Four Short Horror Films to Watch in 2025

Dissimulator, dir. Holland Kerr

This animated film, directed by Melbourne-based animator and illustrator Holland Kerr, is a breathtaking example of what a well-told narrative can look like. In Dissimulator, an astronaut explores a distant planet in search of water. A promising discovery, however, may be more than she bargained for. 

The animation’s bold strokes and two-tone approach remind me a lot of printmaking, in a way that I haven’t seen done in film before. The nearest comparison I can make is the use of color tints added to silent films to change the mood of a scene, which is fitting, given that this film, like those, is completely free of dialogue. Kerr is able to use visual language (and only visual language) to clearly communicate the story with evocative scenes and some emotional, anxiety-inducing imagery. Considering its three-and-a-half-minute runtime, Dissimulator’s ability to go from awe-inspiring beauty to abject terror in such a short time is nothing short of incredible.

Ember, dir. David Ogrodowski

David Ogrodowski in Ember. Image via filmfreeway.com

Ember, written and directed by Pittsburgh-area legend David Ogrodowski, and starring Ogrodowski with Michael Barnett and Sarah Brunner, is a somber ghost story that centers around the stunning backdrop of the Reading Pagoda in Reading, PA. Rick (Barnett) has a conversation with his soon-to-be-father-in-law, Mr. Mauer (Ogrodowski) about a family secret. The script is a very well-written tale that is careful not to overexplain and shows a great eye for framing shots, particularly given that the short restricts itself to only a couple of static locations. This is a haunting film with some excellent, toned-down performances that help keep the focus on the story being told, and includes one effective and subtle jump scare that’s handled better than most Hollywood productions.

Detox, dir. Alex Hanno

Inspired perhaps by the relentless onslaught of dozens of mega-corporations vying for our constant attention via social media and advertising, and by our apparent willingness to accede to their demands, Detox follows social media addict Shelly, who is hoping to have a weekend away from the stresses of her phone. After an initially rough start, she begins to unwind—only checking her phone a couple of times before settling in, when she begins to sense that nature isn’t bringing her the peace she expected and that, perhaps, severing her ties of communication wasn’t such a good idea after all. 

Detox is laugh-out-loud funny, but also a biting commentary on both our reliance on our phones and the self-indulgent “social media cleanses” that we periodically try to reset with. It’s a great take on the modern problems we box ourselves into, and, according to director Alex Hanno, a feature film is currently in development, so there’s a chance we’ll be returning to the world of Detox in the not-too-distant future.

Detox is currently available on Omeleto, a YouTube channel dedicated to showcasing award-winning short films. 

Don’t Fall From Grace, dir. Carley Byers

Written and directed by Boston-based Carley Byers, Don’t Fall From Grace is an evocative and original take on the possession film. Grace, played by Ariana Pérez, is up in the middle of the night, and something is—not quite right. Her rigid, almost animatronic movements as she wanders about the kitchen are unnerving but, in a way, balletic. When her mother wakes and finds her, the tension builds as we learn that her actions are not entirely her own. 

What makes Don’t Fall From Grace so impressive is its depth. Every time I watch it, new details emerge in the production that show what a complete vision that Byers and her team had while making the film. Everything from the location and shot selection, the choreography and music, and the performances contribute to the story, each delivering a snapshot of the whole which, ultimately, is the goal of cinema as an art.

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Article by Ande Thomas

Ande loves the intersection of sci-fi and horror, where our understanding of the natural world clashes with our fear of the new and unknown. He is an independent member of the Society for Cinema and Media Studies and a supporting member of the Horror Writers Association. He writes about monsters and foreign horror and can also be found over on Letterboxd.

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