Step behind the velvet rope of Sundance 2025, virtually, where the short film program isn’t just on screen—it’s online and ready for you. Let’s dive into Shorts Program 1.
First up, Debaters, from Alex Heller. Imagine a world where the gilded halls of an affluent high school echo with the passionate, if naive, arguments for and against raising the minimum wage. Heller crafts a poignant narrative where well-meaning but clueless adults orbit a group of adolescents who, despite being pitted against each other, fiercely defend their own. It’s a delicate dance between privilege and genuine empathy, all set against the backdrop of youthful idealism.
Daisy Friedman’s Unholy plunges us into a Passover Seder, but not one you’ve seen before. Our protagonist, a young woman with a feeding tube, navigates a landscape of forbidden delicacies and pushy relatives, each more oblivious than the last. Friedman masterfully captures the specific, often overlooked intersections of experience, blending the awkward and the comic with a deft hand. The film’s conclusion is heartfelt and very well composed. Keep an eye out for Friedman’s future work.
Hoops, Hopes and Dreams, a documentary short by Glenn Kaino, is a slam dunk into the unexpected intersections of basketball, leadership, and the civil rights movement. Hear Andrew Young’s firsthand account of Dr. Martin Luther King Jr.’s prowess on the court—a vivid reminder that even in the heat of battle for a better future, the spirit finds solace and connection in play. This isn’t just history; it’s a testament to the human spirit’s enduring need for joy and camaraderie, even amidst the most arduous struggles.
(Transition to a clip or still from “A Round of Applause for Death”)
Stephen Irwin’s A Round of Applause for Death is a mesmerizing ballet of abstraction, a symphony of repetition and variation that manages to be both a profound formal exercise and a surprisingly delightful romp. It’s a comedic study in the unexpected, a reminder that even in the face of the inevitable, there’s room for wit and whimsy.
(Transition to a clip or still from “Susana”)
In Gerardo Coello Escalante’s Susana, we follow a middle-aged, middle-American tourist on an unplanned solo adventure through the vibrant labyrinth of Mexico City after her daughter abandons their vacation plans. Escalante paints a compassionate portrait of a woman adrift, juxtaposed against the very real indignities inflicted upon locals in the name of tourism. It’s a nuanced exploration of cultural collision, handled with a sensitivity that elevates the narrative beyond mere observation.
Lennert Madou’s UPPER unfolds like a visual poem, as two young protagonists engage in an increasingly bizarre series of antics, all under the watchful gaze of an impending asteroid. Formal and austere, yet beautifully composed, the film captures the strange, suspended reality of waiting for the inevitable, and the peculiar rituals we create to fill the void.
Finally, Sweetheart, directed by Luke Wintour, transports us to 1723, where young Thomas Nevile, fleeing peril, stumbles into the warm embrace of a hidden queer community within a Molly House. This historical gem shines a light on the resilience and creativity of marginalized groups, who, in defiance of societal condemnation, forge their own “unlawful weddings and rites.” It’s an inspiring glimpse into a past that still resonates with power and defiance.
And there you have it—a whirlwind tour of Sundance 2025’s Shorts Program 1. These are not just films; they are windows into other worlds. What’s your favorite?
Optimistic Indie Roleplaying 