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AFTERSEX | A BED FOR THREE | CAR WASH | THE LIME GREEN SHIRT | MAN > CODE | TOOTHBRUSH | WE COLLIDE


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Brisk and high-powered, this brief short romance rockets through a quick story with a pounding musical beat that makes it feel engulfing. And the way it's shot in two side-by-side frames is both inventive and fiendishly involving, as it creates a sense of suspense and intensity leading to a massive catharsis of an ending.

We watch two guys, each in his own frame, as they run into each other in a nightclub bathroom. They have a brief moment of flirty connection, then are separated by the intensity of this constantly moving place, searching for each other out into the gyrating dance floor, which is crowded tightly like a mosh pit. How can you find someone in a place like this?

Filmmaker Bradbury maintains a breathless energy as this little tale unfolds, putting the audience right in the middle of both journeys. Accompanied by the pounding, exhilarating hardcore music by the queer band Death Goals, the camerawork is remarkably visceral, combining vivid lighting and open-handed, expressive performances from Thomas and Scott. So the final unification of the two frames feels like a blast of adrenaline.

16.Mar.24

Opening in a fantasy shower sequence that feels like a big naked cuddle between a group of fit athletes, this Spanish short plays on ideas of masculinity and sexuality in the sporting world. It continually circles back around to how things should be, without the casual homophobia that comes from a fear of honest feelings. So the film is involving and also darkly pointed.

This shower moment is of course only in the mind of Ruben (Balta), who is trying to distract himself from the vile laddish banter of his football teammates after a match. He's clearly very uncomfortable about it so, without diving into the bigoted bravado, he quietly slips out and catches Carlos (Lucas) sniffing his underpants. They are secretly boyfriends, and as they drive home they decide to stop in a car wash, where they can have a moment of intimacy away from the world. But Ruben is tired of hiding, and their conversation turns very deep.

The film is shot and edited beautifully, with a superbly tactile quality that highlights the yearnings of the characters. And the vibe is earthy and honest, as writer-director Sogas makes very clever use of real-life locations and situations, finding moments that are funny, cute and very sexy, while allowing the actors to layer in little details that bring these people to life. Even tiny side roles have a sharp presence. But it's the underlying ideas that add spark to the film, as Carlos admits that he also doesn't want to hide, but is determined to maintain a macho persona as the team's leader. It's an important comment about society's misplaced definition of what it means to be a man.

16.Mar.24

An awkward meeting between two men is at the centre of this witty but sharply pointed British short film. Filmmaker Kitchener skilfully isolates the messiness in both of these characters, who are well played by Armstrong and Mushore as a single scene spirals in unexpected directions. It's involving, charming and often hilarious.

After a drunken stag night, groom-to-be Liam (Armstrong) arrives at the apartment of his ex Will (Mushore) saying that he has lost his phone and his keys, and maybe he can sleep on the sofa tonight. Will is understandably reluctant, suspecting that Liam orchestrated this amid doubts of his impending marriage. Even so, he offers to find his old toothbrush. But there are more problems lurking here tonight.

Dialog is often very funny, written and played with an intriguingly serious edge that hints at lingering feelings. This creates an easy, earthy vibe as the conversation becomes an engaging rollercoaster, and we can readily identify with the humour and tension in the situation, as well as the sense that it's difficult to say what you really think. Armstrong and Mushore have terrific chemistry and an effortless connection, even in this clumsy situation. So where the film goes feels remarkably complex.

16.Mar.24

Nicely shot and edited, this short follows an encounter that takes a couple of unexpected turns, directed with an offhanded charm by Gardner from a script by actor Walker-Edwards. It's a superb mix of silly comedy and some underlying tension, packed with terrific character details and some wry, knowing observations about both hookup apps and society in general.

The doorbell buzzes, and a man arrives ready to get down to it. But the host is a bit goofy, chatting awkwardly as if he's afraid someone will catch them. Their chemistry is strong, so they move to the bedroom, exchange some barbed banter and have a tickling match. Then they hear someone come in the front door and the host freaks out, dashing out to work on a cover story with his flatmate. Meanwhile, the visitor pokes around and finds a picture of the other guy with a girlfriend.

Mixing serious and funny dialog, the film takes on some bigger ideas, noting the complex nuances between people who are looking for a real connection and those who are hiding from their shadow while seeking no-strings sex. Here, it feeds into a discussion of why gay men chase straight guys. And also why there is the assumption that the arriving flatmate might disapprove. These ideas swirl around lightly in this cute, amusing little drama, leaving us with a smile on our faces and some ideas to chew on.

16.Mar.24

Dark and emotional, this British short film is skilfully shot by Kristof Keszthelyi and beautifully edited by writer-director Lugan to create a strongly tactile sensibility. It finds extremely pointed intimacy between two young men who are played with sensitivity and honesty by Guersman and Juha.

Opening with a montage of kissing and cuddling, the film settles in on Alex and Nathan as they begin speaking to each other in a state of contentment. One of them comments that he only ever feels loved when they're in bed, and longs to feel that way all the time. The other feels that their physical intimacy is what he needs most. As they talk, then shower together, their tone shifts from tender and close to quietly intense and back.

Moody and atmospheric, the film has a strong sense of physicality as these men hold each other, dance and lounge together while the rain falls outside. It's also a bit gloomy as serious feelings surge between them. All of this is assembled almost poetically, leaving both the characters and the situation between them rather enigmatic and undefined. But the emotions are strong.

16.Mar.24

Goofy and often flat-out hilarious, this German short film recounts a rather ridiculous story with sharply vivid characters and a situation that brings out ideas and meaning that are deeper than expected. It may be structured as an extended joke, complete with a witty punchline, but it also has something to say about the nature of modern relationships.

In an Ikea-like shop, Timo and Fred (Andreesen and Guldenberg) are looking for a new bed, assisted by the sparky shop clerk Bettina (Berthold). They need one with space enough for three, and soon their new third Jona (Swientek) arrives. Thrilled to have a more interesting request than usual, Bettina sees this as a chance to finally sell an unusually large bed, and sure enough they buy it. But when they get it home, the boys begin to realise that this might not be the optimal sleeping situation.

Filmmaker Horstmann packs the screen with amusing gags both about queer culture and Ikea itself, allowing events to play out in a series of very funny sequences, from carrying the mattress up four flights of stairs to arguments about who is snoring the most. Performances are bright and comical, but remain grounded in ways that make these guys easy to identify with. And Berthold very nearly steals the film as the riotous Bettina, who asks inappropriate questions with deadpan glee. This is a cute and funny little movie. And it's packed with little ideas that catch the imagination.

16.Mar.24

Beautifully shot and sharply well played by a terrific cast, this British short film takes on an important issue without becoming over-serious about it. Strikingly written and directed by Ray, and performed with authenticity by a terrific cast, the film remains meaningful in the way it deploys big emotions, This makes it both involving and thoughtful.

Preteen Akash's demanding mother (Dubey) reacts violently to his silky green shirt, telling him to change it immediately. But then nothing is good enough for her, as she harshly rejects his desire to sing. "All this carfreeness, it has consequences," she says pointing ominously to Freddie Mercury. Many years later, Akash (now Khanna) is a successful young man still trying to please her. He hates his trading job, and hides the truth about his "friend" Jake (Cavendish). Then she discovers what's really going on and confronts him.

When his mother asks him why he's unhappy, Akash tries to explain that she has put a heavy burden on him, forcing him to live her dream while burying his. So he goes along with her comments about finding a girl for him to marry, even though he has been with Jake for nearly a decade. This is a remarkable film that lightly touches on the realities of growing up gay in a straight world, knowing that the most important people might only be offering love that's conditional on being someone they aren't. It's a powerful topic, recounted in a way that's moving, provocative and ultimately hopeful

26.Mar.24