Live Action
From lively dive-bar patrons to elegant Regency lovers, tales of cross-generational friendship to poignant same-sex longing, and the stark landscapes of science fiction to the intricate politics of the Middle East, this year’s Oscar-nominated live action shorts offer a remarkably diverse selection.
And they are almost universally captivating. A prime example is “The Singers,” a surprisingly heartwarming glimpse into a working-class bar where gruff regulars find unexpected solace in an impromptu singing competition. Masterfully shot, directed, and edited by Sam A. Davis, and inspired by a 19th-century short story, “The Singers” is rich with swirling smoke and the overlapping chatter of men whose lives are marked by more losses than triumphs. It also boasts incredible vocal performances (sourced from viral internet videos) and arguably the most fitting use of Leonard Cohen’s “Closing Time” to date.
No musical interludes, however, can ease the tensions in “Butcher’s Stain,” Meyer Levinson-Blount’s sensitive and acutely relevant drama. It follows Omar Sameer, a Palestinian butcher whose job at an Israeli supermarket is jeopardized by false accusations of defacing political hostage posters. In contrast, ethnic distrust is entirely absent from “A Friend of Dorothy,” Lee Knight’s utterly charming narrative of an improbable friendship between an octogenarian art patron, splendidly played by Miriam Margolyes, and a gentle teenager, Alistair Nwachukwu. Knight’s profound belief in the unifying power of theater and poetry shines through, making for a sweet and uplifting film.
At a mere 12 minutes, “Jane Austen’s Period Drama” stands out as the shortest and most audacious entry. Written and directed by Steve Pinder and Julia Aks, this witty parody of “Pride and Prejudice” introduces Estrogenia (Aks), whose menstrual period inconveniently arrives mid-marriage proposal. Taking its title quite literally, this cleverly crafted comedy playfully questions whether there are certain realities men simply prefer to ignore.
For the collection’s longest and undeniably strangest film, “Two People Exchanging Saliva,” we venture to France, where acts of intimacy are taken with extreme seriousness. Set in a dystopian future where kissing is a capital offense and purchases are settled with a series of slaps to the face, this hypnotizing film slowly builds tension as a beautiful young saleswoman (Luàna Bajrami) and an unhappily married female customer (Zar Amir) are drawn together. Gorgeously acted and stunningly filmed in stark black and white, “Two People” weaves chillingly inventive details and patient direction (by Natalie Musteata and Alexandre Singh) into a powerful statement: few things pose a greater threat to authoritarianism than genuine human tenderness.
— JEANNETTE CATSOULIS
Documentary
It’s easy to see why “Armed Only With a Camera: The Life and Death of Brent Renaud” secured a nomination. Its subject, the late Brent Renaud, is also credited as one of its directors, cinematographers, editors, and producers, alongside his brother Craig Renaud. Brent Renaud was tragically killed near Kyiv by Russian forces on March 13, 2022, becoming the first journalist from an American news organization to die while reporting on the war in Ukraine. (Renaud had contributed to numerous outlets, including The New York Times.)
“Armed Only With a Camera” recounts Renaud’s life primarily through his own footage, captured while working in hazardous locations worldwide. The content is deeply moving, but structurally, the film is somewhat unfocused. Like many short documentaries, it feels as though it’s a precursor to a longer feature film, and perhaps it will evolve into one. The same could be said for two other nominated shorts, both compelling in their unique ways.
“All the Empty Rooms,” directed by Joshua Seftel, offers a quietly devastating look at a seven-year project by journalist Steve Hartman and photographer Lou Bopp. They create portraits of the untouched bedrooms of children lost in school shootings. Amidst conversations with the children’s still-grieving parents, Hartman reflects on his struggle to avoid becoming desensitized to the sheer volume of these tragedies.
Filmed in Tel Aviv, Hilla Medalia’s “Children No More: Were and Are Gone” chronicles a weekly vigil held in remembrance of children killed in Gaza. Participants silently hold photographs bearing the names, ages, and the haunting phrase “Was and is no more.” The film captures the intense and complex political atmosphere on the ground, but its most powerful element is Medalia’s sound design, which often mutes ambient noise, mirroring the protest’s silence and drawing viewers into a profound contemplation of the children’s faces and names.
The shortest and most ethereal of the nominees is Alison McAlpine’s “Perfectly a Strangeness,” which centers on three donkeys in an unnamed desert, slowly making their way towards an unmanned astronomical observatory. As day fades to night, and the donkeys gaze in wonder at the galaxy, we are invited to share their awe. One might be tempted to interpret this as a documentary about animals in a post-human future. It is both strange and profoundly beautiful.
The strongest nominee, however, is “The Devil Is Busy,” directed by Christalyn Hampton and Geeta Gandbhir (whose feature-length documentary “The Perfect Neighbor” is also an Oscar nominee). The film chronicles a day at a Black-led abortion clinic in Atlanta, seen through the eyes of Tracii, its fiercely compassionate and deeply religious head of security. Between prayers for protection and providing care to women, often traveling from other states, she discusses the men who protest at the clinic’s periphery. Hampton and Gandbhir tell the story with a rhythm that perfectly suits the film’s 31-minute duration, demonstrating a true respect for the short form. But it is Tracii who elevates the film: her unwavering faith provides an unexpected and potent contrast to the protesters’ rhetoric, making her a compelling and fearless guide.
— ALISSA WILKINSON
Animated
The two most impactful animated-short nominees skillfully condense entire lives into a brief runtime. One gazes into the future, while the other tenderly preserves the past.
The forward-looking entry is John Kelly’s “Retirement Plan,” a masterclass in elegant simplicity. Its seven minutes unfold as a continuous, piano-scored montage. The protagonist, voiced by Domhnall Gleeson, muses on all the aspirations he holds for retirement. Initial conventional desires (“I will finish all those books I started”) gradually give way to more eccentric pursuits and deeply personal confessions. The minimalist animation subtly depicts the man’s aging as he works through his ambitious checklist, revealing that his retirement plan ultimately becomes a candid reflection on a life not fully lived. For Oscar voters seeking a swift and profound emotional connection, Kelly’s touching and understated film is a strong contender.
Meanwhile, Florence Miailhe’s “Butterfly” offers a different kind of poignancy. This impressionistic biopic tells the story of French swimmer Alfred Nakache (1915-83) in flashback, as he performs a late-in-life butterfly stroke. Born in Algeria and Jewish, Nakache competed for France in the 1936 Berlin Olympics and again in the 1948 London Olympics, after surviving Auschwitz where his wife and daughter were killed.
The concluding text reveals Miailhe’s personal connection, having been taught to swim by Nakache’s brother. However, even more striking than this personal link is the film’s visual style. “Butterfly” is easily the most visually stunning selection, boasting a painterly texture and impasto that feels almost tangible. The bold, visible brushstrokes evoke French painters of the era, hinting at influences from Monet and Matisse.
Less remarkable are the other entries. “The Three Sisters,” by Konstantin Bronzit (a two-time nominee), is a mildly amusing but subtly sexist, dialogue-free piece where three women on an isolated island vie for the attention of a crude sailor. “The Girl Who Cried Pearls,” from Chris Lavis and Maciek Szczerbowski (also previous nominees), conjures a turn-of-the-century impoverished Montreal with striking, eerie molded figures—like a pawnbroker with a partially rotted face—but struggles with its narrative conclusion.
The safest entry by far is Nathan Engelhardt and Jeremy Spears’s “Forevergreen,” which tells the story of a bear cub and the nurturing coniferous tree that raises him, until the bear is tempted by a bag of potato chips. It’s a film replete with lessons: plant trees, prevent forest fires, and don’t litter.
Finally, there is Giovanna Ferrari’s “Éiru.” While it made the shortlist of 15 titles, it did not secure a nomination, yet it is screened to bring the program to feature length, which seems somewhat unfair to the other shortlisted films. Éiru is a young girl and aspiring warrior who brings water back to her parched clan and establishes peace with their neighbors.
— BEN KENIGSBERG
The 2026 Oscar Nominated Short Films: Live Action
Not rated. Running time: 1 hour 53 minutes. In theaters.
The 2026 Oscar Nominated Short Films: Documentary
Not rated. Running time: 2 hours 33 minutes. In theaters.
The 2026 Oscar Nominated Short Films: Animated
Not rated. Running time: 1 hour 19 minutes. In theaters.