I'm screaming at Cluctok! It's the best TikTok parody Ive seen. The chicken in star glasses filming herself on a phone is literally my clients. The film perfectly shows how we've all become slaves to content, even if we're just selling eggs. Level 100 irony.

The story about the sunken island of Vordonisi and the witches is a ready-made script for a horror movie!

11 minutes is a bold runtime for a short. It allows the story to breathe. The contrast between everyday life (the woman with buckets) and the dream (the boy with binoculars) creates excellent conflict. The UFO here isn't just a plot twist, but a metaphor for the hope of escaping the mundane.

25 minutes fly by thanks to the thick atmosphere. The dialogues are minimalistic but hit the mark. The theme of the little man finding greatness in his service even in an empty bar is explored excellently.

HensFluenzers, ClucTok, zemu - Genius! I love good wordplay. The whole film is one big visual joke. The blue chicken with her huge eyes looks especially funny when she's trying to hustle her product. A light film with deep subtext.

The girl sitting amidst plastic and boxes on the purple background looks lost. This is excellent anti-advertising for Black Friday.'The film shows that things don't fill the void. They just clutter the space and steal our time.

I liked the aesthetic. Jacqueline's bloody face on the poster didn't lie. The film starts as a dramedy about a loser and ends like Misery. Lauren Karaman acts amazingly. The transition from vulnerability to madness is terrifyingly smooth.

The film holds tension not with action, but with emotional rupture. It's a short film, but it hits harder than many features.

How lovely!

So ironic. The directors use the same techniques as advertising. Bright colors, close-ups of unboxing to evoke disgust for shopping. It represents a deconstruction of the commercial video genre. it's how a product turns into an addiction.

I love this atmosphere! The full moon, dark silhouettes, strange rituals... The puppets look creepy. Those huge, slightly crazy eyes on the guy in the hood give me the chills. The story about the Budu curse sounds like a great setup for a horror game.

The imagery references the etchings of Francisco Goya. The black-and-white palette with sharp contrast creates the feeling of an ancient, cursed fairy tale. The only splash of color, the orange pulp, works as a visual accent on the forbidden fruit. Aesthetically flawless.

Awesome job. There are no bad guys here, only lost ones.

Curious use of color. The transition from aggressive pink to the sterile white space, where the character looks at the hourglass, creates a strong contrast. It’s not a narrative in the traditional sense, but a visual essay. I like how the static shots build tension.

The film feels like a warm dream on a cold night

This is a beautiful illustration of how the Internal Family Systems work. The protagonist isn't crazy. She is integrating parts of her personality. Liza with the flowers is her Hope, the Dancer is the body and emotion, and the girl in the suit is the Mind that brings order to chaos. A very healing film

Classic parentification. The 17-year-old son has to tell his father: "I'm not the adult here. You are". That’s a powerful moment. Wiktor tries to buy his daughter's love with a trip and his son's with gadgets, but he is emotionally immature. His impulsive act in the office is a cry for help, not heroism.

The visual language here is exquisite. The blend of loose ink sketching with digital color spots creates a 'living memory' effect. I love the contrast: the cold, deep blue of the night against the bright, almost neon splashes of turquoise and pink on the carousel. It’s a visual metaphor for warmth amidst the winter chill.

Finally! I always knew that Göbeklitepe wasn't just a temple. The theory that the faceless T-pillars depict giants or aliens because depicting god was forbidden is mind-blowing. Turkey is the new Egypt for ufology!

A sad but bright film. Reminded me to call my parents. We often don't appreciate these simple moments until they become memories.

The most convincing part is the interviews with pilots. When the General describes how four F4s chased the objects , I got goosebumps. Pilots are reliable witnesses, they know the sky. The argument that the object didn't burn up in the atmosphere at such speed is hard to argue against.

A strong story: the boy in torn pants looks at the girl like an icon of success. But the film shows the bitter irony of consumer society. We judge by the wrapper. The boy screams I want to be like her! not realizing that behind her clean clothes hides coldness and loneliness. It’s the classic trap of class inequality.

Despite the gloom, this is a step forward. This is the first step to becoming a normal parent not a cool boy or cool dad. Maybe after this disastrous day, they will finally start talking for real.

I like the static shot. The person in the jacket behind the branches is a powerful metaphor. They are still in the bushes, still afraid to step into the light and be themselves, even after the criticism has stopped

A classic example of living with a narcissist. The protagonist says: I never knew what you loved. That is living in a minefield. The film perfectly illustrates how the victim tries to please (taking the gift from Andro) just to avoid conflict.

Excellent script structure. In 13 minutes, we go from the euphoria of easy money to total collapse. The dialogue is minimalistic but hits the mark. The phrase thet the girl is easy on you just because she still doesn’t get it perfectly explains the difference in relationships with the children. Awesom student work.

I feel the same way so often. This is a film about how solitude is not the absence of people, but the presence of oneself. I love how cozy that empty corner with the mushroom lamp looks.

What a bright story! Despite all the wrong turns, they found each other. We are all a bit broken, and the phrase that we always clean our mess together, is the very definition of love. It’s not about perfection, it’s about cleaning up life's mess together.

Excellent work with lighting. The cold, sterile light in the hospital hallway contrasts with the warm, intimate light on stage where he bares his soul. The visuals tell the story better than the dialogue.

Как же точно показан этот академический террариум! Избавиться от старых пердунов - это то, что каждый молодой аспирант думает, но боится сказать. Борис Леонтьевич, конечно, портрет нашей профессуры: харизматичный, эгоистичный и абсолютно незаменимый, как он сам считает. Смехов - великолепен!

The opening about the neighbors' kids not letting them sleep since morning hooked me immediately. It creates such a mundane, grounded atmosphere. We understand that the drama unfolds not in a movie, but in real life, where a ball bangs against the wall while you try to sort out your feelings for the deceased.

Guys, did you see the textures? The hens look like they are made of little seeds or beads. It looks so tactile! I love the contrast between the warm design of the hens and their wooden stand and the cold reality of competition. Technically very fresh!

Everything is mixed up here... The documentary jumps from serious archaeology to stories about three-fingered Mamacans. The story about the vanished British regiment in 1915 is a long-debunked myth, yet here it's presented as an alien abduction fact. Interesting as folklore, but it lacked scientific rigor for me.

The kitchen scene is pure Hitchcock. We know he's a killer, and she's offering him soup! When the news started reporting on two terrorists, I thought my heart would stop. The suspense is unbearable.

I want that box for my head!

Well.. Do we know whom we love? hits the mark. You can spend a life with someone and know only their complaints, but not their joys. It’s a sad essay on how we remain strangers while living under the same roof.

It's a very cohesive world. The color palette: cold blue, grey, and black perfectly conveys a sense of hopelessness. The design of the sorcerer's costume with those intricate patterns and the headpiece deserves a separate award. This is a high level of art direction.

I like the color contrast. The girl is all in white and black, so strict, with a headband, while the boy is in dirty, earthy tones. Giuseppe Piscino caught the light in the leaves perfectly. Shoes here are a status symbol that we overestimate. Beautifully shot, but sad story.

It is the perfect portrait of the Russian hinterland. Yuri with his binoculars is the only one looking up, not at his feet. Very touching and sad. We are all a bit like Yuri

The blue lighting in the restaurant creates that very aquarium feeling the characters talk about. It visually supports the metaphor of a confined space where we all swim.

The film is an allegory of Plato's Cave, but in the fashion world. The boy sees the glitter, Ema's clean clothes, and mistakes it for happiness. Not everything that glitters is gold is key here. We want someone else's life because we only see the facade. The irony is that the girl probably envies his freedom to climb trees.

Very cute and stylishly shot.

The portrait shots are magnificent. The old man's face is a map of pain and lived years. The cinematography is static but tense, emphasizing the frozen time in this bar. The color grading in warm but gloomy tones creates a sense of coziness that suffocates.

They all deserve each other. One wants power, the other wants status, and the third just plays with them like puppets. The deputy looks the most pathetic not a single scientific work of his own, only ambition. It's a comedy, but the laughter is nervous. In the end, in such games, the one with the least conscience wins.

This is a classic depiction of paranoia. "Stop following me!" is the porter talking to his own conscience. The Blind Man might not even exist in reality; he is a projection of guilt for the theft. The eyes of fear are always big.

Beautiful, but a bit sad. The girl is all alone, drawing on blank pages.

Interesting choice of frame rate and line style. The lines jitter and have a life of their own, like in old sketches. The lighting is done especially cool. It’s not realistic, but emotional. You can see how the carousel's aura illuminates the grey daily life of the city.

The Shopaholic above the writing man is a diagnosis given to our times.

The name ZEMU in the film is a clear reference to Temu. We see how the crowd with phones falls for bright packaging, ignoring quality. It’s a sad allegory of how mass consumption destroys uniqueness.

I liked the color grading and composition. The shots of the children against the backdrop of industrial buildings and barrels emphasize their smallness in the big, cold adult world. And the scene in the hallway where Arkasha and Lina look at each other is a visually beautifully shot duel with his own subconscious.

Beautifully filmed

I always admire when creators choose stop-motion for such dark stories. The stone textures in the ruined city look incredibly tactile. The work with lighting and mist is especially impressive. It's very hard to do manually. You can tell the sets, especially that castle and the ship, were created with immense attention to detail.

The film brilliantly shows the homogenization of thought. The Chat-AIT app has 1.7 billion users , and if they all ask for love advice, we get a world of clones. The final scene where they speak in unison is a scary metaphor. We really are fish in an aquarium, fed by the same neural network.

Conciseness is a talent!

Isa was able to say "Do not leave me" which he perhaps didnt get to say while they were alive. This is a film about forgiveness and letting go through love...

Beautiful irony of fate. The guy is a mime who makes a living through silence, and his girlfriend loses her hearing. It would seem like a perfect match, but they managed to ruin everything with texting. His decision to invite her to a pantomime is a return to the roots of communication. The body doesn't lie, unlike text.

A film about the importance of finding someone you can be silent with.

It reminds me of Michel Gondry's work. Love is shown here as a strange, beautiful mess, and it's visually delicious.

Directo works masterfully with an unreliable narrator. The visual metaphor of fireworks as a signal from aliens works in contrast to the mournful reality. The scene of the argument over the hairpin is particularly strong. It is the intersection point of the past (Mom) and the present (Lina). A solid drama about acceptance.

Много пафоса на пустом месте. Я здесь ради них, Свет это важно. Ты просто наливаешь алкоголь алкоголикам. Старик просто хочет напиться, а бармен строит из себя философа.

We all dream of having one last lunch with those we've lost. Isa looks so lost yet happy. HIs mom's phrase "We are not going to leave you" sounds like the most important comfort one could ever hear..

Genius twist! The whole movie you think you're watching The Revenant with DiCaprio. The guy screams 'Help!', runs from wolves, and at the end... bam!! I love when context changes the entire perception of what you saw in one second.

A charming homage to Hitchcock, but with a Balkan flair. I love how the vertical composition creates a sense of claustrophobia. It’s not just a cartoon; it’s a metaphor for how we are trapped in our little cells. The irony is that disturbing the peace is considered a greater sin than theft.

The lighting in this bar is a character of its own. Deep shadows on the faces, the glint of the cognac glass... This is classic noir where every character is hiding something. The scene where the bartender talks to his double or conscience in the mirror gives me chills. It’s a dialogue with one’s own emptiness.

I am just sobbing. At first, I thought it was a childish adventure, but when they played the VHS and said There are those where she was 35, my heart stopped. The moment the dad hugs him and says "It’s just two of us now" is the most painful thing I've seen lately. It’s so honest about loss.

Funny, but actually painful. You pour your soul in, making a craft product like these hens with their painted eggs, and then a big player comes along with cheap imports and kills your business. A very true-to-life satire on the modern market.

I was hooked by the historical aspect. I'd never heard about UFOs during the fall of Constantinople in 1453! TThe idea that lights in the sky affected the morale of both armies sounds plausible, whatever those lights actually were. It shows how celestial phenomena changed the course of history.

Mikolaj is a mood. He's the only one not pretending. The dad is acting cringey, trying to pay him off with a laptop. And that moment when Mikolay faked being hurt just to test his dad's reaction...

Actually it’s a genius meta-commentary on what we do for art.

The fisheye angle looking down at the thief in the orange suit is brilliantly drawn. I love the texture. It looks like pastel or live pencil sketch. The warm yellow tones are deceptive. They create coziness, even though the story is actually quite cold and cynical.

Harsh movie. I was laughing at her jokes at first, and then sat with my mouth open.

The contrast between the dark streets and Yael's cozy, warm apartment works for the atmosphere. Home is supposed to be a fortress, but here it becomes a trap. The terrorists' suits make them look like ordinary businessmen, which amplifies the horror, Evil looks mundane...

A modern adaptation of Cyrano de Bergerac! Only instead of a big-nosed poet in the bushes, we now have a smartphone under the table. It's sad that Vincenzo thinks his real personality of a rugby lover isn't worthy of Sara . We are so afraid of being ourselves that we trust an algorithm more than our hearts.

I feel very sorry for the father. He tries to reach his son but is barely holding on himself.

Very sad. You feel the loneliness of the hero, left alone with this strange "peace", which feels more like emptiness.

Excellent work with color coding! Liza in the yellow dress and hat really brings light into the frame. And the contrast with the dancer's black dress against the white background creates the necessary graphic quality. Elene Kurtanidze has filmed a very stylish, almost theatrical movie.

Great art style and directing!

Color grading is key. That cold, blue, dead light in the forest creates such a sense of isolation. Even the wolf looks hyper-realistic and terrifying. For three minutes, it's a visually rich sequence. You can tell pros wrote the prompts.

Giuseppe Piscino continues the traditions of Italian cinema, where children often become a mirror of adult problems. The scene on the bench is shot very intimately.

Classic defense mechanism in grief. Isa returned to his father's house, and his psyche simulated a safe place. The brain refuses to accept the death of loved ones, creating a hyper-realistic illusion where all problems are just a nightmare.

A worthy debut from Georgia. The micro-film format is used wisely: no fluff, just the essence. The director asks Who am I? and answers it through the deconstruction of the psyche. It reminds me of chamber plays where the sets are minimal, but the meaning is maximal.

Too sweet for me. Everyone is happy, everyone is smiling, even stern men turn into children? I don't know. But I have to admit, it's drawn stylishly. The whale and the tiger on the carousel look funny, not as banal as the usual horses.

Great acting chemistry and color grading. The shot by the canal looks very atmospheric. It’s a dramedy in the best sense: you laugh at the absurdity of situations, like with the box, but feel a warm sadness inside.

Who is Andro and what did he bring? Daisies? Judging by the film title 'Daisies', probably yes. The irony is that the hero took them without even knowing if the other person loved them. It’s a small symbol of a great misunderstanding between people.

A very accurate visualization of a panic attack and burnout. To an outside observer, the person is just sitting in a chair, but inside, they are battling wild beasts. The film brilliantly displays the patient's subjective reality. We often exaggerate dangers, turning work tasks into monsters.

First we see graves, and then the alive father with a newspaper. Is this a glitch in the matrix?

Even if your sneakers are dirty, at least you can run wherever you want.

What an incredible art style! It looks like children's drawings made with crayons or pastels come to life. The paper texture is visible in every frame. I love how the light works. Especially in the scene where Yuri shines his flashlight into the sky. It looks so cozy and so lonely at the same time.

This is a female version of Joker, but on Broadway. Society pushes her to the edge until she snaps.

I'm scared. Why are their faces so elongated? Brrr.

Gianluca Zonta built an excellent parallel structure. The first couple is the success of mimicry, the second is the total failure of the same strategy. The dialogues are wittily written, especially the moments when the AI advises to encourage her ideas even if they are weird. This is a situational comedy for the new digital age.

A very deep film. I liked that they talk about a shift in consciousness. The story of the woman who was healed after contact proves that aliens aren't always a threat, but spiritual guides. The concept that they communicate telepathically and change us for the better. resonates deeply.

A solid conversational drama. The dynamics are built not on action, but on glances and things left unsaid. The hospital scene contrasts perfectly with the luxurious office interiors, highlighting the vulnerability of the characters' positions. The acting keeps the tension high until the very end.

Cool twist! I was guessing the whole time who this Lina was. The teacher says that they don't have any Lina and I got goosebumps. I thought it was a ghost. Creepy and brilliant.

The premise bothers me. A grown man agrees to a humiliating office dare? What is he teaching his kids? That money is worth more than dignity? No wonder his son doesn't respect him.

Oh, this is pure slice-of-life! The situation is painfully familiar: the boss pretends to leave, and the subordinates start tearing at each other's throats. Zhenya, that bald deputy, is the typical workhorse everyone rides on. And the professor is a genius manipulator. He keeps them both on a short leash with promises.

Haha, this is the best joke of the festival! All the survival pathos, that snarling bear, all just to show a regular Tuesday for an entrepreneur. The irony is that the jungle might actually be safer than business!

A bit dragged out for a short film. The guy just walks around, eats, and looks at everyone with scared eyes. I get the miracle idea, but the plot barely moves. It’s more of an emotion sketch than a full story.

Who, tell me, in their right mind lets a stranger into their apartment right after reports of a shooting? Her husband explicitly told her: Lock the door! But this film is a great lesson on how our naivety can kill us. Although, perhaps that naivety is exactly what saved her life.

This is a complex film. It doesn't justify terrorism, but it shows the human behind the enemy mask. Salim is scared, he doesn't want to die, he doesn't even know Hebrew other than Sababa. The moment he asks for water reminds us that in the face of fear, we are all just flesh and blood.