Sunrise Film Festival 2025 – Best British Short Film Nominees
As part of our sponsorship of this year’s Sunrise Film Festival, we are delighted to also be sponsoring the award for Best British Short Film.
The shortlist for this years award spans a number of genres, including drama, sci-fi and surreal comedy – proof that boundary-pushing storytelling is alive and well!
Below we take a closer look at each of this year’s nominees, and get to know more about the directors and creative teams behind each film.
Learn more about how we can support short filmmakers with specialist Short Film Insurance.
Best British Short Film – 2025 Nominees
Contact Hours (Drama) – “The life of a university caretaker is upturned when one of his students hasn’t been seen in days.”
Decksdark (Sci-Fi) – “In a dystopian realm where consciousness is encased within neural implants, Logan, a solitary Decksdark, finds himself intertwined with an ethereal entity.”
Happy Death Day (Drama) – “A surreal comedy about embracing death and living life exactly the way you want to.”
PASSAGE (Experimental) – “PASSAGE follows the intimate story of a displaced trans father and his nine-year-old son, as they navigate harsh moorlands and seek refuge from an unforgiving wilderness.”
Contact Hours
Director: Harry Richards
Writer: Rufus Love
Starring: Kris Hitchen, George Osbourne, Ashleigh-Mae Schoburgh-Crooks
Synopsis: The life of a university caretaker is upturned when one of his students hasn’t been seen in days. It falls to him to unlock their door…
A tragedy in the university halls throws his ailing relationship with his son into sharper relief; the possibility of losing his son is terrifying.
Meanwhile, there are worrying indicators that the Caretaker’s son might be contemplating harming himself.
Though they are living in the same house, they are complete strangers… The Caretaker can feel his son pulling away from him. Eventually, the Caretaker can no longer battle his emotions alone.
In the final scene, he finds the bravery to open up to his son about and finally recognises how his son is struggling with his own happiness.
Watch the trailer:
We recently spoke to Harry Richards and Rufus Love, the director and writer respectively of Contact Hours, all about the film, their inspiration behind it, why they think film festivals like Sunrise are important and more:
Q: In a couple of sentences, what is Contact Hours about?
A: Contact Hours is a story about student suicide seen through the eyes of a university caretaker struggling to connect with his son. It is about the bravery required to reach for help when you are at your lowest.
Q: What sparked the idea for this story, and why did you want to tell it now?
A: The story was inspired by a chance encounter that writer Rufus Love had with an ex-caretaker who had resigned his post after finding multiple students who had taken their own lives. We wanted to be part of the movement to destigmatise suicidal ideation, make university campuses safer for students and honour the kind and selfless people who work as first responders.
Q: What was the most rewarding - or challenging - part of making the film?
A: On the busiest day of the shoot, there were about sixty people on set. Cast, crew, trainees, visitors. To bring all these people together in pursuit of something that, born out of darkness, might bring some light… that was hugely rewarding.
Q: Why do you think film festivals are important for short form filmmakers today?
A: Because we’re all in this together. We have met industry friends, collaborators and inspirations at film festivals. Whatever stage you’re at, there is someone just ahead in their career who can help and someone just behind who needs your advice.
Q: What does being shortlisted for Best British Short Film mean to you and your team?
A: We made this film because we wanted it to be seen. This acknowledgment from Sunrise is hugely important to us as it will encourage audiences and programmers alike to seek out ‘Contact Hours’. It is also a lovely thank you to all those who generously invested their time, encouragement, experiences and expertise in this project.
Q: What is one practical tip you’d share with other emerging filmmakers?
A: Tell anyone and everyone about your project. There is an astonishing amount of goodwill out there and you can never predict where one introduction, followed by another and another, will lead you.
Q: Where can people follow your work (website, socials, upcoming screenings)?
A: Please follow us on Instagram: @contacthoursfilm, @headrushfilms, @harryrichardsfilm, @rufus.love_
We would also really appreciate reviews of Contact Hours on Letterboxd!
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Decksdark
Writer, Director, Producer: Kane Wilson
Co-producer: James Freeman
Starring: Laurie Duncan, Tamzin Merchant
Synopsis: In a dystopian realm where consciousness is encased within neural implants, Logan, a solitary Decksdark, finds himself intertwined with an ethereal entity.
Watch the trailer:
We recently spoke to Kane Wilson, the writer, director and producer of Decksdark about the film, the inspiration behind it, why he thinks film festivals like Sunrise are important and more:
Q: What is Decksdark about?:
A: "Decksdark" is not just a story about escaping a dystopian world; it’s a call to reconnect with the world around us, to believe in the unseen and to cherish the magic of being truly free.
Q: Why tell this story now?:
A: In today’s hyper-connected world, we ironically find ourselves more disconnected from each other than ever. Strangers remain strangers, and our ability to empathise and communicate on a deep, human level is diminishing. I see younger generations losing their connection to nature and their belief in the unexplainable magic of the world around us. Through "Decksdark," I wanted to create a beacon of hope - a reminder that true freedom lies in understanding oneself and reconnecting with the natural world, the only reality that cannot be manipulated by technology.
Q: What was the most rewarding - or challenging - part of making the film?
A: We shot in Wales, camping out in the cold for a couple days, but the experience was incredible. My crew brought unwavering passion, and together, we harnessed the very energy and dedication that the film itself champions. It’s proof that with the right spirit, you can create something powerful, even under the toughest conditions.
Q: Why do you think film festivals are important for short form filmmakers today?
A: Festivals are crucial for today’s indie filmmakers, offering a platform to showcase your work to audiences far larger than you might have ever anticipated. Hearing people’s interpretations of my films fuels my creativity and pushes me to keep taking risks with my storytelling, encouraging me to embrace ambitious world-building without hesitation.
Q: What does being shortlisted for Best British Short Film mean to you and your team?
A: Being selected for the Sunrise Film Festival marks a pivotal moment in my journey, reminding me that to move forward with your work, you must take that first step and never be afraid to connect with others. Sunrise fosters a community of filmmakers, and the passion in the room is truly inspiring, creating an environment where creativity and collaboration thrive.
Q: What is one practical tip you’d share with other emerging filmmakers?
A: Whether it's your first film or your fifth, the belief you hold in yourself and your vision is the most powerful force you can possess. Without belief, there is no progress; with it, success becomes inevitable.
Q: Where can people follow your work (website, socials, upcoming screenings)?
A: You can follow my work and collaborate with me on Instagram @kanewilsonfilm - my website is www.kanewilsonfilm.com. My film is also screening at Carmarthen Bay festival in May which is a BAFTA qualifying film festival.
Happy Death Day
Directors: Shay Kuehlmann / Kate Roxburgh
Writer: Shay Kuehlmann
Starring: Anne Kavanagh
Synopsis: "When I die, I want to die like my grandmother: who died peacefully in her sleep. Not screaming like all the passengers in her car"
What if everyone knew the exact moment they were going to die. What would you do on your last day alive? Mira happily prepares for her death day by throwing a party and spending her last moments doing exactly what she loves. A surreal comedy about embracing death and living life exactly the way you want to.
We recently spoke to the directors of Happy Death Day - Shay Kuehlmann and Kate Roxburgh - about the film, their inspiration behind it, why they think film festivals like Sunrise are important and more:
Q: In a couple of sentences, what is Happy Death Day about?
A: In a small town where everyone knows the exact moment they will die, Mira prepares for her final day exactly how she wants - throwing a party, saying her goodbyes, and leaving nothing to chance. Happy Death Day is a surreal, darkly comic reflection on how we might face death if we were given the choice.
Q: What sparked the idea for this story, and why did you want to tell it now?
A: The idea came out of a time when death felt closer to all of us. We started thinking about control - what it means to have everything in order, to leave no chaos behind - and how we might choose to spend our final moments if we knew exactly when they were coming. That became the world of Happy Death Day: a surreal little town where everyone knows the moment of their death, and each person finds their own way to say goodbye. Some go out with a bang, some seek peace, some carry on like nothing’s ending. I was drawn to the subtleties in those choices, and how they quietly reflect who we are - and where we are - in life.
Q: What was the most rewarding - or challenging - part of making the film?
A: Balancing tone was the biggest challenge - making space for humour without losing the emotional weight underneath. We wanted the surreal to feel lived-in, the characters to feel real even in the strangest moments. The most rewarding part was seeing how the team brought that world to life with such care, honesty, and restraint.
Q: Why do you think film festivals are important for short form filmmakers today?
A: Festivals create a space for stories to be seen, shared and talked about. For short-form work, which rarely has a commercial outlet, festivals are where films find their audience - and where filmmakers find community. They're as much about connection as they are about recognition.
Q: What does being shortlisted for Best British Short Film mean to you and your team?
A: It’s a huge honour. Happy Death Day was a film made with a lot of care, a lot of belief, and a brilliant team behind it. Being recognised by a BIFA-qualifying festival like Sunrise is a real moment of pride for all of us, and a chance to celebrate what we built together.
Q: What is one practical tip you’d share with other emerging filmmakers?
A: Protect the heart of your story through every stage of the process. Everything else - style, pace, structure - should serve that.
Find out more about Happy Death Day:
- Website: https://www.dogskyfilms.co.uk
- Instagram: https://www.instagram.com/dogskyfilms
PASSAGE
Writer, Director: Orion Isaacs
Producer: Emily Eyre
Starring: Romeo Roxman Gatt, Jimmy Maslin Fong.
Synopsis: PASSAGE follows the intimate story of a displaced trans father and his nine-year-old son, as they navigate harsh moorlands and seek refuge from an unforgiving wilderness.
Behind the scenes photos of PASSAGE:
We recently spoke to Orion Isaacs, the writer and director of PASSAGE about the film, the inspiration behind it, why film festivals like Sunrise are important and more:
Q: In a couple of sentences, what is PASSAGE about?
A: Passage follows the intimate story of a displaced father and his nine-year-old son, as they navigate harsh moorlands and seek refuge from an unforgiving wilderness.
Q: What sparked the idea for this story, and why did you want to tell it now?
A: The idea originated as an image that came to me of a parent carrying their child across a flat, rural landscape. I returned to this image over and over, and gradually realised that this could be expanded upon as a potential film. From here, I had some inkling that I wanted to explore the day-to-day minutiae of parenthood on the margins.
Q: What was the most rewarding - or challenging - part of making the film?
A: We didn’t have the resources for chemistry reads between our lead actors so there was an element of risk involved in the casting process. The first time I looked into the monitor and saw Romeo Roxman Gatt and Jimmy Maslin Fong in frame, it was so clear they worked brilliantly together and had formed a true connection. It was a gratifying moment.
Q: Why do you think film festivals are important for short form filmmakers today?
A: As so many festivals are held in cinema venues, I feel this really encourages filmmakers to continue to produce work with the big screen and live audiences in mind.
Q: What does being shortlisted for Best British Short Film mean to you and your team?
A: This acknowledgement means a great deal to all of us. It tells me that the story we’re telling has resonated on some level and that’s what this is all about. I feel especially proud to be nominated for “Best British Film” as Passage calls us to consider our country’s responsibility to provide refuge for those fleeing persecution.
Q: What is one practical tip you’d share with other emerging filmmakers?
A: Start conversations with your Director of Photography as early as possible in pre-production. Create a rich, shared visual language with your DoP and make sure you’re on the same page with your understanding of the world you’re creating together. Then you can go into production with a shorthand form of communication. I was extremely fortunate to have this with Benjamin Leggett on PASSAGE.
Find out more about PASSAGE:
- Website: https://www.orionisaacs.com/
- Instagram: https://www.instagram.com/p/DItaemTNrpV/
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Written by
Luke Glassford
Head of Marketing
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