BORN OF WOMAN
(2023 shorts program)
Fantasia’s top-tier showcase of intimate auteur genre visions returns with eight works from six countries that will leave you shaken and amazed.
Sayani
A crashed pilot seeks a way out of her unfamiliar and harsh surroundings. As her hopes of rescue fade, memories become her saving grace and doom. This beautifully lit short takes advantage of its pace. A final reveal shocks.
Se Dit D’un Cerf Qui Quitte Son (Said of a Deer That Sheds Its Antlers)
A black comedy version of The Lottery, this film kills off its eldest family members, and everyone is cool with it. This laugh-out-loud absurdist short had me grinning uncontrollably. Salomé Crickx has a real winner here.
Only Yourself To Blame
In a sharp look at rape trauma and its eternal demons, filmmaker Noomi Yates‘ 8-minute short creates a powerful statement that speaks volumes. 
Les Dents Du Bonheur (Sweet Tooth)
What begins as a bring your daughter to work story quickly spirals to a darkly absurdist commentary on class. The production design and cinematography have you believe this short is a timeless French narrative drama. Director Joséphibe Darcy Hopkins takes us down the rabbit hole of deranged power structure, revenge, and respect.
The Taster
A near-future scenario plays the backdrop for director Sophia Bierend‘s Fantasia short. A young woman becomes the official taster for a high-ranking general. Learning about the recent demise of her predecessor, her insight into the fearmongering of her new environment grows clearer. Mandy Peterat‘s production design is top-notch. THE TASTER is one hell of a treatment for a feature. It screams franchise development.
PRUNING
Nian
Racism and folklore come together for a sweet tongue-in-cheek revenge tale from Michelle Krusiec. It is a satisfyingly smirk-inducing addition to the program.
Mancha
Writer-director Nicole Mejia‘s visual metaphor for generational trauma comes to life through a beautiful combination of Seth Macmillian’s camerawork, Alain Emile’s music, and performances. Its inevitability haunts you.
The main all-white set plays a dual role, subconsciously reminding you of white power and allowing your eye to focus on Brewer and the green plants she tends in her quiet time. The practical FX are gag-inducing. The score is ominous. It is easily one of the most affecting and unsettling things I’ve seen this year. 
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