4 Powerful Short Dramas to Enjoy if You’ve Completed Netflix

Celebrating short films and their creators

( Ye be warned…Spoilers lie ahead )

Photo by Donald Edgar on Unsplash

like me, you’ve spent a large part of The Lockdown trilogy on furlough, then you’ll have spent a colossal number of hours absorbing the full scope of what streaming services such as Netflix have to offer.

By now, you may be suffering from fatigue or symptoms of thrombosis and fancy watching something different. Short films are an excellent place to start.

Well, go for a walk first, then start.

Shorts are a traditional rite of passage for aspiring filmmakers, providing them with opportunities for collaboration and to hone their craft in order to progress their career to the next level.

The majority of shorts remain works in progress. But this is fine, because if every film were a masterpiece then no one would ever learn anything. Mistakes happen and we learn from them.

At least, that’s what I tell myself when I reflect on my cringe-inducing student filmography.

Even so, many short films excel despite their budgetary restrictions or their creators’ limited experience. It’s in this spirit I present the following selection of short films, in this case, all dramas.

Each has resonated with me for one reason or another, and I hope they will for you too.

Dinner With Mum

Dinner With Mum (2019) by 23 1/2 Films

A mum repeatedly attempts to have dinner with her daughter, but time quickly runs away from them both.

Dinner With Mum, directed by Daniel Harding, is a moving portrayal of an elderly woman suffering from dementia. The narrative manipulates the chronology of time to align with its protagonist’s declining mental state.

Unveiling through Ellen’s perspective reinforces the narrative’s authentic depiction of how stressful and debilitating it is for someone to relinquish ownership of their own mind.

Through combining a striking performance by Meryl Griffiths (Mum/Ellen), a haunting original score, deliberate continuity errors, jump-cutting, visual symbolism, and hair and makeup design, we chart the evolution of Ellen’s mental and physical trauma throughout her desperate attempts to complete a simple, routine act — cooking dinner for her family.

Dinner With Mum (2019) by 23 1/2 Films

While a little rough around the edges with some of its sound design and cinematography, the filmmakers’ forensic attention to detail, coupled with Griffith’s performance, enables us to see past this and enjoy repeat viewings.

[ Available to view on YouTube ]

Hope Dies Last

Hope Dies Last (2017) by Bolo Films

An Auschwitz prisoner gives a Nazi commander a haircut.

Directed by Ben Price (of Coronation Street), Hope Dies Last offers a glimpse into the real-life story of Józef Paczyński, a Polish political prisoner who served as the personal barber to Rudolf Höss, the Camp Commander of Auschwitz and a senior ranking Nazi credited with advancing the so-called Final Solution.

Its lucid, minimalistic visual and narrative style unnervingly convey the tensions between these two sworn enemies, with each shot lending weight to the climactic twist of the end credits exposing the true identities of both characters.

In retrospect, this context raises the stakes surrounding the implied power dynamic between both men immeasurably. A failure to fulfil this basic task could end in severe punishment or even death for Józef.

Hoss also shares his subordinate’s vulnerability. At any moment, Jósef could slit his throat and change the course of the War, an inner conflict expressed poignantly by Tarek Slater (Jósef).

Hope Dies Last (2017) by Bolo Films

It’s worth noting that the narrative delivers the most emotional impact on the first viewing. Familiarity with its ending revelation causes the initial shock and tension to somewhat wear thin, both empowering what is ultimately a rather simple plot.

Nonetheless, it’s an impressive addition to the portfolio of an established filmmaker.

[ Available to view on YouTube ]

I appreciate that only reading about dementia and the Holocaust so far is more than enough to sour anyone’s mood. Thus, this next short is quite a different albeit gripping dramatic thriller.

The Call Centre

The Call Centre (2020) by Thimble Films and Everdee Media

A woman at a call centre makes a connection with a customer. But she goes too far.

The directorial debut of Louisa Connolly-Burnham, The Call Centre is a well-written and devilishly sexy drama exploring the age-old archetype of the underdog. It does so through its main protagonist, Paige (Burnham), an introverted phone operator who works in a call centre providing life insurance.

Character studies focusing on individuals who at first seem moral and ordinary but who are in reality flawed or embittered by society, never fail to entertain. Travis Bickle, Walter White, The Narrator of Fight Club, and now Paige. Each character defies our expectations as they pursue their darkest, forbidden impulses and desires.

The narrative opens with a typical, mundane day for Paige. That is until she forms an unusual attraction with a caller named David (Alun Raglan). She proceeds to use his personal data to track him to his London home, set to begin a romantic affair.

After discovering that David has a family, however, Paige tries to leave. Confronted with a near-sexual assault in response, Paige stabs David and leaves him for dead.

The Call Centre (2020) by Thimble Films and Everdee Media

The narrative may also read as a religious allegory for how everyday people are tempted to sin by committing illegal or immoral behaviour, as Paige does.

The name of the company where Paige works is ‘Deus Insurance’, with ‘deus’ being the Latin word for ‘god’. The call centre’s foremost business concerns the financial legacy of the dead, acting as a form of purgatory for peoples’ journey between Earth and the afterlife.

( I’m sure anyone who’s worked in this field would agree ).

Paige’s sweet, unassuming nature presents her as an angelic figure and, by contrast, David as Satan. David’s wife, Helen (Tara Fitzgerald), who calls Paige to claim her late husband’s life insurance, is another contender for this role. Assuming the theory that she conspired with Paige to arrange David’s death to split his life insurance is true, evoking classic film noir such as Double Indemnity. Or maybe Paige is the Devil, being inherently evil all along…

Or maybe the filmmakers just enjoyed the word ‘deus’ and I’m reading too far into this, much like a GCSE English teacher.

Either way, Paige’s character arc undergoes notable change across the narrative, switching from a harmless ‘girl-next-door’ to an audacious femme fatale. Her suggestive gesture to her colleague illustrates her transformation during the narrative’s resolution.

*Sigh* I’ve never experienced this kind of flirting at work. But then, I do work with children.

[ Available to view on YouTube ]


Edge (2017) by Bald N Hairy Films

A desperate man takes matters into his own hands.

Edge is a suspenseful single-shot drama that achieves instant appeal through its ability to challenge audience perception in a similar fashion to Dinner With Mum, using space instead of time.

Filmmaking duo Billy Rees and Doug Kirby exploit the full potential of cinematography to escalate the tension, deploying carefully choreographed, voyeuristic tracking shots and asymmetrical framing to expose hints concerning the situation unfolding while preserving our anticipation.

As an apprehensive dialogue ensues between our troubled protagonist, Michael (Ellis J. Wells) and an off-screen voice (Tina Barnes), a distant city backdrop grows more visible behind Michael and it becomes clear that he is standing on the edge of a building, threatening suicide. The camera further shows Michael holding a young girl captive and police surrounding him.

Edge (2017) by Bald N Hairy Films

The narrative then delivers its first unexpected twist that the kidnapped girl is not Michael’s daughter, Charlotte, as she died, a misfortune that motivated his current breakdown.

This reveal frames Michael in a conflicted light, being a tragic yet dangerous figure on account of his unstable, fatalistic demeanour and attitudes.

The climax sees Michael jump off the edge. An uncomfortable crescendo follows as the fate of the girl, Lily (Grace Slattery), remains uncertain.

We then discover that Michael spared her from sharing the same fate as his daughter, and she rejoins her family.

In a brief runtime, the viewer experiences an intense albeit heartfelt tale of how loss and grief can crush even the most honest and respectable people and drive them towards undertaking such drastic action.

[ Available to view on Amazon Prime ]

And there you have it. Now, I must go and absorb some much-needed Vitamin D before I cocoon myself in front of the TV. Again.

Writing about Film, History, Culture & Society | British-Czech | UK Based | Writer | Filmmaker | Film Teacher | BA Film and History, University of Southampton.