Drama
Mucho Mucho, Siempre Siempre
Directed by Samuel Torres
Warning – This review may contain spoilers
Mucho Mucho, Siempre Siempre is a heartfelt drama that explores the deep connection between siblings, even when one has passed away. Directed by Samuel Torres, the film takes us on a journey as Esperanza (played by Stephani Sosa) reunites with her deceased brother, Axel (portrayed by Torres himself), in a yearly tradition that defies the boundaries of life and death. The story revolves around their magical meeting on the beach during the summer solstice, a bittersweet ritual where they catch up on the lives they’ve led—one in the world of the living, the other in the world of the dead.
Right from the start, I was struck by the beautiful cinematography. The clean, crisp visuals and vibrant colors, especially during the beach scenes, pulled me into the emotional landscape of the film. It’s clear that Torres aimed to create a serene yet poignant environment, and the choice to shoot at a beach perfectly complements the film’s themes of reflection, longing, and the passage of time. The sound design, especially the natural sound of waves, adds to this atmosphere, and I appreciated the minimalist approach to music, which gave the dialogue more space to breathe. However, there were a few technical missteps, including some unexplained black screens and jump cuts that broke the flow at times, making certain moments feel disjointed.
The premise of siblings reuniting across the boundary of death is emotionally rich, but I felt like the film didn’t fully tap into the potential of its concept. The emotional core of the movie—the bond between Esperanza and Axel—is certainly relatable to anyone who has experienced the loss of a loved one. Yet, the dialogue between the two characters felt surprisingly flat. With such limited time together, I expected deeper conversations that would reveal more about their past, their regrets, or even their hopes. Instead, much of their interaction felt like small talk, which ultimately left me wanting more. There’s a sense that the filmmakers were trying to capture the simple beauty of their connection, but this simplicity sometimes comes across as underdeveloped.
One of the aspects that puzzled me was the shift between English and Spanish during their conversation. There’s no clear reason given for why this happens, and while the language switch itself isn’t an issue, I would have liked the director to commit to one language or provide a more meaningful reason for the change. It was a minor distraction in an otherwise intimate exchange.
As for the beach setting, while visually stunning, it felt underutilized in terms of storytelling. There’s a sense of mystery surrounding Axel’s reappearance—he doesn’t emerge from the water, nor do we get any hints as to how he returns, leaving a gap in the narrative logic. I couldn’t help but feel that the beach, which even seemed to have a cave in the background, could have been used more creatively to enhance the mystical aspects of the siblings’ reunion. Instead, the film spends a lot of time on Esperanza’s journey to the beach, which, though beautifully shot, didn’t add much to the overall story. That time might have been better spent exploring the emotional and supernatural aspects of their connection.
While Mucho Mucho, Siempre Siempre succeeds in delivering a visually appealing and thematically tender story, it misses the opportunity to dive deeper into the complexities of grief and the idea of reconnecting with loved ones who have passed on. I found myself wishing for more substance in the dialogue and a stronger sense of purpose in the characters’ brief reunion. Audiences who have dealt with loss will likely find solace in the film’s message about the enduring spirit of family, but for me, the film felt a bit underdeveloped.
That being said, Torres’ direction shows promise, and I can see the passion behind the project. The film’s themes of love, loss, and familial bonds are universally resonant, and while it may not have fully hit the emotional depth I hoped for, Mucho Mucho, Siempre Siempre is still a touching short that will find an audience with those seeking quiet, reflective storytelling.
Drama
The Witch of Endor
Directed by Derek Hutchins
Warning – This review may contain spoilers.
The Witch of Endor, directed by Derek Hutchins, adapts the biblical story of King Saul (Dave Martinez) as he seeks out the Witch of Endor (Ehlana Bo) in a desperate attempt to summon the spirit of the Prophet Samuel (Devin Tanner). Saul is shunned by God and in his final act of desperation he turns to the supernatural for guidance on how to save his kingdom. This short film does a great job of capturing the dark, mystical atmosphere surrounding the story as it navigates themes of power, fear, and spiritual conflict.
Martinez’s portrayal of King Saul is solid capturing a man who is on the verge of losing everything and frantically grasping at anything that might save him. Ehlana Bo brings a haunting presence to the film although her introduction from a distance takes away some of the immediate tension. While the story is grounded in biblical context the performances particularly during the scenes of Saul’s desperation and his violent confrontation with the Witch, convey the emotional weight of the story even for those unfamiliar with the original biblical narrative.
That said the film does feel like a piece of a larger story. The characters have potential for deeper exploration but their development feels somewhat limited by the runtime. There are missed opportunities to delve into Saul’s deteriorating mental state or to build more tension in the scenes between the Witch and Saul. For example, close-ups during their confrontation would have added intensity and given more depth to their interactions. Additionally, the story relies heavily on exposition delivered through opening text, which lessens the impact of the characters’ dialogue and the weight of their choices.
Visually the film is striking, making great use of lighting especially considering the nighttime setting and reliance on torch and firelight. The compositions are well thought out and the choice to have much of the action play out in low light contributes to the eerie mood. However there are some shots that feel slightly out of focus which can be a bit distracting in moments of high tension. Despite this the sound design and editing do a good job of immersing the audience in this mystical world. The melancholic score and the crackling sounds of the fire help to create a sense of foreboding as Saul’s fate becomes increasingly grim.
Overall, The Witch of Endor is a visually strong adaptation of a biblical tale though its short runtime limits the depth and emotional connection the story could achieve. The performances, especially by Martinez as Saul, are engaging and the film’s style is effective in setting the stage for a mystical and ominous narrative.
The Witch of Endor is a solid short film that showcases an intriguing moment from the Bible but it misses some opportunities to fully flesh out its characters and build a more intense emotional connection. The cinematography, sound design, and performances do much to bring the story to life. Fans of biblical adaptations or mystical narratives will likely appreciate the atmosphere and tension of the film.
Drama
Wildcat
Directed by Laurie Powers Going
Warning – This review may contain spoilers.
Wildcat tells the story of Clara (Brenda Hattingh Peatross) a determined mother searching for answers after her husband, Sam (Johnny Chops), and daughter, Dottie (Elle Graper), mysteriously disappear. Set in early 1900s Texas during the oil boom, the film weaves themes of desperation, isolation, and the supernatural as Clara stalks the crew Sam worked with, believing them responsible for her family’s disappearance. The narrative takes a darker turn when Dottie suddenly reappears, but with something unsettling about her. Throughout a long, tension-filled night, Clara and Otis, the oil well owner (Adam Kitchen) come face to face, while a malevolent force toys with them.
The film effectively builds suspense and I found Clara’s desperation to be compelling as Peatross delivers a strong performance that carries the weight of her character’s emotional turmoil. Her portrayal of a mother driven by grief and anger anchors the film’s tension. However, the story leaves some critical gaps. There’s no clear explanation about how long Sam and Dottie have been missing or what circumstances led to their disappearance, which makes it harder to connect deeply with Clara’s quest. Dottie’s ghostly return, while eerie, lacks the necessary backstory to make her presence feel fully justified within the narrative, which diminishes the emotional impact of the film’s conclusion.
The sound design creates a tense atmosphere especially with the ominous noises that heighten the sense of dread. However, the song choice at the very end doesn’t fit with the rest of the film’s tone. The cinematography misses the opportunity to fully showcase the vast, desolate plains of Texas, which could have deepened the themes of isolation and loneliness. While the editing was uneven in sustaining the horror aspects, there are standout moments, particularly the scene where Otis throws a knife at Dottie’s ghost, a sequence that is both chilling and well-executed.
The performances were solid with Brenda Hattingh Peatross bringing a strong sense of intensity to Clara, and Adam Kitchen’s portrayal of Otis offering a grounded counterbalance to her increasingly frantic behavior. Johnny Chops brings a subtle but important layer to Sam’s backstory through flashbacks, while Elle Graper as Dottie brings an eerie, unsettling presence to her ghostly role.
Wildcat struggles to fully connect due to its lack of clear backstory and character development. The plot feels disjointed at times, and the motivations behind certain supernatural elements remain unclear. The final scene, while visually striking, doesn’t carry the emotional weight it could have if the film had done more to build the relationship between Clara, Sam, and Dottie.
Wildcat explores themes of desperation, grief, and isolation within the framework of a thriller set in the Texas oil boom. While Laurie Powers Going delivers a suspenseful short, and the cast, particularly Brenda Hattingh Peatross and Adam Kitchen, bring strong performances, the film leaves too many questions unanswered. I feel audiences seeking a slow-burn thriller may appreciate the tension. I just wanted more backstory and deeper character connections. Still, its worth a watch!
Drama
Measure of Creation
Directed by Ashton Sterling Bingham
Warning – This review may contain spoilers.
Measure of Creation is a heartfelt short film that allows us to see the world through Lydia’s innocent eyes, where life’s simple moments—like spending time with family or riding her bike—become extraordinary. I couldn’t help but feel the warmth and joy that Lydia experiences as she shares the things that make her happy. It’s an easy film to follow and I found it to be a comforting and heartwarming reminding me of the beauty in everyday life.
The cinematography really stood out to me. The close-ups and the different angles, like the shot from under Lydia’s bike handle, made me feel like I was right there with her, experiencing her excitement firsthand. The lighting was bright and uplifting, adding to the warmth of the film. The editing flowed smoothly, capturing the fun moments Lydia shared with her family, and the sound was clear, making sure Lydia’s voice and emotions were always at the forefront. The score was subtle yet powerful, especially during the moments when Lydia reflects on her late grandfather.
I connected with this film on a personal level, particularly as someone who once experienced childhood in much the same way—finding joy in the routine of everyday life. The way the film captures the love between Lydia and her family was deeply relatable, especially during the tender moments that reflect on the importance of family connections.
This film shines with its strong cinematography and editing. The lighting complements the uplifting and joyous tone, while the sound design ensures Lydia’s story is clearly told. The score adds an extra emotional layer without overwhelming the scenes, keeping the focus on the heartfelt moments.
Measure of Creation is a beautiful reflection on the simple joys of life seen through the eyes of a child. With its stunning visuals, heartwarming narrative, and emotional depth, the film left me feeling both nostalgic and uplifted. I think audiences will easily connect with its charm and authenticity, making it a film that resonates long after the credits roll.
