2025 Tribeca Exit Survey

After watching all 84 short films at Tribeca this year, we were again blown away by the quality and consistency across the board. Tribeca is always a highlight in the festival schedule and is continually one of the best programmed fetivals for shorts. For those who have been frequenting our site for a while, you will remember that we did a Tribeca Exit survey last year. Well, this year we are back at it again with another exit survey as Brandon, Josh, Pedro and Robin highlight answer some tough questions. The fact there was very little overlap in our answers shows just how stacked this festival really was.

1) We're starting off with Live Action shorts. Which was your favourite of the fest?

Pedro: The Wrath of Othell-Yo is a poignant portrayal of the appropriation of Black culture in the name of artistic subversion. It is beautifully acted and induces the reflection on how white artists use the Black culture to their fame and artistic merit, even though it may sexualize Black bodies. 

Robin: My favourite live action film from this year’s rendition of the Tribeca film festival is Kisses and Bullets, in which we follow two separate but parallel stories of two Iranian women attending protests in their respective countries of Iran and the US. It is a powerful and well framed film with a focus on romance in all of its beautiful forms. Clearly political up front it leans on the angle of love and understanding above all, and while the messaging is clear and impactful it leaves a lot of layers for the viewers to dissect too.

Josh: My runaway favourite film of the whole Tribeca festival is ATTAGIRL!, a ferocious, retro-tinged revenge movie where 70s exploitation flick meets silent movie, with more than a sprinkle of queer energy. A rambunctious new entry into one of my favourite film genres (women doing violence to men), I can’t wait to see what fabulously talented new director Klimovski does next!

Brandon: I gotta stick with one of the ones I reviewed with The Hicks Happy Hour. It was so well casted and remarkably crafted in every single aspect. I was enthralled from start to finish.

2) Whoopi G came through again this year by curating a diverse set of animated shorts. What was your favourite animated short of the festival?

Brandon: Ovary-acting was a pretty clear favourite of mine. It's both funny and hits every emotional spot. As a man, I would never be able to say I fully relate to the central character. But as someone who is in the same age range and in a marriage where we are mutually trying to figure out what our future looks like, it is something I connected to deeply. The centrepiece song from it has also been stuck in my head for a solid two weeks since I saw it.

Pedro: I was impressed with Lua Flôres’ Como Nasce Um Rio (How a River is Born), a gorgeously animated film about sexual desire and the imagining of the human body as mountains, a rock chain that is more complex than we think.

Robin: Still Moving is a single scene of a mother and her daughter travelling in a rented moving truck following the divorce with the father of the family. The animation style has a moody filter like glow, further emphasized by the gloomy rainy weather that slowly intensifies. Whether you have been on either side of the situation in the past or not, the story feels very relatable, beautiful in its flawed humanity.

Josh: Unlike any other animated short I’ve seen this year, Tigre is the colourfully mysterious story of a refugee from Laos, living in Thailand. A film full of uncertainty and curiosity, where nothing is everything and everything is nothing, it’s beautifully told in the traditional style of shadow puppets and is eye-popping fun from beginning to end.

3) The documentary shorts lineup was very deep this year covering topics from across the whole globe. Which stood out as your favourite documentary short?

Josh: The New Indigo Wave is the best kind of documentary, where I learn something new from the Oaxacan interview subjects— the process of alchemizing the mesmerizing blue pigment known as añil from the jiquilite plant—but that doesn’t forget that film is a visual medium, it’s impeccably shot and constructed, full of incredibly vibrant shots of the bluest blues created in the fascinating refinement process.

Brandon: I have two answers for this, and I won't choose between them!!!

First is Ask Me Anything. In a world that often feels so divided with arguing, Ask Me Anything is a breathe of fresh air. It follows Sudanese refugee, Abdulaal Hussein as he attends "Ask Me Anything" sessions throughout Dutch rotary clubs. Abdulaal's candidness is admirable as he gladly accepts any question and offers no judgement in return, only sincere answers. It is a short that encourages one to cast off ignorance and get to the heart of who someone actually is, not just believe what you may hear from others or read in the news.

My second answer is the powerful animated-documentary hybrid Monster Slayer. It's a short that is chock full of creative brilliance as it allows Stephanie "Monty" Montgomery to both tell and illustrate her story of working at a strip club. Monty shows just how courageous and resilient she is, as she not only slays the monster in her story, but also the stigmas around sex work.

Pedro: Natasha by Mark Franchetti and Andrew Meier is a rough watch but a crucial warning on the importance of protecting human rights activists. Fifteen years after Natalya Estemirova’s death, the safety for activists is flawed, and their situation is bleaker every year, especially after the death of dozens of U.N. workers in Gaza and other warzones. It is a homage to the martyrs and a reminder to the international community.

Robin: The titular Freeman Vines is an 82 year old man battling multiple myeloma, living in the tiny town of Fountain, North Carolina. Freeman has built guitars since he was a teenager, chasing a haunting and elusive sound of the past, building instruments closer to art pieces as opposed to the more traditional style we often see in modern guitars. In recent years he has started acquiring and using lumber from a tree used in lynchings in the area, deepening his lifelong conflict with racism in this region.

4) Tribeca really excels with the comedies it chooses. Which short had you laughing enough to give it the title of "Best Comedy'?

Robin: Having gone apartment hunting in a major city more than once in my life I can definitely say that Al Fresco struck a chord. They really hit the nail on the head of what it feels like to walk into your umpteenth viewing of a space that looked great on paper, only for it to slowly dwindle with every condition and flaw. The way the single take moves throughout the gorgeous space as the landlord dodgely answers the potential tenants' questions as they both in tandem turn more and more desperate to strike a deal left me uncomfortably laughing at / for / with them.

Josh: Sydney Heller and Olivia DeLaurentis, as Pelvis Nebula and Rib Quasar (the names make much more sense in context, trust me) are hysterical and unhinged as two mentally ill girls who regret joining a cult in the riotously funny In Jeff We Trust. Starting with its deliciously silly premise, Jeff is packed with more jokes, gags, puns and laughs than anything else we saw at Tribeca.

Brandon: In Jeff We Trust definitely offered up the most laughs of any short at Tribeca for me this year. Sydney Heller and Olivia DeLaurentis write an incredible script for themselves as two girls who have joined a cult. There are tons of hilarious moments but my favourite line had to be: "there's no duolingo for tongues". The disdain for having to make decisions was also a running joke that felt all too relatable.

Pedro: Neil Armstrong and the Langholmites made me laugh a lot with its sarcastic jokes and visual plays toward the history of Neil Armstrong’s visit to Scotland. It features an outstanding joke on Buzz Aldrin, and I couldn’t stop laughing.

5) There is plenty of underrated actors and undiscovered talent in the short film space. What is a performance that impressed you?

Pedro: I was amazed by Eleven Lee and her subtle performance in Ayí, portraying a hardworking and underpaid woman who looks forward to making more money as an immigrant in NYC and living a decent life far from home. It is a beautiful and quiet work that fascinates us because of her facial expressions.

Robin: One of my favourite films of the festival, and the season so far, is Beyond Silence. A story of two women discussing their experience with sexual assault, the generational trauma and the pain of being silenced within it. While the three women featured all deliver great performances, I want to call out the screen debut from Henrianne Jansen, playing the leading role of Eva. With a gut wrenching depiction of the frustration heading towards desperation, she left a haunting mark on me long after I saw the film, and I really hope we get to see more from her in the future! 

Josh: Emily Kuroda is heartbreaking and hilarious as the titular Gloria, a Chinese woman in her 70s living alone and struggling with her memory, who finds newfound purpose in teaching herself Spanish. In the film’s brief ten-minute runtime, Kuroda finds the heart and soul of a woman alone in the city, makes us feel for her struggles and delivers lots of huge lighthearted laughs, too!

Brandon: Actress Mathilde Storm puts on an absolutely bonkers performance (complimentary) in African Family Dinner. The short is cringecore at it's finest as discomfort grows throughout the runtime. It is constantly one upping itself on how awkward it can get and its a wonder that Mathilde Storm keeps composure and a straight face throughout. She goes absolutely all-in on the performance and leaves nothing on the table.

6) Chemistry between the cast is crucial for a short film to thrive. Which short had the best ensemble?

Brandon: Despite being called The Singers, the impromptu singoff between this group of men is still unexpected. Director Sam Davis cast this medley of actors from various viral singing videos. The fact there is little to no acting experience from any of them makes it all the more incredible. On a separate note, I also really loved the ensemble in Beyond Silence with a trio of emotional and heart-breaking performances. I can't help but to shout it out in this category as well.

Pedro: The entire ensemble of The Singers by Sam Davis is impressive. Plenty of great performances with outstanding singing and emotional acting.

Robin: One of the more extensive short film casts in the festival came from the film Money Talk$ by Tony Mucci. Heavily leaning into stereotypes to convey an exaggerated yet believable image of a busy 1980s New York City, it features a lot of brief yet impactful performances. By putting a $100 bill into the lead, it makes all performances feel supporting, which only fuels the feeling of so many stories untold that we only see glimpses of, and it constantly had my imagination on high alert in the best of ways.

Josh: In African Dinner Party, when a Norwegian woman meets her Ghanaian boyfriend’s family for the first time, things quickly escalate into the most uncomfortable dinner in history. From the beginning the cast is upsettingly funny (the dad!) and the ensemble only continues to multiply in unexpected and viscerally awkward ways. Lead actress Mathilde Storm deserves a shoutout, but everyone here is operating in top form.

7) Which short takes the prize for the best cinematography?

Josh: A ShortStick favourite from well before Tribeca, that we have mentioned several times before, but that really truly deserves mention here is A Brighter Summer Day for the Lady Avengers. Cinematographer Ai Chung gorgeously captures the radiant colours and humid textures of coming-of-age in Taiwan; one of the best-looking shorts of the year.

Brandon: Going with The Singers for two answers in a row here. When I saw that Sam Davis (cinematographer for Sean Wang's Didi and Nai Nai and Wai Po) was directing this film, I knew we were in for a treat. The Singers looks fantastic for how dark everything is. Sam makes the best of a dimly lit pub, as he proficiently captures the light off pub-goers faces and wisps of smoke in the air.

Pedro: Jacques Naudé in RISE delivers a noteworthy work by using natural lighting and different angles to portray the beauty of the relationship between a young boy and a boxing coach. It is an impressive work that elevates a great short.

Robin: Āyí is a small scale film about illegal immigrant workers in NYC, specifically following the titular character āyí as she tries to navigate a world that does all it can to put obstacles in her way. From language barriers and being separated from your family, to the constant threat of being spotted by ICE and the competition with other workers for clients, it is a bleak depiction of a world often hidden behind the scenes. While the film in its entirety is fantastic, I want to specifically call out the framing done in the cramped room she shares with three other immigrant workers. Some distance to the door frame gives a sense of peeking in through a window to another world, and the double framing itself also helps convey how tight and intense the space is. Altogether fantastic use of fairly limited scenery.

8) Music and score play such an important role in tying a short together. Which short do you feel had the best score/music?

Robin: It could be argued that claiming Baby Blues as my pick for best score / music is a lovely piece of category fraud, and I will neither confirm nor deny such a statement. What I will say however is that I had a lot of good laughs watching this film about a (presumably recently first time) mother trying to accomplish the somewhat mundane task of bringing her toddler out for a walk to the cafe. With a healthy mix of external sounds and internal thoughts, this was a rollercoaster of emotions in the best of ways. The songs she gets stuck on her mind like earworms were simply the cherry on top to squeeze this in for best music in my book!

Josh: One of the best scenes in any Tribeca short this year is the nightclub sing-along/dance party near the beginning of Chasing the Party. Set to a too-fast French chanson, and brilliantly choreographed by Katheryne Penny, the hysterical musical scene sets an energetic and carefree tone for the film, before it moves to its closing scenes which are anything but.

Brandon: Although I loved the music choices in RISE, the animated short The Piano has the edge on this one. Sleeping at Last beautifully arranges the short's stunning score, which almost acts as a character itself . As the music swells, it allows you to emotionally connect to the characters and what they are going through.

Pedro: The Lord of All Future Space & Time has a fabulous score by Alexander Bornstein emulating Westerns that immerses the audience in that universe.

9) Last thing before we leave, any other shorts you would like to give a shoutout to for any reason?

Pedro: I would like to mention the impressive production design work in A West Side Story Story directed by Aditya Joshi, a crucial element for the one-take approach of a tense film about representing your culture adequately. Furthermore, Wannabe by Kat Cattani is a heartfelt short about friendship and sharing what we love with our friends, making it a fun and sweet experience.

Brandon: There are so many shorts I would love to gush about here, but I will try to keep it down to just a few.

Sorry I'm Late (but I brought a choir) has the best animal performance by far. I couldn't help but burst out laughing when a scruffy-looking cat peers around the corner looking disgruntled and curious at the noises coming from the hall. The whole short is an absolute riot and filmed on an old iphone 6. I can't wait for the opportunity to watch it again.

Having still not seen part 1 of this short, I probably didn't get the full context of it but it didn't matter. Captian Zero: Into the Abyss Part II felt like a a warm hug from the 90s. I got hit with the feeling of turning on Saturday morning cartoons as a kid and seeing episodes of Spiderman or GI Joe. The humorous subtitles of [white disbelief]/[white embarrassment]/ [collective black confusion] also added a ton of humour to the short.

Snow Bear and Playing God were my second and third favourite animated shorts at Tribeca. They couldn't be more different in tone but keep an eye out for both this awards season as I see a ton of potential. Snow Bear is a beautifully drawn out film with a touching story, that you can't help but love. Playing God is some of the best animation I have seen in recent years and I was completely floored by it.

Lastly wanted to shoutout A Brighter Summer Day for the Lady Avengers. It's no secret we love this short from covering it at the Student Academy Awards, to adding it to our Top 60 of the Decade so far list. Having covered it extensively already we had a bit less coverage of it here at Tribeca, but it holds a very dear place in our heart.

Josh: Two other favourites I had at this festival were Playing God, about a clay sculpture comes to life in the darkness of a workshop, for its viscerally upsetting Claymation creatures, and Cherry-Colored Funk, in which the hilariously named Roberto Ferrari faces the music when seemingly everyone he’s ever wronged shows up on the opening day of his dubious Italian ice business. Two films that couldn’t be more different that showed two extremes of what short films can do. See you next year Tribeca!

Robin: There’s definitely much more I could call out here but I would like to give a quick shout out to Tribeca’s programmers. The selection throughout this year was fantastic, with a very high quality overall they managed to maintain a wide selection of styles and topics. Additionally they offered some clever grouping of shorts with similar trends or angles, really showing the time and effort that went into this year's iteration of the festival. Thank you Tribeca!