Something Like The End of The World

"Big collapses usually arrive through small lapses. We don't feel society falling apart as an idea — we feel it as inattention, exhaustion, the moment no one bothers to correct something that feels off."

In Emma Doxiadi's darkly strange short Something Like The End of The World, one woman's heartbreak spreads through an Athens restaurant like an emotional virus. Emma breaks down how she stripped fainting of its melodramatic embroidery to create a procedural refusal, why the 4:3 ratio functions as both intimate portraiture and surveillance apparatus, and how shooting everything within a single day gave the film its theatrical, unbroken pulse.

Welcome Home Freckles

"Me crying is not the point of this film. I wanted to keep the distance so that I could give each character enough space to exist as themselves."

Director Huiju Park discusses the challenging process of directing herself through family confrontation in her BAFTA-nominated NFTS grad short Welcome Home Freckles, where, after cutting ties for four years, she returns home to confront the abuse that fractured her family. Huiju breaks down how she signalled shot changes behind her back while mid-conversation as the doc's principal subject, and her mission to deploy the aesthetics and visual language of Asian narrative cinema into the documentary world.

Jane Austen’s Period Drama

"We both share this love of base humor, but also wordplay and the puzzle of jokes and comedy, and also caring about the world and caring what we have to say with the types of films that we want to make."

DN digs into corset comedy, cramps and Academy glory with Oscar-nominated co-directors/writers Julia Aks & Steve Pinder, who unpack their pun-inspired joyfully bloody road to the 2026 Oscars with Jane Austen's Period Drama.

Baby Tooth

"I live in a small town on the Oregon Coast that is full of 'characters' and I wanted to capture a sliver of that energy in this film, the extreme and wide spectrum of folks who occupy the same scenic and wild space that is 'the coast'."

Directed with stylish grit and a lot of heart, absurdist short Baby Tooth offers an unsuspecting man a bizarre choice: buy a boat or pull a tooth? In our interview, writer/director Olivia Accardo reveals how a real-life encounter with local seller (and now firm friend) Dakota Bouher led her to direct a 5-minute stylised fever dream starring her Dakota, which she made with nearly an entirely women/LGBTQ crew and went on to screen at Tribeca.

Candy

"I am a huge advocate for plus-size women in film and television who are portrayed in ways that don’t centralise their fatness as a fundamental characteristic or make them the butt of the joke."

Timed to make its online premiere on what is joyfully known as #galentinesday and slap bang in the middle of #bodypositivitymonth, Sarah Grant reclaims sexuality and empowerment in her body positive comedy short Candy, which celebrates female friendship and self-expression in the story of an amateur plus size burlesque enthusiast preparing for her debut show.