{"id":17484,"date":"2026-02-28T14:00:00","date_gmt":"2026-02-28T05:00:00","guid":{"rendered":"https:\/\/shortshorts.org\/content\/?post_type=news_en&p=17484"},"modified":"2026-03-04T17:30:23","modified_gmt":"2026-03-04T08:30:23","slug":"announcement-of-ssff-asia-2026-4th-shortlist-2","status":"publish","type":"news_en","link":"https:\/\/shortshorts.org\/content\/news_en\/biz\/announcement-of-ssff-asia-2026-4th-shortlist-2\/","title":{"rendered":"Announcement of SSFF & ASIA 2026 5th shortlist"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n

We will release a shortlist from among the entries for the Academy Award(R) eligible categories (Live-action Competitions, Animation Competition, and Non-fiction Competition) for the Short Shorts Film Festival & Asia 2026.<\/strong><\/p>\n\n\n\n

This December, we received 394 submissions. Among these, 20 films were student projects, and 120 were first-time filmmakers. Women filmmakers represented approximately 41%.<\/p>\n\n\n\n

International Competition Overview<\/strong><\/p>\n\n\n\n

For the International Competition, we received 202 submissions. The top submitting countries were the United States, France, and Spain.<\/p>\n\n\n\n

The trends across these films reveal a focus on stories dealing with death, memories,  and generational trauma.<\/p>\n\n\n\n

Asia International Competition Overview<\/strong><\/p>\n\n\n\n

The Asia International Competition received 59 submissions. The top submitting countries were China, Indonesia, and Malaysia.  A notable trend are stories that deal with characters losing their “place” in the world, often due to urbanization or migration.<\/p>\n\n\n\n

Japan Competition Overview<\/strong><\/p>\n\n\n\n

The Japan Competition received 19 submissions. Trending topics among the films were bullying, the pressures of digital life and single mothers facing economical challenges.<\/p>\n\n\n\n

Animation Competition Overview<\/strong><\/p>\n\n\n\n

The Animation Competition received 30 submissions, with the United States, Spain and China leading in submissions. Recurring themes this month were a  focus on individual journeys of grief, self discovery and transformation. Characters, embarking on a quest that leads to a profound change.<\/p>\n\n\n\n

Non-Fiction Competition Overview<\/strong><\/p>\n\n\n\n

The Non-Fiction Competition received 30 submissions. The top submitting countries were the United States, Chile, and the United Kingdom. A notable portion of the non-fiction films are dedicated to the creative arts, particularly music.<\/p>\n\n\n\n

\u301cSSFF & ASIA 2026 shortlist(5th)\uff5e<\/strong><\/strong>
~ The name of the film, the director name, and the country name will be listed in alphabetical order by category<\/p>\n\n\n\n

\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t
Project Title<\/td>\n\t\tDirectors<\/td>\n\t\tCountry of Origin<\/td>\n\t<\/tr>\n\t
International<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
Anno Domini<\/td>\n\t\tFilip Antonio Lizatovi\u0107<\/td>\n\t\tCROATIA<\/td>\n\t<\/tr>\n\t
A Real Swedish Midsommar<\/td>\n\t\tVille Gobi<\/td>\n\t\tSWEDEN<\/td>\n\t<\/tr>\n\t
A Shot At Art<\/td>\n\t\tIlke Paddenburg<\/td>\n\t\tNETHERLANDS<\/td>\n\t<\/tr>\n\t
Astra La Vista<\/td>\n\t\tJohannes Bachmann<\/td>\n\t\tSWITZERLAND<\/td>\n\t<\/tr>\n\t
Concrete Kids<\/td>\n\t\tSaulius Baradinskas<\/td>\n\t\tLITHUANIA<\/td>\n\t<\/tr>\n\t
FAUX BIJOUX<\/td>\n\t\tJessy Moussallem<\/td>\n\t\tFRANCE<\/td>\n\t<\/tr>\n\t
I went out (came back to my room)<\/td>\n\t\tRoberto Garc\u00eda<\/td>\n\t\tMEXICO<\/td>\n\t<\/tr>\n\t
Kentucky Gaza<\/td>\n\t\tOmar Rammal<\/td>\n\t\tJORDAN<\/td>\n\t<\/tr>\n\t
Risen from Ruins<\/td>\n\t\tHarry Besel<\/td>\n\t\tGERMANY<\/td>\n\t<\/tr>\n\t
Shutterspeed<\/td>\n\t\tJasper De Maeseneer<\/td>\n\t\tBELGIUM<\/td>\n\t<\/tr>\n\t
Asia<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
\u03b1LP\u03b1<\/td>\n\t\tDhiwangkara Seta<\/td>\n\t\tINDONESIA<\/td>\n\t<\/tr>\n\t
CHANT OF THE DESERT FLOWER<\/td>\n\t\tSOPHEA KIM<\/td>\n\t\tCAMBODIA<\/td>\n\t<\/tr>\n\t
In the Valley<\/td>\n\t\tHan Loong Lim<\/td>\n\t\tMALAYSIA<\/td>\n\t<\/tr>\n\t
Into the Night<\/td>\n\t\tDabin Jung<\/td>\n\t\tSOUTH KOREA<\/td>\n\t<\/tr>\n\t
The Cow<\/td>\n\t\tDarwish Syahmi<\/td>\n\t\tMALAYSIA<\/td>\n\t<\/tr>\n\t
The Housekeeper<\/td>\n\t\tsurya balakrishnan<\/td>\n\t\tINDIA<\/td>\n\t<\/tr>\n\t
What It Says About Us<\/td>\n\t\tChien-yu LIN<\/td>\n\t\tTAIWAN<\/td>\n\t<\/tr>\n\t
Animation<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
Shinsei Galverse<\/td>\n\t\tAyaka Ohira<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
the dream<\/td>\n\t\tAkihiro Watabiki<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
The observation<\/td>\n\t\tEremin Vladimir<\/td>\n\t\tARMENIA<\/td>\n\t<\/tr>\n\t
The Piano<\/td>\n\t\tAvery Kroll<\/td>\n\t\tUNITED STATES<\/td>\n\t<\/tr>\n\t
Woodland<\/td>\n\t\tJim Obmann, Emil Pogolski, Vanessa Chu<\/td>\n\t\tGERMANY<\/td>\n\t<\/tr>\n\t
Non Fiction<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
Baisanos<\/td>\n\t\tAndr\u00e9s Khamis Giacoman, Francisca Khamis Giacoman<\/td>\n\t\tCHILE<\/td>\n\t<\/tr>\n\t
Break, Free<\/td>\n\t\tSimeon Hu, Charles Xiuzhi Dong<\/td>\n\t\tCHINA<\/td>\n\t<\/tr>\n\t
In My Brother’s Corner<\/td>\n\t\tKatie Turner, Wells Goltra, Keyana Ayaz<\/td>\n\t\tUNITED STATES<\/td>\n\t<\/tr>\n\t
Nobody here knows who I was<\/td>\n\t\tVanessa Navari, Kate Vela, Alejandra Villegas<\/td>\n\t\tMEXICO<\/td>\n\t<\/tr>\n\t
Numb Fingers<\/td>\n\t\tJustin Wright<\/td>\n\t\tUNITED STATES<\/td>\n\t<\/tr>\n\t
Olinda’s Golden Arches<\/td>\n\t\tDouglas Henrique<\/td>\n\t\tBRAZIL<\/td>\n\t<\/tr>\n\t
Oliver<\/td>\n\t\tMichael Kaplan<\/td>\n\t\tUNITED STATES<\/td>\n\t<\/tr>\n\t
Room of the Absolute<\/td>\n\t\tNatalie Shirinian, Elizabeth Baudouin<\/td>\n\t\tUNITED STATES<\/td>\n\t<\/tr>\n\t
Japan<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
Dead Man Singing<\/td>\n\t\tShinsuke Kurimoto<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
Faceless City<\/td>\n\t\tRiko Murakami<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
Grandpa and Summer<\/td>\n\t\tYUSUKE HAYAMIZU<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
Michiko’s Encounters on the Road<\/td>\n\t\tEmika Takei<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
Ten years of Isobatake, the second year<\/td>\n\t\tHiroshi Gokan<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
THE MATCHING HOTEL<\/td>\n\t\tKensaku Sakamoto<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n\t
You Cannot Be Serious!<\/td>\n\t\tSatsuki Okawa<\/td>\n\t\tJAPAN<\/td>\n\t<\/tr>\n<\/table>\n\n\n\n\n
\n\n\n\n

Festival selections will be made from among the shortlisted films. The shortlist films will be selected monthly until the end of March, 2026 and will be uploaded on the festival\u2019s official website by the end of April, 2026. This month\u2019s shortlist is mainly for films submitted by the end of December, but the timing of the announcements may vary.<\/p>\n\n\n\n

https:\/\/app.lifelogbox.com\/festival\/shortshorts?tab=competition<\/a><\/p>\n","protected":false},"featured_media":17481,"parent":0,"template":"","e_news_cat":[551,550,641],"class_list":["post-17484","news_en","type-news_en","status-publish","has-post-thumbnail","hentry","e_news_cat-biz","e_news_cat-creators","e_news_cat-filmfestival"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/shortshorts.org\/content\/wp-json\/wp\/v2\/news_en\/17484","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shortshorts.org\/content\/wp-json\/wp\/v2\/news_en"}],"about":[{"href":"https:\/\/shortshorts.org\/content\/wp-json\/wp\/v2\/types\/news_en"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/shortshorts.org\/content\/wp-json\/wp\/v2\/media\/17481"}],"wp:attachment":[{"href":"https:\/\/shortshorts.org\/content\/wp-json\/wp\/v2\/media?parent=17484"}],"wp:term":[{"taxonomy":"e_news_cat","embeddable":true,"href":"https:\/\/shortshorts.org\/content\/wp-json\/wp\/v2\/e_news_cat?post=17484"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}