Reviewed: The Live Action Short Films Nominated for the 2025 Oscars

      In anticipation of the Academy Awards, we are reviewing all the short films in each category: Animation, Documentary, and Live Action. Follow our coverage this week. Below are the nominees for Best Live Action Short:

      **A Lien | USA | 14 minutes**

      Could Sam and David Cutler-Kreutz’s A Lien benefit from a darker tone? I believe it could. It’s challenging to narrate a story that critiques the corruption within America’s immigration laws, especially concerning how ICE (U.S. Immigration and Customs Enforcement) operates under a veneer of authority while simultaneously providing a respite for Sophia Gomez (Victoria Ratermanis). This choice does not entirely detract from the film’s impact; it reflects the hypocrisy and fortunate circumstances upon which our country is built. Perhaps a different agent would overlook Sophia's passport or bureaucratic hurdles might prevent her from presenting it at all. The narrative thrives on "what-if" scenarios.

      Why else would Sophia and Oscar (William Martinez) endure such a labyrinth of bureaucracy, separating their documents across various departments and floors, despite being there due to the government’s request? The checkpoints serve a purpose, embodying insulation and scrutiny. If Oscar and Sophia are kept isolated, the likelihood of complications when ICE eventually comes for him decreases. Everyone around them insists she follow protocols, endure more obstacles, and ultimately confront the helplessness of her worst fears materializing. They lure individuals in with promises of cooperation, only to exploit their trust for political gains.

      It is also telling that the camera shifts to a television showing Donald Trump speaking. This moment grounds us in the time period (his first term) and highlights how what seems like a moment of achieving the American Dream is about to take a dark turn. From this point, it becomes a race against time through a labyrinth of disconnected agencies and deliberately nurtured indifference, forcing someone to do the right thing. Let’s face it: a legal citizen should never have to prove their legality; the system should have already confirmed it. Ideally, the system ought to function as intended—unless, of course, failure is the objective.

      **B**

      **Anuja | India/USA | 22 minutes**

      Anuja (Sajda Pathan), a bright young street child in India, faces two choices: take a math exam that could earn her a boarding school scholarship or assist her manager (Nagesh Bhonsle’s Verma) to help ensure her sister Palak (Ananya Shanbhag) isn’t let go due to her declining the opportunity. It’s an impossible dilemma that weighs immediate comfort against future ambition. Regardless of Anuja’s intelligence, either choice means sacrificing something—be it for herself or for Palak.

      This critical decision serves as a compelling dramatic element in Adam J. Graves’s Anuja, shedding light on the harsh realities many experience in India amid poverty. Pathan’s personal experience as a street child lends authenticity to her portrayal of someone striving to enjoy childhood despite adult burdens. Ultimately, Anuja and Palak’s only wish is to secure each other's happiness.

      Regrettably, as a short film, this momentous turning point transforms into an unending build-up. While leaving room for interpretation—especially when a definitive answer is absent—is understandable, it results in 20 minutes of tension without resolution. We connect with the girls and their resilience, yet the film leaves us perpetually uncertain about whether escape is even feasible. Although it presents Anuja’s story as unique, it ultimately requires a resolution; too few have the privilege of experiencing such ambiguity for it to resonate universally.

      **C+**

      **I’m Not a Robot | Netherlands/Belgium | 22 minutes**

      Do you get annoyed when your Captcha fails to work? John Mulaney certainly does. The premise of his joke—that we spend much of our time assuring robots (computers) that we are not robots (bots) just to access our files—is inherently absurd. It makes sense, then, that someone would craft a narrative that turns this concept on its head. Enter Victoria Warmerdam’s I’m Not a Robot, where Lara (Ellen Parren) begins to question her own humanity as she struggles with a series of Captchas preventing her from updating a work program. After all, how can she prove she’s human if she isn’t?

      Warmerdam structures her narrative on this earnest binary, ultimately making it even more ludicrous than Mulaney’s observations. To validate it, a more intricate test must be devised (those final questions are gems). This concept entails creating a setting where bots coexist with humans outside the confines of social media and the Internet. It involves discovering a darkly surreal fail-safe that renders the obvious “I can prove I’m human” scenario irrelevant. Warmerdam accomplishes this with sharp humor and captivating drama, accompanying Lara on her quest for understanding.

      The addition of a choral rendition of Radiohead’s “Creep”