10 Short Films You NEED to See at Clermont-Ferrand 2025

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Unlike many film festivals that prioritize world premieres with a commercial focus, the Clermont-Ferrand Short Film Festival doesn’t insist on this for the films it selects. This decision reflects a commitment to both a loyal local audience who seek high-quality content and an awareness of the broader industry landscape.

According to programmer and coordinator Julie Rousson, our market requires top-notch quality as well. For filmmakers, there’s nothing quite like seeing their short film played in a lively, responsive theater—it’s both an industry event and a public showing, and this dual nature can significantly boost a filmmaker’s visibility and recognition within the industry.

Titles such as “Andrea Gatopoulos’ AI-aided sci-fi thriller ‘The Eggregores’ Theory'” might initially gain respect in the global film circuit. Later, it could make an appearance at the prestigious French film festival, already generating buzz. From Clermont-Ferrand, a world of possibilities unfolds.

Below are ten buzz titles reaching Clermont-Ferrand this year.  

“A Move,” (Elahe Esmaili, UK, Iran)

After spending several years in the UK, filmmaker Elahe Esmaili goes back to her native town Mashhad, where she feels an urge to abandon wearing a hijab. This personal decision ignites a generational clash that unfolds amidst Iran’s Woman-Life-Freedom demonstrations. The documentary received a Special Youth Jury Award at last year’s Visions du Reel and has continued to be a highlight in film festivals since then.

“An Attempted Escape,” (Sébastien Betbeder, France)

Film producer and festival regular Sébastien Betbeder comes back with a documentary focusing on an acting workshop led by French comedian Sébastien Chassagne, which was exclusively provided to prisoners. Since legal restrictions prevented the filmmaker from displaying the prisoners on screen, he employed artificial intelligence to replace their appearances with more recognizable celebrity figures – such as Bill Murray.

“Apocalypse,” (Benoît Méry, France)

For approximately 14 intense minutes, director Benoît Méry takes viewers deep into the chaotic mosh pits and secure zones of the Hellfest heavy metal festival, placing them right in the thick of the action with an impartial perspective and a knack for creating visually stunning explosions.

“I Died in Irpin,” (Anastasiia Falileieva, Czech Republic, Ukraine, Slovakia)

At Annecy and awarded the top honor at the LINOLEUM Contemporary Animation and Media Art Festival, this autobiographical, mixed-media documentary chronicles the Ukrainian filmmaker’s personal account of flight and endurance. Due to being unable to revisit her hometown, Falileieva constructs a fictional universe from memories and intricately combines collages to depict the turmoil of war.

“La voix des sirens,” (Gianluigi Toccafondo, France, Italy)

While many may not recognize the name Toccafondo, his artistic contributions are undeniably familiar – he designed the animated logo for Ridley Scott’s Scott Free Productions and the opening credits for last year’s “Gladiator II”. His latest movie, devoid of dialogue, is a whimsical tale spun around a voice softer and more alluring than any heard before, painted on photograms.

“Lees Waxul,” (Yoro Mbaye, Senegal, Belgium, France)

As a humble fisherman turned day-old bread vendor, I’ve unwittingly stepped into a world of village corruption, petty gangsters, and tangled family ties. Known for my work in both fiction and documentary films, I, Senegalese filmmaker Yoro Mbaye, have also collaborated with acclaimed directors such as Alain Gomis and Philippe Lacôte.

“Now, Hear Me Good,” (Dwayne LeBlanc, U.S.)

Director Dwayne LeBlanc follows up his highly acclaimed 2019 short film “Civic” with a tribute to the curative effects of music. In the narrative, character Booker finds himself away from home yet surrounded by friends and mentors as he throws an energetic gathering. However, once the party winds down and the final guests depart, a sense of emptiness resurfaces for him. It isn’t until the following morning, while playing his trumpet, that he discovers his niche amidst the tranquility of the gentle early dawn light.

“Quota,” (Job, Joris & Marieke, Netherlands)

The creative team comprising Job Roggeveen, Joris Oprins, and Marieke Blaauw – who are known for signing their films with just their first names – have produced a succinct short film following their 2015 Oscar-nominated short “A Single Life” and their 2019 Emmy winner “Kop Op”. This new production humorously criticizes reluctance towards sustainability in under three minutes. Carice van Houten lends her voice to an app that struggles unsuccessfully to reduce the carbon footprint of a particularly wasteful individual.

“The Devil and the Bicycle,” (Sharon Hakim, Lebanon, France)

Debuting from Clermont-Ferrand’s national competition, the movie “The Devil and the Bicycle” tells the story of a teenage girl brought up in a multi-faith household. Her exploration of sensuality surpasses any spiritual enlightenment she may have experienced. Critics lauded this film set in the 1990s for its portrayal of female liberation and empowerment.

“What If They Bomb Here Tonight?” (Samir Syriani, Lebanon)

Back in September, I was the lucky director whose work, prompted by this year’s Lebanon focus, will make its world premiere at Clermont-Ferrand‘s international competition. My partner Nadyn Chalhoub and I portray a Beirut couple on screen, huddled inside our apartment as Israeli air raids echo outside. In the moments between explosions, we find ourselves pondering, “What if one of these bombs lands here, right now?” The thin border between reality and fiction in this narrative film is delicate, as the danger depicted on screen mirrors our own off-screen struggles.

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2025-01-30 12:17