Reviewed: The Documentary Short Films Nominated for the 2025 Oscars

      In anticipation of the Academy Awards, we are examining every short film in the categories of Animation, Documentary, and Live Action. Stay tuned this week for our reviews. Below are the nominees for Best Documentary Short:

      **Death by Numbers** | USA | 33 minutes

      Four years. That’s how long the families of the victims and survivors had to wait for justice following the Marjory Stoneman Douglas Shooting in Parkland, FL. Four years while the perpetrator continued to live. Four years during which three other students took their lives due to the aftermath. Four years filled with haunting memories. It’s no surprise that Sam Fuentes’ true wish does not align with the options of having her attacker face the death penalty or life imprisonment without parole. She yearns for the impossible—bringing back those lost years by ensuring he had died at the scene.

      Based on Sam's diaries and experiences, Kim A. Snyder’s *Death by Numbers* takes us through the jury trial that will make decisions on her behalf. It focuses on Sam reclaiming her voice, as she shares her story of a future laden with PTSD, depression, and suicidal thoughts imposed by the school shooter. Now it is her turn to ensure he never forgets the impact of his actions. Not only does Sam testify for the jury, but she also chooses to address him directly after the sentencing, reclaiming the power that his weapon gave him and ensuring that his hate-driven narrative cannot overshadow the human cost of his actions.

      This film is powerful, featuring an inspiring narrator who bravely transforms her nightmares into a memorial. Sam is determined that her thoughts of this tragedy will highlight the faces of the victims rather than glorifying the murderer. He doesn’t deserve the attention or fame, and they shouldn’t be reduced to mere statistics. He is the statistic—illustrating the tragic irony of too many incidents in America, where his quest for notoriety becomes just another day amid preventable youth violence. They are the heroes sharing their truths in hopes of making a difference. This is Sam’s journey to recognizing that she is no longer afraid of him.

      **Grade: B+**

      **I Am Ready, Warden** | USA | 37 minutes

      Films like Smriti Mundhra’s *I Am Ready, Warden* pose a challenge because opinions on justice and the death penalty can easily lead to a preachy and exploitative narrative. Some seek revenge, as Aaron Castro states, “If you take a life, your life is put on the line.” Others, like John Henry Ramirez, hope for redemption during his 14 years on death row. When both perspectives are at odds, a choice is often made solely for clarity, reducing the film to a one-sided message.

      Mundhra’s work commendably avoids this pitfall by providing access to both sides, allowing for a balanced examination without interjecting her viewpoint. By giving Aaron and John Henry a platform to advocate their beliefs, she shares their stories without bias. Additionally, the involvement of the new Attorney General seeking a dismissal and the fact that Ramirez had a son while in hiding adds depth to their perspectives.

      All participants earn credit for acknowledging their flaws in wanting something that may not fulfill their needs. Ultimately, neither man has the final say, and it’s significant that both come to terms with each other’s journeys, irrespective of the outcome. Ramirez openly confronts his past, recognizing that, regardless of its horror, the murder led to his growth as a person. Meanwhile, Aaron’s empathy does not blind him to the reality that another death will still affect him deeply. The narrative captures the complexities of their situation with necessary nuance, encouraging dialogue without overt moralizing.

      **Grade: B**

      **Incident** | USA | 30 minutes

      Bill Morrison’s *Incident* utilizes unfiltered footage from body cameras and surveillance, with context provided through superimposed text. These captions explain why five police officers were present at a seemingly quiet storefront—the owners had requested increased police presence amid the trial of another officer involved in a previous fatal shooting of a Black man. The text also indicates which officer was new and who was experienced, as well as informing us that the victim was legally carrying a firearm.

      The rest of the film speaks volumes. It showcases the abuse of authority, the murder, and the emotional turmoil of attempting to reconcile facts with a reality that contradicts them. The “protect our own” mentality among the officers on the scene reflects a troubling mindset, while bystanders face yet another instance of police violence that appears to be covered up. Their fear of the community enables a sense of impunity, in stark contrast to the innocent man who was rightfully fearful of them.

      I won’t spoil the ending. Despite numerous officers, including the shooter, implicating themselves on film while being instructed by superiors to turn off their cameras, the outcome is predictable. A surveillance-heavy police state is focused more on its survival than the safety of the community. Par