Dragon Mom may not seek to reinvent the documentary format, but it succeeds in presenting a thoughtful and compassionate portrait of a family navigating unique challenges together.

To Busk or Not to Busk succeeds in highlighting the passion that exists behind street performance. It may not dig quite as deeply as its premise allows, but its warmth, authenticity and appreciation for its subjects make for an engaging watch.

Pittsburgh succeeds as a thoughtful, character-driven short, elevated considerably by Delaney Quinn’s central performance. It may not fully capitalise on all of its ideas, but its reflective atmosphere and emotional sincerity make it an engaging enough watch.

There’s a familiarity to the idea of artificial intelligence turning against humanity, but We Never Sleep manages to find fresh tension within that concept through a stripped-back, intimate approach.

Eyelashes is a well-intentioned short that raises meaningful questions without quite delivering the depth its premise suggests. There’s enough here to appreciate — particularly in its themes and central performance — but it never quite comes together as cohesively as it might have.

In capturing the anxieties of growing up through such a gentle and imaginative lens, Two Tears finds real charm in its simplicity.

Reparation captures the strange, shifting terrain of grief with a delicate but unsettling touch, offering a brief yet memorable exploration of how difficult it can be to escape the past.

Pickup delivers its idea clearly and efficiently, while leaving just enough unsaid to linger beyond its final moments — a concise, thought-provoking piece that makes its point without overstaying its welcome.

In turning tragedy into something quietly reflective — and at times, unexpectedly funny — Lay Lefty Down finds a thoughtful middle ground. It may deal with uncomfortable ideas, but in doing so, it opens the door for conversations that are often left unspoken.

In just a brief runtime, Silence=Death manages to inform, commemorate, and provoke thought in equal measure. It stands as a poignant tribute to those who fought to be heard — and a stark reminder that silence, in the face of injustice, has consequences.

Marion’s Lilies is a thoughtful and committed psychological thriller that thrives on mood and character rather than spectacle.

Mariana Ant is thoughtful and often visually absorbing, but its emotional gravity never quite pulls you all the way in.

What 1981 does particularly well is sit with the discomfort rather than smoothing it over. The Londons capture that volatile mix of excitement, confusion, and second-hand embarrassment that defines so many formative memories.

Director Mekhai Lee delivers a quiet, emotionally grounded piece that centres on perspective, communication, and the unspoken weight carried between family members.

While the short runtime means some ideas aren’t explored as deeply as they could be, the film’s subtlety and reflective tone leave a lasting impression. It Happened in August may be small in scale, but its emotional weight carries through.

Water Meadow is a punchy short with subtle themes of identity, crisis, and sisterly love. With audiences wanting more short bursts of entertainment, short films are on the rise, and Water Meadow is a must-watch for fans of dystopian and independent cinema.

There’s heart in every frame. Even when the execution wobbles, the intention is clear: to spotlight the compromises people make just to exist in certain spaces.

light 182 is a brief, deeply felt piece of filmmaking, one that lingers long after its final dedication fades. It’s a reminder of how personal history can merge with global tragedy, and how the ripple effects of loss live on in those left behind.

Cartoon Saloon recently came to Manchester to accept the prestigious Fellowship Award at the Manchester Animation Festival. Film Focus Online’s Alex Gilston sat down with founders Paul Young, Tomm Moore, and Nora Twomey to talk about the honour, their creative journey, and all things Cartoon Saloon.

Film Focus Online sat down with Jack Howard to discuss his jump from comedy to drama, the film itself, working with Caroline Goodall and Hannah Onslow, and more.