Movies
Our 10 Favorite Short Films From Final Girls Berlin Film Festival (2025)
Short films are one of my favorite parts of Final Girls Berlin Film Festival. Festival directors Elinor Lewy and Sara Neidorf always knock it out of the park with their short film block groupings and which films they pick for screening. I don’t think I’ve ever been disappointed by the blocks. While I can’t write about every single one, I wanted to take the time to highlight my top 10 favorite short films of their 10th Annual festival.
Due to the substance and quality of each short film, it wasn’t easy to narrow down the list to 10. It should be noted that with the exception of the films listed in the first and second spot, they aren’t in any specific order. (Because I couldn’t pick between two specific shorts, we’ll throw the 11th spot in here too!)
Short films are one of my favorite parts of Final Girls Berlin Film Festival. Festival directors Elinor Lewy and Sara Neidorf always knock it out of the park with their short film block groupings and which films they pick for screening. I don’t think I’ve ever been disappointed by the blocks. While I can’t write about every single one, I wanted to take the time to highlight my top 10 favorite short films of their 10th Annual festival.
Due to the substance and quality of each short film, it wasn’t easy to narrow down the list to 10. It should be noted that with the exception of the films listed in the first and second spot, they aren’t in any specific order. (Because I couldn’t pick between two specific shorts, we’ll throw the 11th spot in here too!)
My 10 Favorite Shorts From Final Girls Berlin Festival 2025
11. Sugar Rag written by Spencer T. Heath & Jai Love // directed by Jai Love
Block 9: Pop Horror/Carnivalesque
Alfred’s (Carter Dau) parents come home to their expansive manor with a surprise…a baby brother! There’s something off about Alfred’s new brother Remus (Aaron Light), and Alfred can’t quite put his finger on it; maybe it’s the fact that Remus is a 6-foot-something man in a diaper with a baby’s head mask.
Sugar Rag is an insanely out-of-left-field short film that shocks and stings. Never in a million years would I have guessed where it would go next. The surprising idea by Heath and Love to have Remus be an adult male portraying a baby is something I need to see in a feature-length film. While it’s comedic for a good portion, Heath and Love do not let the short go gently into that good night. The climax is genuinely crazy and left me with my mouth agape. It makes sense that it’s on the Crypt TV YouTube channel.
10. Izzy written and directed by Yfke van Berckelaer
Block 1: Hostile Environments
Izzy (Nahéma Ricci) is sick and tired of being caught in the middle of everyone else’s crap. That’s when she decides a pop of color will liven things up.
Izzy is short, sweet, and direct to the point. It has a story to tell and refuses to linger one second longer. There’s something deeper to Izzy than I can pinpoint, but by the time the short was over, it made me want to improve myself and stop sitting idly by while others get what they want out of life.
9. Gaslighter written by Virginia Powers Hendry and Anastasia Washington // directed by Virginia Powers Hendry
Block 3: Het Horror
Anne (Anastasia Washington) gets home after a long day of work only to realize that things are off. The front door isn’t locked, the power is out, and something seems wrong. Anne’s partner, Jeff (Taylor Marr), doesn’t believe her. That’s when the film splits in two and gives us Until Dawn-like points of view. Will Anne stay the night and face the evil in her house? Or will she leave the house like any normal person would?
Gaslighter puts to test the idea of audience reactions. How many times have you watched a horror film and shouted at the screen, “RUN! LEAVE THE HOUSE!” Hendry and Washington play with that idea by putting all the tropes out there and letting Anne make the choices for herself. It’s a fun play on the genre that works well for a short film but might not play as well if it were any longer.
8. Deep Cut written and directed by Michelle Farrah Huang
Block 1: Hostile Environments
Farrah (Michelle Farrah Huang) is on set for a film for the first time in years. She’s seemingly doing a good job, but the film’s director (Keir Gilchrist) doesn’t seem pleased. Farrah becomes friends with another actor named Jessie (Sugar Lyn Beard), and the two head to Farrah’s for a night of drinking. But Jessie seems too big of a fan of Farrah’s previous work and will do anything to ensure their film succeeds.
Deep Cut is meta and fascinating in an incredibly original way. You think you know where it’s going but get crisscrossed by the end. Huang’s story succeeds in its current form but would greatly benefit from a feature-length version. Huang and Gilchrist have great chemistry both when they’re friends and when they’re…not. It’s fairly straightforward visually but doesn’t fail to capture and keep the viewer’s attention.
7. Dark Mommy written by Courtney Eck and James P. Gannon // directed by Courtney Eck
Block 1: Hostile Environments
Ben (Ben Chandler) is a quiet man who spends his nights working as a solo dispatcher for his small town’s 911 call center. What seems like a prank call turns into a night of terror that might be a sign of something bigger to come.
As someone who works in overnight emergency dispatch, this one hit a little hard for me. Being the only person in a four-story building in midtown Manhattan sans a security guard can get slightly overwhelming. That being said, I would kill to dispatch in a town like Ben’s. The whole idea of Dark Mommy (Uranbileg Angarag) is brilliant and the effects by Ravenous Studios on Dark Mommy look stellar. As I’ve said many times throughout this list, so far, Dark Mommy would make a KILLER Malum-esque feature-length film. If you get a chance to see this at a festival, do not miss it.
6. How To Stay Awake written and directed by Vanessa Magic
Block 5: Midnight
Helen (Preeti Torul) will do anything to stay awake because if she falls asleep…the Night Witch (Hannan Younis) comes.
I have terrible insomnia, and working overnights probably doesn’t help. Helen’s plight is something I’m all too familiar with (though to a much lesser extent of a Night Witch). Vanessa Magic expertly crafted a story of what it feels like to not feel in control of your body and how powerless it can be. The sound design works wonders for the film, but I could have used a lot less high-pitched ringing–that’s what made me go from loving this short to liking it. Don’t get me wrong, I understand it, but it was too much. Overall, Magic created a visually intriguing piece of horror that gave me two separate nightmares.
5. It Came From Inside! written and directed by Aura Martinez Sandoval and Jackson Rees
Block 7: Queer Horror
It’s Halloween night! Vicky (Gentry Loghry) and her partner Oliver (Luke Harger) are relaxing after a party. An explosion outside piques their interest and changes their lives forever.
If you’re a fan of retro ’80s horror, then It Came From Inside! will be right up your alley. It has the trappings of Raimi, Dekker, and Henenlotter while still keeping an updated visual style. Full of some excellent practicals, this short reads like an open lines call from Coast to Coast with Art Bell. No notes!
4. The Blue Diamond written by Sam Fox and Addison Heimann // directed by Sam Fox
Block 4: Cults
Alison (Desiree Staples) is overseeing the funeral for her cult leader mother, Jacqueline (Barbara Crampton). Alison has stayed away from the cult this long…can she make it through the afterparty?
Cult horror isn’t usually my thing, but I still give them a shot. The Blue Diamond is an incredibly fun take on cults and how they affect those who are closest to the leader. Alison is a well-written character, and Desiree Staples does a fantastic job of portraying her. And I mean, Barbara Crampton is Barbara Crampton! There’s a fun twist that takes this short in a direction most in this subgenre don’t take, and I found it to be generally refreshing. So what are you waiting for? Let’s all go down the blue diamond together!
3. Micro-Short written and directed by Beth Fletcher
Block 5: Midnight
Don’t get between Dani (Hannah Myers) and her microwave.
Micro-Short is an excellent piece of avant-garde madness. Fletcher’s story and direction are expertly lensed by Maddy Talias, who knows HOW to work a camera. For a [very] short film about a woman and a microwave that takes place in a single room, Talias shoots the hell out of this short. I was insanely blown away by the filmmaking in Micro-Short.
2. Last to Leave written and directed by Mary Elizabeth Ellis
Block 5: Midnight
Brunette (Ginger Gonza) and Blonde (Mary Elizabeth Ellis) arrive at a bar right at last call. The women seem slightly off, but the remaining bar patrons are more than happy to have them join for a drink—big mistake.
When I saw Mary Elizabeth Ellis on screen, I jumped off my couch with excitement. I was even more excited when I saw she wrote and directed this. One of my favorite things is when A-list talent steps out of their comfort zones to make shorts/features that are completely different from their main body of work. Not only was I excited to see Ellis, but I was also genuinely surprised by how good this short was. This short plays it close to the chest, but when it’s ready to rip, it rips. I’ll only say this one more time: I really hope Last to Leave gets a feature adaptation. There are great intricacies to Brunette and Blonde, and it would be great to see Ellis expand on them.
1. Bloody Hell written by Lena Albin // directed by Lena Albin and Jayden Rathsam Hua
Block 5: Midnight
Sam (Sophia Morrison) is preparing for a night out with her friend Jacinta (Sophie Teo). But her period is far from her worst trouble tonight.
WOW. Absolutely, wow. Body horror is one of my favorite subgenres. While I find it enjoyable, it’s hard for body horror to make me physically nauseous. I really don’t want to say too much about Bloody Hell because it needs to be seen to be believed, but I want to give my props to Albin, Hua, makeup artists Lara Franzi and Maddison Gray, and SFX coordinator Briana Garbutt. This short film is one bloody hell of a good time.
Happy Festival, Final Girls Berlin! It was a pleasure, as always, and I’m looking forward to next year’s fest!
Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into.
While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!
The Best Movies to Stream on Shudder This Month
Lake Placid (1999)
A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.
You can watch Lake Placid on July 1st.
Nyi Blorong (1982)
The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile.
You can watch Nyi Blorong on July 7th.
The Housemaid (2018)
An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.
You can watch The Housemaid on July 14th.
Swallow (2020)
A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July.
You can watch Swallow on July 21st.
Monster Island (2024)
A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.
You can watch Monster Island on July 25th.
So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July.
In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.
I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.
Unveiling The Bride: The Plot and Power of the 1935 Classic
Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.
Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.
The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime
The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?
Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.
James Whale’s Masterpiece: Directing The Bride of Frankenstein
Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.
Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.
The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.
How The Bride of Frankenstein Shaped Horror Sequels and Adaptations
The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.
Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.
Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.
The Bride’s Untapped Potential for a Modern Horror Remake
With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.
The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.
The Bride’s Absence in Epic Universe’s Monsters Unchained Ride
Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.
Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.
Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.
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