawyer McCarthy, Genre Comedy, Language English, Country UK, Runtime 16 mins.

18.12 18

CRY LIKE A GUY

KIERAN BEW (HBO's 'House of the Dragon', Netflix's 'Warrior') leads us on an educational, emotional, gruff and goofy adventure through the hidden world of male tears. A feast for the feels.

Director Anthony Rubenstein, Genre Microshort, Language English, Country UK, Runtime 4 mins.

18.29

BACKMASK Backmask tells the story of 1970s rock and roll star Billy Chapman, a tortured musician looking for a new sound. Kicking out his manager and shutting himself off from humanity, Billy attempts to find inspiration.

But alone in his empty mansion, he unleashes a sinister force and a terrible collaboration begins.

Director Matt Fitch, Chris Baker, Genre Horror, Language English, Country UK, Runtime 15 mins.

18.35

THE LAST MOMENT WE SPOKE A mother’s instinct is tested when her son lands himself in trouble.

Director Juggy Sohal, Genre Short Film (Narrative), Language English, Country UK, Runtime 8 mins.

18.50

HANGOVER FOOD: VAMPIRE INFLUENCER

Lee struggles to adapt to his new life as a vampire and pressures his best friend Bruce into helping him become the world’s first vampire influencer.

Director Ross McGowan, Genre Webseries, Language English, Country UK, Runtime 15 mins.

18.59 19

LEARNING TO FLY

A girl is determined to make her dream of flying a reality.

But how? ...keep learning, trying, keep failing, but fail better each time...and with the help of Dad. Director Fin McMorran Genre Animation, Language English, Country UK, Runtime 4 mins.

19.15

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Filmmaker Spotlight Ill Fares The Land, Directed by Patrick Ireland

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I

ll Fares The Land has made a powerful impact this year, becoming the most nominated film at PRIFF with a staggering 13 nominations, including our top award, Best of the Fest. Directed by Patrick Ireland, the film explores the rise of fascism in small working-class communities through the eyes of a mute, autistic boy, and the metaphor of a mermaid as a representation of asylum seekers. This hard-hitting yet emotionally grounded film uses its stunning seaside setting and deep thematic elements to confront the politics of hate, social atomisation, and the complexities of human pain. We sat down with Patrick to discuss the filmmaking process, his inspirations, and how he navigated these complex themes.

Q: What inspired you to set Ill Fares The Land in a small seaside town, and how does this setting reflect the broader issues of fascism and social change in the UK? Did the choice of location influence how you approached the visual storytelling?

A: I grew up in a seaside town (Herne Bay, Kent) which was very much a white working-class community. Sadly, over the years, I’ve noticed the rhetoric in these sorts of communities drift further to the right, with racism and xenophobia becoming commonplace. Indeed, this is happening everywhere – across not just Britain, but much of Europe and America. Fascism is on the rise again.

Given the so-called 'small boats crisis,' and how migrants have become a lightning rod for farright activity, I felt that a seaside community was the perfect setting for Ill Fares The Land. It also gave me the opportunity to film in Dungeness, which is an absolutely phenomenal location.

Both bleak and beautiful.

“Pain is ultimately what unites Q: The mermaid acts as a powerful metaphor for asylum the asylum seekers and the seekers. How did you develop this working-class communities that symbol during the writing have turned against them. It's a process, and how did it shape the powerful, shared force.” film’s visual and thematic language?

A: I can’t recall exactly how I came across using the mermaid as a metaphor for an asylum seeker, but as soon as I did, the script quickly took shape. I wanted the film to explore how we dehumanise migrants and refugees; the far-right presents them as something insidious, an almost existential threat, while George, the protagonist, sees a mermaid, something not quite human that he can’t grasp.

Mythology plays a big part in the film. Not just the mermaid, but how the far-right and nationalism use mythological characters or symbols to tell a story. George’s name comes from St George and the Dragon (a poster depicting this appears in his bedroom), and the far-right group call themselves 'The Knights of Avalon,' a reference to Arthurian lore. Even the English flag, the red cross, evokes a kind of mythological grandeur.

Q: The film is told through the eyes of a young, autistic boy.

Why did you choose this perspective, and what unique challenges or opportunities did this offer in terms of storytelling and character development?

A: I liked the idea of making George mute (selective mutism as a result of his autism) because of what it represented – the fact that the younger generation have had their voices stolen from them by their elders. Most young people do not want our politics to go down the right-wing path it’s currently on, yet they’ve essentially been rendered voiceless by the system and those who work for it. George embodies that.

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“Independent filmmaking allows me to tell stories that no studio would touch. It’s raw, it’s personal, and it’s uncensored.”

“Ill fares the land, to hastening ill a prey, Where wealth accumulates and men decay.”

Q: What was your approach to writing characters like the father and brother, who become radicalised? How did you ensure that they felt human and not just ideological figures?

A: I didn’t want cardboard cutout villains. Trey and George are partially victims themselves, stuck in violent poverty with no future. It was crucial to show that they don’t see themselves as the bad guys—they think they're fighting for something. Understanding that pain, disillusionment, and lack of opportunity create fertile ground for radicalisation helped humanise them.

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Q: You explore shared pain between asylum seekers and the workingclass communities that have turned against them.

How did you approach this theme to foster empathy and understanding in the audience?

A: The pain both groups feel is central to the story. Trey and George suffer from economic hardship, while refugees face unimaginable trauma. That shared pain ultimately connects them.

Trey’s revelation is that their struggles are not so different, and it’s pain that unites us all. Pain can be just as powerful as love in fostering empathy.

“The indie film circuit needs more filmmakers who are willing to step beyond genre conventions and become the voices of their generation.”

Q: The title Ill Fares The Land carries a lot of weight. Why did you choose it, and how does it encapsulate the central message of the film?

A: The title comes from an Oliver Goldsmith poem, though I first encountered it through Tony Judt’s book of the same name.

It speaks to the decay of society when wealth accumulates, and human values erode. It felt like the perfect encapsulation of the film’s exploration of inequality, dehumanisation, and our collective future.

PRIFF UK is proud to include this film in its selection and commends Patrick for his beautiful and poignant work. The indie film circuit needs more filmmakers who are willing to step beyond genre conventions and become the voices of their generation. Patrick, with Ill Fares the Land, has undoubtedly achieved this.

Ill Fares the Land is a testament to the power of filmmaking. It demonstrates how creative minds can address pressing contemporary issues, much like Charles Dickens did in his time, and present them in a way that resonates with a wider audience. This film delves into themes of pain and right-wing ideology without resorting to demonization, fostering a nuanced understanding of complex issues.

PRESS CONFERENCE, Czech Republic Directed by Alexander Hilli

SELECTOR S potlight Inside the Mind of a Festival Juror: A Conversation with Anna Agaronyan As one of the members of the selection committee for PRIFF UK, Anna Agaronyan had the opportunity to view a huge portion of the films submitted this year, gaining a unique perspective on the independent filmmaking scene. Her insights reveal the evolving nature of indie films and the recurring themes that have shaped this year’s entries.

Q: You’ve viewed a large amount of the submissions this year. What was your general impression of the films? Did any specific themes or genres dominate the entries?

Anna explained that this year, certain films tackled tough social issues, particularly focusing on the theme of immigration.

Anna Agaronyan PRIFF UK, 2024 Selection Committee Member

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‘”There’s more personal storytelling now, fewer genre films. Filmmakers seem to really be wanting to bear their souls.”

“Hatred of immigrants was often discussed. Specifically, there was more than one film on racism towards immigrants that used the specific image of a group of young people, mostly men, in black ski masks, trying to record their speech on protecting their nation and its values. It’s interesting that this very specific image occurred twice.”

Beyond this, she noted a shift in tone: "I felt more of a focus on familial relationships this year than romantic. Films about family felt more raw and more tense."

Q: With such a diverse range of films, do you have a specific process for evaluating them?

What criteria guide your selections?

“For me, the main criteria is whether or not it made me feel anything. The next one is for it not to be boring," Anna said with a chuckle. Her approach may seem simple, but it’s effective when dealing with such an eclectic mix of genres and styles.

“To me, narrative strength is definitely the most important factor. If the film doesn’t have a captivating story, then nothing else matters because the film is automatically boring and even the most beautiful cinematography in the world cannot salvage it.”

Ill Fares The Land, dir. by Patrick Ireland

Q: Were there any films that left a lasting impression on you?

Several films impressed Anna this year, but one truly stood out: "Ill Fares the Land had me in a chokehold. I actually added it to my ‘favourite of the year’ collection on Letterboxd!"

She also highlighted APART, a film that, despite being set almost entirely in one location, used this limitation to its advantage. “The claustrophobia from spending most of the film in one room really adds to the narrative tension. It was a great example of how independent filmmakers can work creatively with a limited budget.”

Q: How do you feel this year’s submissions reflect the current state of independent cinema?

Anna believes indie filmmakers are getting more introspective. “There’s more personal storytelling now, fewer genre films. When I first started watching indie shorts, there were a lot more horror films dominating the circuit. This year, I’ve seen a lot more dramas—filmmakers seem to really be wanting to bear their souls.”

“If the film doesn’t have a captivating story, then nothing else matters because the film is automatically boring and even the most beautiful cinematography in the world cannot salvage it.”

Q: Are there any films you feel deserved a spot in the festival but didn’t make the final cut?

Like any juror, Anna faced tough decisions. "There were definitely films that I loved but couldn’t be included.

Often it comes down to pacing or certain technical elements not quite being polished. I’d tell those filmmakers to keep honing their craft, as the storytelling was there."

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BUBBLING SYNAPSES, France Directed by William Eguienta

JUROR S potlight Adrian Perez: Shaping the Future of Independent Cinema The Lonely Wolf International Film Festival, founded by the multi-talented Adrian Perez, has made a name for itself as one of the most distinctive voices in the indie film festival circuit.

Perez, an award-winning actor and film director, has built a career that spans over 30 independent films, major commercials, and a key role in marketing operations at Disney Channels EMEA/UK. His entrepreneurial spirit, which led him to create both the Lonely Wolf Film Festival and the Filmfinity Fund, reflects his deep commitment to championing independent filmmakers worldwide.

Adrian Perez Founder of Lonelywolf International Film Festival

“Ultimately, it's about storytelling.

Does the film move me? Does it make me see the world differently?”

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Under Perez's leadership, Lonely Wolf has focused on elevating indie creators, emphasizing quality and innovation. With a global jury of esteemed filmmakers, writers, and industry professionals, the festival has become a beacon for creative storytelling. As he takes on the role of juror for PRIFF UK’s Best of the Fest award, Perez brings his unique perspective, honed through years of experience on both sides of the film industry— creator and judge. In a recent interview, he shared his thoughts on how his background shapes his approach to evaluating films, the importance of hybrid festivals, and the future of independent cinema.

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"Festivals like PRIFF UK are vital in this saturated market. By emphasizing quality and representation, they're creating a curated space where truly outstanding indie work can shine."

The Filmmaker's Perspective as a Juror

Elevating Indie Voices in a Saturated Market

Hybrid Festivals: The Future of Cinema?

When asked how his experience as a filmmaker impacts his role as a juror, Perez offered a thoughtful response:

Perez acknowledges that the market for indie films has become increasingly crowded in recent years.

Yet, festivals like PRIFF UK, which focus on both quality and representation, are crucial for elevating the best of independent filmmaking.

Having pioneered the hybrid festival format with Lonely Wolf, Perez is a firm believer in the power of combining the prestige of traditional festivals with the accessibility of online events.

"As a filmmaker, I know the blood, sweat, and tears that go into every project. Now, as a jury member, I'm not just looking at the polished final product, but appreciating the journey it took to get there. It's about recognising both the vision and the execution."

This dual perspective has allowed Perez to evaluate films holistically, understanding the complexities of bringing creative visions to life, while also ensuring that the final product resonates with audiences.

He stresses the importance of narrative strength, something he often looks for when judging films.

“Does the film move me? Does it make me see the world differently?

Those are the qualities that really make a film stand out.”

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“By emphasizing quality and representation, festivals like PRIFF UK are creating a curated space where truly outstanding indie work can shine. We need to keep pushing for diverse voices and innovative storytelling, while also providing tangible support and networking opportunities for emerging talent."

This emphasis on quality and representation aligns with Perez's vision for Lonely Wolf, which was founded as a reaction to the lowquality online contests that sprang up during the pandemic. He sees festivals as more than just showcases for films—they are vital in building lasting networks that can help filmmakers in their careers.

“Hybrid festivals are the future, no doubt. They offer the best of both worlds—the prestige and networking of traditional festivals, with the accessibility and reach of online events."

Perez speaks from experience.

Lonely Wolf's hybrid model has allowed it to engage a wider audience while maintaining its rigorous standards for quality.

Flexibility, he says, is the key to success in this space, particularly when it comes to catering to both filmmakers and audiences.

JUROR S potlight "Festivals need to focus on creating lasting connections and opportunities— facilitating meetings with industry professionals, offering mentorship programs, or providing production support."

AI in Filmmaking: Friend or Foe?

Building a Path Forward for Indie Filmmakers

With the rise of AI in the creative industries, Perez sees potential for indie filmmakers to push the boundaries of what’s possible in their storytelling. Reflecting on his recent experience as a jury member for the AI Film Awards in Venice, Perez noted how AI tools are leveling the playing field for lowbudget productions.

Adrian Perez is deeply committed to providing meaningful opportunities for filmmakers beyond just awards and laurels. As part of his leadership of Lonely Wolf and FilmHaus, he’s exploring ways to offer mentorship programs and production support. His goal is to turn festival recognition into tangible career advancement for indie filmmakers.

“There’s real potential for AI to level the playing field for indie filmmakers. Imagine being able to add big-budget elements that were previously out of reach for lowbudget productions. It’s gamechanging."

However, Perez believes the key to successfully incorporating AI in film lies in balance. AI should amplify human creativity, not replace it.

Moving forward, he anticipates more AI-assisted submissions in film festivals and is excited to see how filmmakers continue to experiment with these tools.

"Beyond awards, festivals need to focus on creating lasting connections and opportunities.

We're always looking for ways to turn festival recognition into career advancement for filmmakers. It’s challenging, but we’re determined."

As PRIFF UK looks to establish its Best of the Fest award as a top prize, Perez believes such accolades can be career-defining for indie filmmakers, helping them break through the noise of streaming platforms and social media.

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Flo, Canada Directed by Bridget Farr

Filmmaker Spotlight Dancing Amid Fire, Rising Above Ruins, directed by Essmat Sophie

"This movement embodies the ongoing resistance against patriarchal, political, and ethnic oppression. It’s a continuation of the fight for Kurdish and Iranian women’s rights."

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ssmat Sophie, the critically acclaimed filmmaker and author, has made waves with her latest film, Dancing Amid Fire, Rising Above Ruins.

Her work focuses on the intersection of personal trauma and broader societal struggles, particularly those faced by Kurdish women. In this interview, Sophie shares her insights into the symbolism in her film, the influence of the "Woman, Life, Freedom" movement, and how her diverse cultural experiences have shaped her storytelling.

Exploring Trauma and Survival Through Red Shoes Sophie’s decision to centre Dancing Amid Fire, Rising Above Ruins on Tara’s red shoes is both deeply personal and rooted in collective Kurdish memory. “The red shoes serve as a potent symbol of the lost dreams and innocence of Tara’s childhood, destroyed by war and displacement,” Sophie explains.

When the shoes reappear decades later, discovered by Tara’s daughter in Norway, they symbolize the intergenerational transmission of trauma and hope. For Sophie, the shoes are a metaphor for the resilience of Kurdish women, a physical reminder of the past and the possibility of reclaiming lost dreams.

"The red shoes serve as a bridge between the past and present, a tangible representation of resilience that defines Tara and, by extension, Kurdish women," says Sophie.

The Influence of the “Woman, Life, Freedom” Movement The global movement sparked by the death of Mahsa Jina Amini has had a profound impact on Sophie’s work. As a Kurdish woman, Sophie sees this movement as a continuation of the fight for Kurdish and Iranian women's rights. Through her films and writing, she amplifies the voices of those oppressed by patriarchal and political systems.

"The movement’s slogans echo throughout my film, particularly in the scenes where Tara’s daughter participates in protests in Norway, linking her personal journey with a broader global fight for women’s freedom," Sophie shares. The “Woman, Life, Freedom” movement, which arose in response to gender-based and ethnic oppression, has significantly shaped her storytelling.

A Multicultural Lens on Women’s Rights and Identity Sophie’s life journey—from Iran to the U.S. and eventually Norway—has greatly influenced her narrative approach.

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Each cultural context has provided her with a unique perspective on identity, survival, and women’s rights.

In Iran, she witnessed firsthand the oppression faced by Kurdish women. In the U.S., she experienced struggles related to exile and assimilation, while Norway offered her a new lens through which to reflect on freedom and equality.

"This mosaic of experiences allows me to create narratives that are at once deeply personal and universally resonant, reflecting not only the Kurdish experience but the broader human condition," says Sophie.

"The red shoes serve as a bridge between the past and present, a tangible representation of resilience that defines Tara and, by extension, Kurdish women."

Connecting Generations Through Art One of the most profound aspects of Dancing Amid Fire, Rising Above Ruins is the relationship between Tara and her daughter, which mirrors Sophie’s own views on the legacy of trauma and resilience. The rediscovery of Tara’s red shoes by her daughter decades later represents both the scars of war and the strength passed down between generations.

"While trauma may seem like a permanent loss, there is always the potential for recovery, healing, and new beginnings," Sophie believes.

Through her art, she shows how resilience is passed down, just as much as trauma.

Art and Film as Tools for Global Change Sophie views art and film as powerful tools for social change. Movements like “Woman, Life, Freedom” gain strength when stories of marginalized communities are shared on global platforms.

"Film festivals, global exhibitions, and transnational media collaborations are crucial in spotlighting movements like 'Woman, Life, Freedom,'" Sophie explains.

She emphasizes the importance of financial support for independent filmmakers from marginalized communities, as it is often these voices that are silenced due to lack of resources.

Sophie is currently working on adapting her novel Dancing Amid Fire, Rising Above Ruins into a film, though she faces challenges in securing funding.

"Independent filmmaking allows me to tell stories that no studio would touch. It’s raw, it’s personal, and it’s uncensored," she reflects.

Looking Forward Essmat Sophie’s work as both a filmmaker and author continues to inspire, shedding light on the Kurdish experience and advocating for women's rights.

Through her films, Sophie creates an emotional connection that transcends borders and brings attention to critical social and political issues. Her storytelling bridges personal narratives with broader movements, ensuring that the voices of Kurdish women are heard on the global stage.

The Transformative Power of Storytelling: Amplifying Voices and Bridging Cultures

By supporting these voices, we’re opening a portal to worlds that audiences might never otherwise encounter, allowing them to learn about the strength and resilience of communities like the Kurdish people. Through imagination and creativity, filmmakers like Essmat Sophie teach us that stories have the power to transcend borders, offering not just a window into different cultures, but a mirror that reflects our shared humanity.

PRIFF’s commitment to showcasing underrepresented voices isn’t just about providing a stage for talented filmmakers—it’s about the vital role that storytelling plays in bridging cultures and sparking change. Films like Dancing Amid Fire, Rising Above Ruins don’t just entertain; they educate, inspire, and encourage empathy.

In Dancing Amid Fire, Rising Above Ruins, which has been nominated at this year’s PRIFF for Best Animated Short and Best Original Score, Sophie demonstrates the power of resilience, not only for those who lived through the horrors of war but for future generations determined to carry forward the fight for freedom and identity.

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DAKINI, Nepal Directed by Arniko Kumar Singh

PRIFF 2024 IN REVIEW A YEAR IN NUMBERS

As the curtain falls on this year's PRIFF, the festival's global footprint shines brighter than ever. With a diverse array of submissions spanning continents and demographics, the numbers reveal compelling trends— from country representation to gender balance—that shaped the lineup. Let's dive into the figures that defined PRIFF 2024.

Submissions by Gender

Top Submissions by Genre

Submissions by Country

Pie chart below shows the percentage of submissions by gender.

This pie chart shows the countries from which we received most of our submissions.

Other 1.2%

This pie chart shows the distribution of submissions received by genre.

Rest of the World 20.2%

Female 33.7%

Drama 18.3%

UK 40.7%

Canada 3.7% France 5.8%

Thriller 6.7% Fantasy 3.6%

US 29.6%

Overall, total submissions went up by nearly 40% yearon-year, with the highest number of international entries we've ever received— spanning countries from Botswana to Sweden to Nepal. This global reach highlights the growing recognition of PRIFF as a platform for diverse voices across the world.

Comedy 6%

Others 56.7%

Male 65%

This year saw a remarkable 77% increase in submissions from the UK, a rise that likely correlates with the introduction of our Best British Film category, as well as our efforts to adjust submission price points in light of the cost of living crisis. We understand how expensive a festival submission season can be for independent filmmakers, and we’re committed to making it more accessible.

Horror 6.7%

There was also a significant shift in the gender balance of our submissions, with 65% coming from male directors and 34% from female directors. This marks a notable improvement from our 2021 and 2022 figures, which stood at 77% male and just 22% female submissions.

When filmmakers feel seen and celebrated, they are more likely to submit their work, enhancing the diversity of the submissions and increasing the visibility of important stories that might otherwise go untold. The better the representation, the stronger and more inclusive the festival becomes.

The 12% rise in female participation correlates with the introduction of our Best Women-Directed Short category, which we established to ensure female directors felt recognised and encouraged to submit their work.

It’s not only where gender is related where we have seen a change. When we break down and analyse our submissions by genre, we also see a shift. It's clear that films today rarely fit into just one category.

We're immensely proud of the quality of films that have come our way this year. It's vital that more festivals create categories for underrepresented voices.

Audiences and filmmakers alike have become increasingly eclectic in their tastes, often drawing inspiration from multiple genres.

This year’s submissions spanned an impressive array of genres—69 in total— highlighting the diversity and creativity driving the indie film scene. On FilmFreeway, filmmakers select multiple genres and sub-genres for their projects, revealing the full scope of modern storytelling and the vibrant mix of voices and styles shaping today’s cinema.

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Submissions by Rating

The pie chart below shows the distribution of our selection committee's rating across all the projects submitted for 2024.

Under 2 stars 10.1% 4 - 4.9 stars 11.8%

2-2.9 stars 39.5%

3 - 3.9 stars 38.7%

Drama remains the most popular choice, with a 50% year-on-year increase in its use as a primary category, reflecting an ongoing trend toward films that offer deeper social commentary and more human-centred stories.

That being said, this year’s submissions reflect a wide spectrum of filmmaking talent and execution and our analysis of our selection committee’s ratings further proves this with ratings spanning from under 2 stars to just shy of 5 stars.

In contrast, we've seen a slight dip in horror submissions, perhaps suggesting that horror filmmakers are focusing on genre-specific festivals, as the industry has too often overlooked them. At PRIFF, we're here to show these films the love they deserve and encourage all genre filmmakers—whether in horror, sci-fi, fantasy, or fan films—to bring us more of their bold, imaginative work.

The largest group of films fell into the 2-2.9 star range, representing 43.1% of all submissions.

These genres offer rich creative possibilities, and more submissions from these categories could further enhance and diversify the festival’s lineup.

These films often showcased promising ideas but struggled in areas like technical quality, narrative clarity, or pacing.

It's likely that many of these projects were made by emerging filmmakers still honing their craft, or by teams working within the constraints of limited resources.

“Genres are the languages we use to tell stories, but the best films find a way to speak beyond them.”

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Emma (Mam Anthology), UK Directed by Laura Lee Daly

Backmask, UK Directed by Matt Fitch & Chris Baker Similarly, 42.2% of the films were rated between 3 and 3.9 stars, reflecting a solid level of execution. These films showed strong potential, with decent production values and storytelling, though they may have lacked that extra refinement needed to push them into the top tier.

This is where we see a lot of indie filmmakers striving to break through, delivering projects that are competent but not quite at the level of the festival’s standout pieces.

Here are some of the toprated films by our selection committee this year. A small but impressive percentage of submissions fell into the 44.9 star range, highlighting some of the standout entries of the festival.

Leading the way was Learning to Fly (Animation), which earned an exceptional 4.9 stars, making it the highest-rated film of the year.

Close behind was Dakini (Mid-length), receiving 4.7 stars, celebrated for its compelling narrative and strong execution.

Other films that made a strong impact with 4.4 stars include Two Knights (Short Film), Ill Fares The Land (Short Film), Bubbing Synapses (Animation), and I am Kanaka (Short Documentary).

These films stood out for their creativity, technical excellence, and powerful storytelling, demonstrating the diversity of voices and genres that continue to thrive in the indie film circuit.

In conclusion, this year’s submissions to PRIFF reflect the ever-evolving landscape of indie filmmaking, with increasing diversity not only in where films come from, but in the genres and voices being represented.

From the rise in femaledirected films to the eclectic mix of genres submitted, the numbers tell a story of growth, creativity, and ambition. While drama continues to dominate, we see an exciting range of genres being explored, with filmmakers pushing boundaries and delivering stories that resonate on both a social and emotional level.

Looking ahead, PRIFF remains committed to fostering inclusivity within the festival. We will continue to promote categories that amplify underrepresented voices and genres, ensuring that filmmakers from all backgrounds and styles know that their work is valued. As we expand these efforts, we believe it will not only increase submissions but enrich the festival itself, making it a true celebration of global, diverse storytelling.

Knight to Queen, France Directed by Sara Lotfi A short intro or kicker of the listicle will go here. This part acts as a bridge between the headline and the items on the list.

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T T S S E BBE ESSTT E F F E E H H T T F F O O

This year, we’re excited to introduce Best of the Fest, a new award we aim to establish as PRIFF’s most prestigious honour. This award will go to the single best film submitted to the festival—regardless of genre.

At many short film festivals, narrative live-action tends to dominate, often overshadowing other forms of filmmaking. But here at PRIFF, we want to make it clear: we care about all forms of storytelling. Animation, documentary, experimental film— every style has a chance to shine. Of course, there can only be one ultimate winner!

How did we select the nominees? We started by looking at the highest-scoring films from each genre, factoring in feedback from our selection committee.

Additionally, our co-directors put forward their own picks to ensure a broad and balanced shortlist. From there, we narrowed it down to ten exceptional films, which were sent to a Voting Jury. Each jury member ranked their top five films, awarding points from 5 (best) to 1.

The film with the most points will take home the Best of the Fest award.

Below are the final ten nominees, reviewed by our resident critic Joe Horne, Selection Committee President, Bec MC Jagger and PRIFF co-director, Victor de Almeida!

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DAKINI Reviewed by Bec MC Jagger Bonkers, bold, and beautiful—Dakini pulls you into a visually mesmerizing world where magic and myth collide. The noir-inspired palette, punctuated by splashes of color, enhances the story’s mystique, making every frame a work of art. Even if the narrative isn't for everyone, the cinematography alone makes this film an enthralling experience.

5 Nominations

Sampanna’s portrayal as Boy is compelling, drawing us in with genuine warmth, while Anoop’s role as Man introduces complex questions about humanity, with Malika’s character adding a powerful layer to this exploration. The narrative is rich in metaphor, and while the twisting storyline may occasionally lose some viewers, it’s an ambitious choice that heightens the film's intrigue.

While some FX moments feel dated, they don’t overshadow the film's stunning visuals and thoughtful direction. Dakini is a daring journey—a visual feast with depth for those willing to embrace its wild, imaginative spirit.

Director Arniko Kumar Singh, Genre Drama, Language Nepali, Country Nepal, Runtime 42 mins.

PRESSBURG Reviewed by Bec MC Jagger Pressburg may have initially felt like a spin on V for Vendetta, but it quickly proves itself as something fresh, quirky, and thought-provoking. The show’s unique style and blend of drama with hints of comedy work seamlessly, thanks to sharp writing, strong direction, and standout performances.

Following Attila's family in Slovakia, the story beautifully balances the struggles of multiculturalism with intimate family dynamics. The portrayal of Attila’s journey, particularly his relationship with his ailing father, is both heartwarming and heartwrenching. While Attila’s emotions could be heightened, his mother’s deeply layered performance in the fields poignantly captures the family’s tension and resilience.

Though the first episode could benefit from broader character introductions, it skillfully draws you into Attila’s world, leaving you eager to dive deeper. Pressburg has all the makings of a global hit, shining a positive light on the complexities of cultural integration.

3 Nominations

Director Csaba Molnar, Genre Drama/Comedy, Language Slovak, Country Slovakia, Runtime 25 mins.

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BACKMASK Reviewed by Victor de Almeida Directed by Matt Fitch and Chris Baker, Backmask is a standout horror short, and one of the highest-rated entries at this year’s PRIFF. From the beautifully framed opening shot, the filmmakers’ command is evident—they eschew quick cuts for a slow, deliberate slide into the scene, urging the audience to simply trust the ride. No text is needed to set the era; the impeccable 70s makeup, production design, and costumes do all the talking. David Shields and Charlie Rix deliver natural, charismatic performances that suspend disbelief, making it feel like more than acting.

The cinematography shines early, but the first night scene is where it truly astonishes with sublime lighting and framing. Shields' commanding screen presence captivates throughout. The sharp script is only elevated by the actors' flawless delivery. Adam Smyth’s sound design melds with the editing so seamlessly, it’s like a symbiote—Venom-level perfection, dark and in sync. My Rating? Fucking Brilliant!

9 Nominations

Director Matt Fitch, Chris Baker, Genre Horror, Language English, Country UK, Runtime 15 mins.

I AM KANAKA Reviewed by Joe Horne ‘I Am Kanaka’ is a compassionate slice of life – documenting both Hawaiian history, as well as it’s future with Kaina Makua. Makua seeks to make sure Hawaiian culture, traditions and it’s legacy are preserved by teaching them to the youth. Director Genevieve Sulway has taught us these as well. I, for one felt educated and finished with a thirst for more knowledge of the customs.

Drone footage provided by Marius Van Graan captures the splendour and beauty of the islands, but the film seeks to dig further – unveiling history behind the touristy sheen.

2 Nominations

The past, present and future have been intertwined seamlessly in this educational, empathetic documentary. Hawaii’s cultural past has shaped it’s present, Makua seeks to make sure it will continue to shape its future in an entirely positive way. His story is uplifting, and we should all be grateful Sulway was the one to tell it.

Director Genevieve Sulway, Genre Documentary (Short), Language English, Country UK, Runtime 15 mins.

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MAKE ME MURDER Reviewed by Victor de Almeida Rahel Peker’s Make Me Murder captivates from its stunning opening sequence, where the sumptuous colour grading and striking framing create a well-balanced, visually rich experience steeped in anger and violence. The film’s vibrant reds and cinematic language nod to French filmmaking, heightening the allure.

Jess Michaelmore is mesmerizing as the lead, her intense, magnetic gaze drawing you in, while Mia Brown as Nicole artfully steals scenes with the flair of an Artful Dodger. Although the quick editing could have benefitted from a slower pace, and the dialogue feels expository at times, the bold, witty score and wellchoreographed climax deliver a surprising punch. Peker’s stylish, female-driven story showcases a director whose voice is only set to grow stronger.

3 Nominations Director Rahel Peker, Genre Drama, Language English, Country UK, Runtime 19 mins.

CAKES! Reviewed by Joe Horne Cakes! rams into your face and makes no apology for mess it leaves.

Herbin’s influences run far and wide, but Lewis Carroll is obvious. The Woman makes her journey down an oven, like a rabbit hole. Her destination is a stodgy, sugar-coated nightmare that she must eat her way out of. Alice wakes to leaves brushing her face, The Woman is not so lucky with what she wakes to find on her face…

2 Nominations

The concoction of the uncanny puppetry, with composer Oliver Lodge’s bombastic ‘All the Flavours’ song of the cakes singing creates a sense of dizzy unease. The micro runtime of Cakes! does none to delegitimise itself as a genuine surrealist gem.

Director Anthony Rubenstein, Genre Microshort, Language English, Country UK, Runtime 4 mins.

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ILL FARES THE LAND Reviewed by Victor de Almeida Patrick Ireland’s Ill Fares The Land is a film that makes other filmmakers wish they'd thought of it first. This beautifully original piece tackles the re-emergence of far-right ideals with stunning nuance, capturing the despair and disconnection of people often abandoned by society. The ultra-wide aspect ratio amplifies the sense of emptiness and entrapment in a town that feels haunted by time, its stillness echoing the characters' own stagnation.

Ruarigh Adlington as Trey is magnetic, using his voice and expressive eyes to hold the screen effortlessly. Each actor, no matter the role, makes an impact— this cast embodies the essence of “no small parts.” Stephen Roache’s cinematography is simple yet powerful, relying on natural light and classic framing, punctuated by breathtaking underwater shots that leave you mesmerized.

13 Nominations

Seamless editing and lush pacing set the tone, while the film’s social commentary, delivered through magical realism, never patronizes. Ill Fares The Land is a gem, showcasing a singular filmmaker with a rare vision.

Director Patrick Ireland, Genre Short Film (Narrative), Language English, Country UK, Runtime 19 mins.

APART Reviewed by Joe Horne APART is a potent look at the desensitised version of discourse we now find ourselves consumed by, attempting to bring empathy to the table. The film itself is not inherently political, and is more interested in looking at heightened emotional, human responses in an intimate, isolated setting. It’s refreshingly free of finger-wagging.

9 Nominations

The cast excels. Karl Martin, as a radicalised right-winger, and Cecilia Cambell, as his adoptive mother both ooze with humanity. We feel his sense of pain, we feel her sense of pain. The film gives plenty of psychology for the viewer to chew on and mull over, namely how an adopted immigrant could develop such vitriol for immigrants.

Luca Pirero is less interested in giving lessons, and more interested in examining human identity. Dinner table conversation becomes heightened and aggressively political, but simultaneously we see personal communication breaking down, as if it’s a shield against having personal conversations.

Director Luca Pirero, Genre Short Film (Narrative), Language Swedish, Country Sweden, Runtime 15 mins.

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DANCING AMID FIRE, RISING ABOVE RUINS Reviewed by Joe Horne

Essmat Sophie has crafted an intimate, from-the-heart portrait of a Kurdish-Iranian experience.

1979 – sadness and state violence plagues the backdrop, as colour pops in small doses to the wonderfully scrappy animation, signifying joy to a girl’s life. A pair of shoes, a pet fish. Norway, 2022 – the girl, now a woman, still recognises the pain of Iran.

The colour pops through the shop window as she buys her own daughter the shoes.

3 Nominations

Mashaallah Mohammadi’s beautiful cross-hatch animation does little to distract from the film’s intimately human tale. A tale of finding joy in little things amidst a melancholic air.

Director Essmat Sophie, Genre Animation, Language English, Country Norway, Runtime 6 mins.

TWO KNIGHTS Reviewed by Joe Horne Two Knights is a brooding, biblical psychological drama that transports the viewer to a moral grey zone, challenging notions of what we consider right and wrong.

The script uses literal terminology to differentiate the conflicting ideas of faith to a Lord. Channelling The Seventh Seal, a game of chess is used as the centrepiece to these conflicting sides. Archangel Michael has faith in the status quo, Lucifer tries to show him things are not cut-and-dry.

Slick cinematography, top level VFX, and Szkopiak’s sense of framing prove that the film has embraced the supernatural and fantastical elements to the story, this is ultimately an intimate meditation on morality and the very nature of our existence.

10 Nominations

Director Piotr Szkopiak, Genre Short Film (Narrative), Language English, Country UK, Runtime 16 mins.

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