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.

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.