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Beautifully shot and edited, this mini-drama follows a homeless teen doing whatever he has to do to survive on the streets of New York City. Writer-director Donja R Love, who also plays a key role later in the story, elicits solid performances from his cast, creating a film that feels earthy and real, and also strongly emotionally resonant. And it ends on a warm note that offers a challenge to the viewer.

Arriving two minutes after the cutoff time, T (Ross) is unable to stay in a homeless shelter on this chilly night, so he picks up a guy in a park, hoping to at least stay in his bed. But he has to leave before his wife gets back. His mother lets him in for food, but also won't let him stay. The other option is to visit an HIV-positive friend who is lonely, and T thinks that maybe if he was poz as well he might get some help with housing. Basically, T just needs someone who cares.

Each time someone tells T, "You can't stay here," we can vividly feel his heart sinking. Ross' performance is so engaging that we can see immediately why he needs to offer sex to everyone he meets, if there's any chance it might help his situation. And we also vividly understand the reasons why LGBTQ teens are far more likely to be homeless than other young people. This is a superbly directed and played short that pulls us in with its involving story and leaves us with something to think about.

29.Mar.25

With striking imagery, this supernatural short playfully explores a dangerous obsession that plays out as yet another difficult attempt to find a date in Los Angeles. It's gorgeously shot with a terrific contrast between sunshiny days, inky nights and slick fantasy sequences that are augmented by eye-catching makeup and digital effects work. It's a simple but very inventive little love story.

On the DoomScroll app, a secretly demonic young man (Church) sets his sights on an angelic guy (Santora), and slides into his DMs. Both are jaded about meeting someone online, not holding out much hope for a real connection, but they keep chatting. Eventually, the demon spots the angel in a park and begins following him, sneaking into his apartment and stealing a jockstrap. And he doesn't realise that the angel is watching him too.

Edgy music builds a sense of tension that pulls us into this relatively simple scenario. Writer-director Aaron Lovett has a terrific sense of visual style, with some dazzling imagery alongside more grounded scenes that are very easy to identify with. This helps create a situation that's more yearning than it is scary, which makes both of these young men remarkably engaging, leading to a conclusion that's funny and sexy.

29.Mar.25

Loosely based on the writings of Argentine poet Ioshua, who explored themes of marginalised homosexual desire in his work, this short drama centres on two young men who live on the streets of Buenos Aires. It's understated and a bit enigmatic, but the characters and locations create a beautiful sense of a time and place. And the quietly intense story gets under the skin.

It centres on two guys who are darting through the streets, hiding from view while trying to enjoy their life together. One is a drifter and the other is a petty thief, and they spend some time in a florist shop before putting the flowers on their mothers' graves. They may be acting tough, but their actions are affectionate and silly. And an older man asks them if they share themselves. Then they're picked up by cops, cuffed and beaten, even as their passion for each other never dims.

The film is skilfully shot and edited in a way that captures thoughts, feelings and emotions without the need for much dialog. The pivotal scene is extraordinarily powerful, shot in a complex long take that carries a proper emotional wallop. And it's followed by a wordless sequence that quietly explores how life moves on. This is a lovely, artful gem.

29.Mar.25

There's an earthy energy to this short drama set in a London tower block, which starts out as a more comical romance before turning dark and emotional. Writer-director Chris Urch balances these moods beautifully, even if the shifting tone makes some scenes feel a little random. But a pivotal moment plays out with remarkable nuance that forces us to think about some very big issues.

Decorating his flat, Reuben (Rizwan) is preparing for a birthday party for his boyfriend Harry (Mifsud). But as they get into their cowboy and cop costumes, the music and shouting from nextdoor is deafening. And then the party takes a random turn, which is cute and funny. But later, things get downright unsettling. And now Reuben has an unexpected connection with his neighbour (Brookes).

Rizwan is a hugely sympathetic actor. It's clear that Reuben is deeply concerned that his neighbour is the victim of violent domestic abuse from her partner (Sims). And his worries are causing a strain in his relationship with Harry. The script takes this in a direction that is shocking and moving on multiple levels, and not remotely simplistic. After the lighter opening scenes, this makes the film feel a bit earnest and sharply pointed. But it's also a reminder that simply asking someone if they're OK is a start.

29.Mar.25

With sharp cinematography and terrific locations, this British short film traces a fling that's tender and funny until its illicit nature creates tension. So while the premise feels a little simplistic, the way it plays out is a very clever mix of witty comedy and bleak reality. Writer-director Rhys Jones and his cast adeptly find subtle touches in several beautifully staged scenes.

In a rainstorm, Barry (Russell) asks the younger Jasper (McCann) to crouch in the back seat as they drive into a boatyard. Then on board Barry's boat, they can relax together. After an amusing bluetooth speaker incident, they have an intimate night together, clearly very close even though they don't say much to each other. In the morning, Barry worries that people he knows might see them together as he rushes off, stopping at home before going to work, where he runs into Jasper in a very different role.

The storytelling is quietly observational, with its minimalistic dialog and knowing revelations about both of these men. Performances from both Russell and McCann have an internalised quality that emerges most powerfully in the story's more stressful moments, with Barry turning demanding and Jasper getting catty. It's a very well-assembled story that works on a variety of levels and leaves us with a smile.

29.Mar.25

Shot in widescreen with bright colours and textures, this true story begins with a somewhat heavy, hard-partying sequence before shifting into something warm and a bit edgy. Writer-director Yassa Khan is recounting a lively story about how he came out to his father, with surprising results. What unfolds is a mini-adventure that takes a series of amusing twists and turns.

After a raucous night out, Yassa (Caesar) is meeting up with his criminal father Hassan (Warnecke), whom he hasn't seen for 12 years. Sure enough, he arrives in a stolen car to collect "my boy", and they can't go home due to the cops. Instead, Hassan needs his son's help to literally launder stolen cash that was dyed bright pink. Hanging out is nice, but when Hassan criticises his mother, Yassa reminds him, "You're just a visitor in my life." And when Hassan asks point-black if he's gay, Yassa braces himself for abuse. But Hassan's reaction is unexpected.

There are continual jokes about how Hassan is a Brummie gangster with a Muslim name, which cleverly plays on appearances and expectations both of them are grappling with. Warnecke plays Hassan with a jolly sense of humour, overfamiliar with this son he doesn't really know. This more serious idea feeds into Caesar's lovely performance, which is sympathetic and likeable, especially as he stands up for himself and then enters the rather silly final scenes with a superb sense of disbelief. Indeed, the film closes on a remarkably positive note after a night out in a Soho drag bar.

29.Mar.25