2026 Oscar Nominated Shorts (2026)

This year's crop of films is more optimistic than other recent years. I have remembered years where coming out of watching them you'd be filled with sadness and dread. But this group provides a lot to smile about. I found myself laughing often during these films. There is some pain and loss expressed here, and they give us a lot to think about, but there is also hope in these films.  

Animated

Butterfly

Painted like a watercolour, Butterfly is a holocaust story, and a story of loss and survival. The story is sparse in it's telling, letting the emotion and visuals drive home its message. It is easily the most gorgeous of the group nominated this year.

Forevergreen

Forevergreen is animated to have the feel of stop motion. The story, reminiscent of The Giving Tree is about maturing and and sacrifice. It is, for me, perhaps the slightest of the five nominated films, but it is still charming in its way.  

The Girl Who Cried Pearls 

Pearls is actually stop motion and its set design and puppetry are intricately amazing. The story is clever with some twists and very adult themes about what is truly valuable. It presents perhaps the most complicated of the narratives of the five nominated films. 

Retirement Plan

Clever and sharp, Retirement Plan is the shortest of this crop of five films. Domhnall Gleeson narrates the thoughts/wishes of a middle aged man looking towards retirement. It is funny and impactful in its brief run time and might be my favourite in the end, maybe because it feels the closest to home for me. 

The Three Sisters

Visually original with its hand drawn animation the film follows three sisters (twist!) who live on a small island when a sailor arrives and uproots their existence. It is quite humorous but also sweet and a lovely little bit of cinema. 

Documentary

All The Empty Rooms

Following a journalist and photographer who take pictures of the bedrooms of children who've been killed in school shootings, this film is a powerful testament to the humans these children were and the families they have left behind. 

Armed With Only a Camera: The Life and Death of Brent Renaud

This is the story of photojournalist Brent Renaud, who survived many war zones to bring the story of war to those unaffected, only to finally give the ultimate sacrifice while covering the war in Ukraine. The film highlights the dangerous but important work photojournalists do. 

Children No More: Were and Are Gone

This powerful story of Israelis who protest their country's war in Palestine by holding silent vigils for the children killed in the way by the Israeli army. They face the verbal harassment and threats of physical violence of their fellow citizens yet stand firm in their commitment to ending genocide being committed in their name. 

The Devil is Busy

This film is a day in the life of an abortion clinic in Atlanta. We get a personal look at the people who work there and their dedication to providing this service despite hateful protests outside and discriminatory laws that limit their ability to help those coming to them. 

Perfectly a Strangeness

The most oddball of the this group of five films, and perhaps the only one that isn't struggling with how horrible the world is, Perfectly a Strangeness follows three donkeys who come across an observatory and, well... that's a good question. It is rather strange film that doesn't wear its point on its sleeve but is beautiful in a quiet way and does bring into question the definition of what a documentary can be. 

Live Action

Butcher's Stain

The most grounded of the group. this short film takes a fairly straight forward problem that may be not be as familiar to western audiences, and sets it out for us in a way that makes complete sense. It is powerful in its transparency. 

A Friend of Dorothy

This one was easily my favourite of the bunch with a delightful yet sensitive performance by Miriam Margolyes. The story is incredibly simple yet it is done so effectively it feels fresh. You will smile all the through.

Jane Austin Period Drama

This feels like an elevated SNL skit. Parodying the sort of films the title references with its sharp and truly hilarious script, the film plays with words and our cultural assumptions about menstruation in fun and nonthreatening ways for a light but very entertaining time. 

The Singers

The Singers is a surprisingly touching upending of masculine tropes. It may be the only film I felt was cut off too short. 

Two People Exchanging Saliva

The darkest of the group, this French film's critique is not explicit yet it feels more visceral. It presents a world slightly different yet tied to our own discomfort with sexuality. It remains somewhat ambiguous yet still makes a point that is fascinating to think about. 

Hoppers (2026)

I love it when a film surprises us and turns out to be something more than what it was sold as. In this case Hoppers appears from the trailers and marketing to be a film about a young woman being "transformed" (the how and why don't matter) into a beaver and interacting with the adorable woodland creatures of the glade. But it ends up being about so much more. This is a complex and nuanced lesson on world peace that is so effectively and entertainingly told that both the young and old alike can understand it. And it's all wrapped up in a wonderfully funny and moving story. 

I'll say first that Hoppers is one of the funniest movies I've seen in a long time. Its humour is organic and very joyful. This isn't biting satire, it is about finding the sort of exuberance that leads to honest, heartfelt laughter. It is also the sort of humour that transcends age. Both kids and adults will find it hilarious. 

And the film tells a truly engaging adventure story. There are real stakes (in fact some of the youngest audience members might be disturbed by some of the events) and real characters and there is edge of your seat action. Hoppers is for sure an entertaining film. 

But the genius here is how they work into the story a quite profound exploration of the interconnectedness of civilization and how to resolve conflict in pluralistic societies. I used the phrase "world peace" as an oversimplification earlier. What truly impressed me was how intelligent and sincere the film's attempt to wrestle with complex political issues is. And, as I said, it is done it a way that the younger audiences who watch it can understand and internalize it while also speaking to the adult in the room. Hoppers is quite a remarkable achievement. 

Fun movie? Check! Will keep you guessing and laughing? Check! Has something interesting and intelligent to say? Double check! Hoppers is a real winner. 

Hoppers

Starring: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco, Eduardo Franco, Sam Richardson, Meryl Streep

Director: Daniel Chong

Writer: Jesse Andrews

The Bride! (2026)

I've heard quite a bit about what a so-called "mess" Maggie Gyllenhaal's The Bride! is but that didn't pan out when I watched what was a brilliant fever dream reimagining that is both wildly bold and biting while also being tragically sensitive. Yeah The Bride! is a dark carnival ride but I was along for it entirely. The film is demanding you listen to it. It is about finding a voice and using it and I get that for many they won't want that voice heard. For many the won't want to hear it. I say scream it out Maggie. 

The character of the Bride is one that has such a rich history in film and originally literature. From Shelley's original creation (in 1818 of all times) which is one of the most effective critiques of maleness created. She hints at the "monster" wanting a bride, a companion, yet her narrative denies him this while suggesting the idea of this potential female creation which may be even more threatening to the status quo than the first Frankenstein creation. Then this was brought to life in the queer camp masterpiece that is James Whale's Bride of Frankenstein film in 1935 which doesn't give her a voice but gives her the agency to reject what the men think is her purpose. I'd argue Kill Bill's Bride is a variation on the theme of a woman molded into what a man wants who again fights back against her designated role leaving devastation in her wake. 

Gyllenhaal takes all of this and makes it explicit. Perhaps wearing it on her sleeve is a reason so many are having a hard time with this film. She starts with Shelley herself and her desire for a voice. Gyllenhaal's Shelley says things like "mother fucking" and laughs at us from beyond the grave. There is no apology here for stepping out of the lines our culture has set out. This is a story, and a story allows for a lot of leeway, and Gyllenhaal runs with that freedom. She mixes elements from Whale's film with Bonnie and Clyde, Busby Berkeley musicals, and pulp fiction crime novels to weave her tale of a woman pursuing her own destiny. It is often audacious and rarely subtle. But anything that is messy here is intentional and... well the point. 

Order is often a male imposition while feminine power invites a visceral, organic griminess that challenges the neatness being imposed. Male desire is focused on hierarchy and black lines of right and wrong while there is more fluidity in femininity. Often is it "mess" which is used to shame women and keep them in line. From the word hysterical itself to the denigration of being "emotional" the openness of messiness is a threat to the stoic order. Gyllenhaal even hints at queerness in moments, another sort of messiness which opposes the "cleanliness" desired by the patriarchy. There are fluids here (literally), emotional outbursts, variability, all the things we are taught to see as unclean and... well, feminine. So much of the reaction to this film is proving the film's point. 

Buckley is a revelation creating an original character. The Bride herself is so complex and volatile yet she creates such a rounded and full character that we can't help feeling for and perhaps even seeing ourselves reflected. She isn't alone as Bale and the rest of the cast are also strong, but she is the titular Bride and all rests on her. She triumphs, creating an iconic version of an icon that is surprising, vulnerable, and I believe will be enduring. 

Is The Bride! a lot? Damn right it is. And I'm here for it. It is movies like this that wreck normal movies for me. I know they can't all function like this, especially since normie audiences won't be able to handle them, but when they do come along I am thankful. The best part was coming out of this knowing The Bride! doesn't need our approval.

The Bride!

Starring: Jessie Buckley, Christian Bale, Peter Sarsgaard, Annette Bening, Jake Gyllenhaal, Penélope Cruz, Julianne Hough, John Magaro, Matthew Maher, Zlatko Burić, Jeannie Berlin 

Writer/Director: Maggie Gyllenhaal

 

Youngblood (2026)

Rarely do remakes improve on the original but Youngblood might be one of the examples. This beautifully filmed drama skates a thin line between the sports movie cliches inherent in the genre and its refusal to completely give in to them. Strong performances from James, Doyle, and Underwood really cement this as a solid watch. 

Youngblood is an exploration of the toxic masculinity in sport, with a particularity for hockey. It is about taking responsibility for yourself and your actions. It's about the ways men process pain, both the good and the bad. 

It is filmed with an eye towards a kinetic energy. The hockey is breathtaking even though there is less of it than you might expect. But director Davis brings this energy to all the scenes. It is an exciting film to watch. Some of this means perhaps it cuts some corners and doesn't develop everything as much as I might have liked to keep its tight runtime and story telling momentum.

Youngblood is a strong film from Davis who has focused on hockey and black players in previous films (documentaries). This fiction film shows strong promise. 

Youngblood

Starring: Ashton James, Blair Underwood, Shawn Doyle, Henri Richer-Picard, Tamara Podemski, Oluniké Adeliyi

Director: Hubert Davis

Writers: Charles Officer, Josh Epstein, Kyle Rideout, Seneca Aaron 

Scream 7 (2025)

What I like about a good Scream movie is: (1) the mystery, I like how they make you guess who the killer is which isn't common in slasher films, (2) the meta-commentary, I enjoy it when the films reference the horror genre explicitly, (3) the humour, more than most slasher franchises Scream movies are generally funny, and (4) the cold open (more on that later). The first film nailed this and that's why it is a classic. The rest have all balanced these to better or worse effect, and whether or not they work is quite tied to how well they pull off this formula. 

Scream 7 leans into the nostalgia heavily. Sidney is back and now she has a daughter who is her age when the first movie's plot happened. And the killer is Stu Macher from the first film, or someone pretending to be him. The series has attempted to dip into the well of the first one before but this one is the most all in on that. For some continuity it brings back my favourite of the newer films' cast, Gooding and Brown as the hilarious twins who also happen to be the nephlings of original film star Randy. 

For me the nostalgia felt forced. We've seen Sidney process her trauma and these slasher movies being about that just feels a bit dated at this point. Even the generational aspect doesn't feel fresh. Didn't the Halloween series just do that? Also the way they bring back previous killers wasn't as interesting as I had hoped. There is an attempt at an emotional ending that just didn't land for me. 

But did it meet my Scream test? The mystery was kinda so so. The end reveal feels like a let down. I think it works best when the killer is revealed to be someone important. The first film set the bar high and the series has been having a hard time keeping up with this. Lately the final killers are often characters I don't care about and the audience doesn't care about. I don't think this film solved that problem even with what they attempt to do. 

The meta-commentary was... okay. The film appears to address in the dialogue issues with the film series' production over the past few instalments. At one point someone says Sidney is "past her prime" which I believe was famously levelled at Campbell. There are mentions of events that sort of tie into the actors' own trajectories through the productions of these movies. Some of that was interesting but not overly satisfying. 

Finally the humour. I think that is Scream 7's strength.  The script's humour is pretty decent. The script takes some plot short cuts that feel a bit, not well thought through, but the story is rather tight and once it gets going it goes well right up to the end. Sure the plot is a bit shaky but for entertainment value and a fun time it's not bad. Some of the deaths are creatively funny in the way this series tries to do. Despite this one not being as memorable as others I still had a good time. 

And for the cold open. I'm not sure it amounts to much. It attempts to blend the nostalgia with the humour and the meta-commentary in a way that signals where the movie is going but its a bit on the dull side compared to the movie itself. 

So Scream 7 is a mixed bag for me... as are most of the sequels. Perhaps that's just the fate of this series. They are good enough to keep making them and watching them but always a bit of a let down from what they could be.  

Scream 7

Starring: Neve Campbell, Isabel May, Jasmin Savoy Brown. Mason Gooding, Anna Camp, David Arquette, Michelle Randolph, Jimmy Tatro, Mckenna Grace, Asa Germann, Celeste O'Connor, Sam Rechner, Mark Consuelos, Tim Simons, Matthew Lillard, Joel McHale, Courteney Cox, Ethan Embry, Roger L. Jackson, Mark Consuelos, Laurie Metcalf, Scott Foley

Director: Kevin Williamson

Writers: Guy Busick, Kevin Williamson 

In the Blink of an Eye (2026)

When a film is around 90 minutes, especially one that hasn't received the best reviews, I am often suspicious there is another film here, a longer one, that the producers didn't have faith in, so it was edited down to something short and digestible in the hopes it will somehow pass. In the Blink of an Eye gives off these vibes strongly. I found it remarkably moving and interesting while also quite entertaining, yet it is being dismissed as sleight and disappointing. While it may be a flawed but noble attempt, I was not disappointed in it. 

Do I feel like it sometimes is on the straightforward side? Sure. Again I wonder if there is a longer cut with more nuance and character development. But even without that I felt myself getting drawn into each story emotionally. The film follows three interrelated (sort of) stories, one in the prehistoric past, one today, and one in the far off future. It is a story of interconnectedness and ambitiously tries to comment on the meaning of life. Is it fully successful? Perhaps not entirely. But does that mean it doesn't work? Not at all. 

I was into it from the get go and its relentless optimism was handled in a way that was refreshing without feeling pedantic. Overall I was happy with it although I did wish some of it was more fleshed out. But even as it is, In the Blink of an Eye is a film I enjoyed and have been thinking about since watching it.

In the Blink of an Eye

Starring: Kate McKinnon, Rashida Jones, Daveed Diggs, Rona Rees, Jorge Vargas, Skywalker Hughes, Andrea Bang, Aria Kim, Luc Roderique,

Director: Andrew Stanton

Writer: Colby Day

Firebreak (2026)

This Spanish thriller has caught on like... well, wildfire. Yes it errs on the side of melodramatic and is eager to play with expectations but it does so quite deftly, and exploits the audiences fears and distrusts. In the end the film is about how our assumptions can turn us into what we don't want to be, or perhaps be seen as. The film's plot may be a bit of guilty pleasure but what is interesting in Firebreak is the way it gets under our skin and says something uncomfortable about us. 

The film goes a little heavy handed into it's suspicious elements and manipulates the audience to react certain ways. Then its ending throws some of that back in the audience's face a bit. The end result is actually to get us to reflect on how we felt and why we reacted the way we did. Do I think the film handles this brilliantly? Not really. But it is effective. Also it a fun watch with its melodramatic approach. The cast is strong and its filmed very effectively. 

Plus the fire subplot in the background is interesting. At first the film feels like it's going to be a disaster movie style film but that's not really where this goes. Still the fire is like a constant reminder of impending danger which acts like a pressure cooker and heightens the tension of the main plot. In that way the film ends up offering a tense watch that then leads to some interesting reflection at the end. So while not perfect Firebreak is a bit of a pleasant surprise. 

Firebreak

Starring: Belen Cuesta, Joaquin Furriel, Enric Auquer

Director: David Victori

Writers: Javier Echániz, Asier Guerricaechebarría, Jon Iriarte, David Victori