‘2025 Oscar Nominated Short Films: Live Action’ Review: Optimism and Outrage Battle It Out in Solid Shorts Crop

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Over the last two decades, the Academy Awards have been undergoing significant changes: The number of best picture nominees has doubled from five to ten, the membership has expanded and diversified by over 50%, and streaming films are now regularly competing for top honors. Despite all these transformations, one consistent factor persists: For the past twenty years, ShortsTV has been collaborating with the short film nominees to ensure their work gets viewed nationwide. The audience for these theatrical releases is growing annually, to the point that the “2025 Oscar Nominated Short Films: Live Action” package is projected to surpass the box office earnings of the best picture nominee “The Nickel Boys.

Kicking off with a robust and multinational lineup, the opening slot goes to “The Man Who Could Not Remain Silent,” a Croatian short film that won the Palme d’Or at Cannes last year. This gripping tale takes place on a train journeying through Bosnia in 1993, with director Nebojša Slijepčević basing his fact-inspired thriller around the tense and unsettling moment when armed men board the train to segregate Muslim passengers. The narrative centers on an ordinary man named Dragan (played by Goran Bogdan), who, despite the ominous atmosphere, realizes the injustice unfolding. However, the intimidating gun-wielding officer (portrayed by Alexis Manenti) is so terrifying that Dragan hesitates to act heroically. As viewers, we find ourselves witnessing and sharing the shame of the subsequent events. The film is a tribute to Tomo Buzov, a veteran who paid a heavy price for defying the soldiers, serving as an inspiration during times when standing up against injustice becomes a moral necessity.

Over the past few years, the Academy has been employing the short film categories as a platform for expressing diverse political viewpoints. While this allows voters to express their personal values, it can seem like an unusual takeover of an award that should primarily celebrate emerging filmmaking talent. This year, there are undeniably gifted directors behind the cause-driven nominations, such as Adam J. Graves and his film “Anuja.” Starring first-time actress Sajda Pathan, the story revolves around a 9-year-old girl who works in an Indian garment factory under shady circumstances. The narrative is thin yet poignant, as Anuja navigates a world filled with Dickensian adults – some seeking to exploit her, others aiming to guide her towards a brighter future. The film sadly concludes before Anuja makes her pivotal decision, but the backstory holds significant weight: Graves collaborated with the Salaam Baalak Trust to cast a girl who had been rescued from a similar situation to play the role of Anuja, using the project as an inspiration for children in similar predicaments.

In my view, the standout nominee that’s been selected primarily for its exceptional filmmaking rather than the cause it supports is “I’m Not a Robot,” directed by Dutch filmmaker Victoria Warmerdam. This engaging 22-minute piece finds Ellen Parren as Lara, sitting in a sleek modern office building, lost in the melancholic tune of “Creep.” As she encounters a vexing CAPTCHA test on her screen, I’m sure many can relate to the frustration. However, Warmerdam introduces an intriguing twist: what if Lara was actually a robot, and this test was her awakening moment? This innovative perspective adds a fresh angle to the AI discussion, making viewers question their own identity as they join Lara on her emotional rollercoaster of self-doubt and introspection. Surprising, original, and ripe for expansion, “Robot” seems like the blueprint for an exceptional full-length feature exploring a unique genre of psychological manipulation.

The documentary ‘A Lien’ by filmmakers David and Sam Cutler-Kreutz provides a stark portrayal of an issue commonly tackled in social justice cinema: the harsh tactics employed by U.S. Immigration and Customs Enforcement to apprehend non-citizens. By capturing a bureaucratic ordeal unfolding almost live, they criticize the system by highlighting its complexity and lack of personal touch. The film’s 15-minute runtime feels like a prolonged panic attack as it follows a couple (William Martinez and Victoria Ratermanis) and their young daughter as they race to attend a mandatory immigration interview. The narrative doesn’t dwell on the man’s past infractions, but rather focuses on his struggle to abide by the rules in order to stay in the country, with ICE officers poised to arrest him at the meeting. The film’s tense cinematography and handheld shooting style intensify the anxiety of a situation that doesn’t pretend to offer a comforting resolution, given the troubling nature of the policy it addresses.

Rather than contrastingly, Cindy Lee’s intense 28-minute production titled “The Last Ranger” plunges us into the core of despair – an African wildlife sanctuary beset by poachers who cruelly strip rhinos of their horns. However, against all odds, this film leaves viewers hopeful about a battle that seems unwinnable. The character Litha (Liyabona Mroqoza) cherishes the endangered local creatures and looks up to Khusi (Avumile Qongqo), a woman who’s devoted her life to their protection. In an unexpected turn of events, Khusi takes Litha along on duty, aiming to show her a real rhinoceros. But instead, they encounter the very brutality that Khusi vowed to stop. The audience-friendly version of this tale may be easier to envision, but Lee respects the genuine sacrifice of these heroes too deeply to sugarcoat it. Consequently, the film contains authentic footage of a rhino left for dead… and concludes with an inspiring reunion with that same animal during the end credits.

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2025-03-02 05:16