Brooklyn Film Festival 2025: Reviewing The Five Short Films Found In ‘Family Etudes’

Just a quick note before we begin. I would have loved to go over and review all forty four short films. Sadly, I asked time to slow down and it denied me the request. Instead, I did what anybody would do and gave my fate to one of the great spinner wheels found online with a quick Google search - I’m glad I did. The five short films under the ‘Family Etudes’ category were all interesting and immersive in their own right. Thanks to The Brooklyn Film Festival for letting The Movie Nerds be a part of the press coverage this year and here’s hoping we can do the same in 2026. With that being said, let us take a deep dive into these little cinematic worlds, shall we?

Pirates of Los Angeles: Prologue - 2.75 out of 5

Undocumented immigration and mass deportation are the foundations to Pete Zhao’s upcoming film, Pirates of Los Angeles. As you can probably tell by the title, this short film is a snippet from that - more specifically, a haunting sequence that looms over any foreigner in the United States during this very turbulent time.  The fact that this “short film” is actually a piece of a bigger picture might just be its greatest weakness. As a first time viewer and without knowing what comes before or after the six minutes that makes up Pirates of Los Angeles: Prologue makes a world of difference. Rapidly diving into an important issue like this -  one of the first things we witness is the man behind the desk (at the immigration office, apparently) speaking a noncoherent language and the people around Yang pointing and laughing at him.

Zhao’s attempt at conveying the fear and trepidation of undocumented immigrants is brilliantly seen in Yang’s actor, Jizhong Zhang. He does what he can with what he has to convey these feelings - and it works. But, the (spoiler warning) nightmare more so feels like juvenile filmmaking antics that are reminiscent of a 90s children's show. It just doesn’t carry the full weight of a life-threatening situation like deportation. I generally feel bad typing that out and I would like to see the complete project…maybe I would be able to get a better grasp on Zhao’s vision.

Halfway There - 4 out of 5

Chelsea M. Davis and Laynie Mitchell’s Halfway There is undoubtedly a roller coaster ride for the emotions - and the soundtrack helps a ton. Davis also stars in the thirteen minute short as Jamie, a woman who is randomly called by a man named Chris, who profoundly states that he is her (half) brother. Besides the bluetooth speaker fighting with Jamie’s cell phone ringer for sound dominance, the first minute is quite peaceful in nature. When Jamie and Chris meet is when the real fun starts. This sequence which plays out for the rest of the twelve minutes or so is equally riveting but at times cringey - in the best of ways. This is a testament to not only Davis, but actor David Carzell who plays Chris. While she plays more of a cautious but curious character, his role is more mysterious, displaying hints of a defensive mechanism when Jamie is suspicious of his motives.

This slight hint of interrogation and then back to comfortable discourse in the restaurant is the peak of Halfway There. Something just isn’t right in Chris, but neither Jamie or the viewer know what that is exactly. That adds a layer to this family reunion of sorts. Since this small eatery setting takes us to the ending, the background fades away and forces us to focus on these two personalities. The story between them gets better with time, they get along, they laugh - well, until the climax. I will not say what happens in this case because the finale is certainly something to experience. But it just shows us that the sins of our fathers remain alive and well. While the half siblings could have probably used a tad bit more time bonding on-screen (so the ending would have paid off much better) - these two directors are already in a great place regarding filmmaking.

Dandelion - 5 out of 5

Out of the five short films I watched in the Family Études Narrative Short block of the 2025 Brooklyn Film Festival, Dandelion is the easiest candidate for a feature film in my opinion. Directed by Fiona Obertinca, duo Vic Michaelis and Ava Lalezarzadeh are instantly memorable as Joyce Harris and Margaret Levine. Margaret is a strong spirited queer teen who is pushed out of a nunnery foster care and into the hands of social worker Joyce. From the moment these two are put together on screen, you know it’s going to be a blast. Michaelis’ recent comedy fare (on Dropout TV and such) is traded in here for a more humanly and compassionate woman who protects the most vulnerable youth (Dandelion is set in the early 1970’s). Even though I wasn’t familiar with Lalezarzadeh, she delivers an equally strong performance as someone who masks their inner isolation with chaos.

In just twenty minutes, we have a road trip story, a topsy turvy relationship and a handful of Los Angeles locations. When the two end up back at Joyce’s house (after all foster attempts prove to be futile), Margaret discovers that Joyce is actually more relatable than she ever thought possible. This is where Dandelion shines. Just as Obertinca says in her filmmaker’s note on the Dandelion webpage, queer stories usually end in tragedy in order to make them more lasting. The Swedish-Albanian director has managed to replace that with a slow, more positive ending. She also puts light on the Youth Advocates, an organization that helped match queer youth with queer homes in the US. Even though this short film doesn’t last too long, it will stay with you for a long time.

Three Kisses - 3.5 out of 5

New love has never looked so . . . turbulent. That’s what makes Ellis Kaan’s Three Kisses temporarily enjoyable. Even though the fourteen minute story going over Ali’s newfound love and marriage doesn’t always feel one hundred percent truthful to real life, the attempt is respectable. The novelty of tying a doll to the front of the car is admirable for a new couple as is the custom of sacrificing a lamb so your son doesn't fall in love with an American woman. The grainy film overlay is a nice touch as well but the crux of Three Kisses need not be tied down like that. The characters and their familial relationship is what matters here the most. The mother, the mother-in-law, the friend, the bride’s entire family. The mingling of different worlds. The bride’s inability to compose herself against alcohol. The list goes on when it comes to the different dynamics found in Kaan’s most recent film.

One of the more interesting shots that I have to take note here is when Gül (Ali’s mother) is speaking to her sister on the telephone about how “disturbing” the new love bites look on her son’s neck. Meanwhile, a provocative ad plays on the black and white television that explicitly uses attractive women to sell a product. Whether it's the TV and Gül side by side or Gül and the bride’s mother treading this new path together, this is a charming little tale that goes through the passage of time albeit a little too quickly for its own good.

Pedigree - 3.5 out of 5

In Kai Wen Hu’s 2024 short film about a Korean father and daughter immigrant duo, Samuel Kim (played by Jongman Kim) suddenly has a decision to make. Who does he care for more? Being rich? Paying rent? Or how his daughter looks at him as a human being? As you can probably tell by those questions, they are not rich by any means. The main duo of this film sell umbrellas, water bottles and other basic necessities in the Bronx during a sweltering summer. The choice to use a hazy overlay - and peculiar lighting placements - help to convey the seriousness of the weather. That was a great choice. The small and messy apartment that Samuel and his daughter Squid live in is detailed to the extreme which is always a plus in the field of story intricacy (including a zoomed in shot on roach repellent). Their usual days of pushing wares wear thin when the landlord comes knocking on their door. Fantasizing about the rich one day, Samuel decides to buy a puppy off the street and sell it haphazardly to the highest bidder (he quickly learns some complex terms first that would appeal to buyers like shots, breed names and possible medical conditions).

Actress Juyeon Song’s portrayal of Squid comes into the forefront once the puppy arrives. Her character is enamored with the small dog but unexpected events have her turn on the man who raised her. Song’s delivery of the line “Our lives are miserable” cut a knife through any relationship or even mirage shared between the two. This is a turning point with Samuel then reiterating the quote “We can beat this” to himself over and over. Given the situation, the simple quote is beautiful and desperate at the same time. He ends up resorting to a life he thought he would never have to. This sixteen minute short film not only successfully subverts the American Dream but shows us the hidden effects of chasing after our dreams. Pedigree’s only mistake is trying to fit in too much. The beginning, middle and end are all hefty in their own ways but the ambiguous and strange ending makes it feel like another story regarding these two is just around the corner.