{"id":18562,"date":"2026-10-31T14:00:00","date_gmt":"2026-10-31T05:00:00","guid":{"rendered":"https:\/\/shortshorts.org\/content\/?post_type=news_en&p=18562"},"modified":"2026-10-30T10:51:51","modified_gmt":"2026-10-30T01:51:51","slug":"announcement-of-ssff-asia-2027-shortlist-1st","status":"publish","type":"news_en","link":"https:\/\/shortshorts.org\/content\/news_en\/creators\/announcement-of-ssff-asia-2027-shortlist-1st\/","title":{"rendered":"Announcement of SSFF & ASIA 2027 shortlist (1st)"},"content":{"rendered":"\n
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We will release a shortlist of entries for the Academy Awards categories at the Short Shorts Film Festival & Asia 2027.<\/strong><\/p>\n\n\n\n

In August we received 1,103 submissions from around the world. Among these, 296 films, that is 26.84%, were student projects. Another 315 films, 28.56%, were first-time submissions. Women filmmakers made up 37% of the entries while men accounted for 61%.<\/p>\n\n\n\n

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

For the International Competition, we received 544 submissions. The top countries that sent the films were the United States, the United Kingdom, Canada, and France.<\/p>\n\n\n\n

The trends across these films show a focus on family relationships. Many filmmakers use tension to express inner grief, guilt, or identity crises. Common themes include identity formation, especially coming of age and meta-cinema, where filmmakers reflect on the act of filmmaking itself.<\/p>\n\n\n\n

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

The Asia International Competition received 189 submissions. The top countries were China, Korea, India and Iran with Taiwan close. Many films explore the tension between tradition and modern expectations. Generational conflict is a recurring theme. A significant number of works center on women dealing with oppression, domestic violence, and societal pressures. Another key focus is how women reclaim freedom.<\/p>\n\n\n\n

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

The Japan Competition received 27 submissions. Several films explored isolation. Isolation is a recurrent theme in Japanese short films. Another recurring theme is a grittier view of Japanese society. Focusing on the actual economic hardship, organized crime, workplace pressure and underground labor often referred to as black work.<\/p>\n\n\n\n

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

The Animation Competition received 172 submissions. France submitted the films, followed by the United States, China, and Germany. Many animated works use animals to reflect society, draw from ancient myths and spiritual worlds, or tell personal stories about past trauma. Some films also focus on reconnecting with ancestors.<\/p>\n\n\n\n

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

The Non-Fiction Competition received 86 submissions. These films present real-world stories and creative documentary techniques. The top submitting countries were the United States, Germany, and Canada. Many films center on stories. Filmmakers often turn the camera on themselves, using these methods to create films as a form of self-reflection. A prominent trend is the celebration of physical labor and cultural practices that are disappearing due to modernization.<\/p>\n\n\n\n

\u301cSSFF & ASIA 2027 shortlist (1st)<\/strong>\uff5e<\/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\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
And what do the pigs think ?<\/td>\n\t\tEdith Jorisch<\/td>\n\t\tCanada<\/td>\n\t<\/tr>\n\t
Best Practice<\/td>\n\t\tMartin Strange-Hansen<\/td>\n\t\tDenmark<\/td>\n\t<\/tr>\n\t
BOUND<\/td>\n\t\tSamir awaleh<\/td>\n\t\tSomalia<\/td>\n\t<\/tr>\n\t
CAN I PUT YOU ON HOLD<\/td>\n\t\tJames Cutler<\/td>\n\t\tUnited States<\/td>\n\t<\/tr>\n\t
Cold & Sweet<\/td>\n\t\tAida Alimadadi<\/td>\n\t\tGermany<\/td>\n\t<\/tr>\n\t
Ecstasy Of Tragedy<\/td>\n\t\tMina Tomic<\/td>\n\t\tSwitzerland<\/td>\n\t<\/tr>\n\t
FACES<\/td>\n\t\tAndr\u00e9s Molano Moncada<\/td>\n\t\tColombia<\/td>\n\t<\/tr>\n\t
Getar Hero<\/td>\n\t\tTeddy Stern<\/td>\n\t\tUnited States<\/td>\n\t<\/tr>\n\t
KHUFU<\/td>\n\t\tMahmoud Assi<\/td>\n\t\tEgypt<\/td>\n\t<\/tr>\n\t
Las Damas<\/td>\n\t\tCamille Z\u00e9henne<\/td>\n\t\tFrance<\/td>\n\t<\/tr>\n\t
Les Joues Rouges<\/td>\n\t\tMinna Prader<\/td>\n\t\tSwitzerland<\/td>\n\t<\/tr>\n\t
Life Goes On<\/td>\n\t\tKat Butterfield, Daniel Audritt<\/td>\n\t\tUnited Kingdom<\/td>\n\t<\/tr>\n\t
Men in Towels<\/td>\n\t\tKiyan Agadjani<\/td>\n\t\tLuxemburg<\/td>\n\t<\/tr>\n\t
noise of waves<\/td>\n\t\tTomasz Wr\u00f3bel<\/td>\n\t\tPoland<\/td>\n\t<\/tr>\n\t
ONE<\/td>\n\t\tYaya<\/td>\n\t\tRussian Federation<\/td>\n\t<\/tr>\n\t
Onizuka<\/td>\n\t\tRoberto Veiga<\/td>\n\t\tBrazil<\/td>\n\t<\/tr>\n\t
PITHEAD<\/td>\n\t\tWannes Vanspauwen, Pol De Plecke<\/td>\n\t\tBelgium<\/td>\n\t<\/tr>\n\t
Quang’s wonders<\/td>\n\t\tMichael Barocas<\/td>\n\t\tFrance<\/td>\n\t<\/tr>\n\t
Spag<\/td>\n\t\tLouis Brousseau<\/td>\n\t\tCanada<\/td>\n\t<\/tr>\n\t
Superlative Day<\/td>\n\t\tHarleigh Shaw<\/td>\n\t\tUnited States<\/td>\n\t<\/tr>\n\t
Swallow me home<\/td>\n\t\tAnna Niebert<\/td>\n\t\tGermany<\/td>\n\t<\/tr>\n\t
The Blessing<\/td>\n\t\tCaroline Poggi, Jonathan Vinel<\/td>\n\t\tFrance, Switzerland<\/td>\n\t<\/tr>\n\t
This Conversation Has Been Removed<\/td>\n\t\tAndrew Nolan<\/td>\n\t\tIreland, United Kingdom<\/td>\n\t<\/tr>\n\t
Timo \u2013 The Lord of Potato<\/td>\n\t\tAntti Tuominen<\/td>\n\t\tFinland<\/td>\n\t<\/tr>\n\t
VYANN<\/td>\n\t\tAdolfo Margulis<\/td>\n\t\tMexico<\/td>\n\t<\/tr>\n\t
Asia<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
Arifa<\/td>\n\t\tRohin Raveendran Nair<\/td>\n\t\tIndia<\/td>\n\t<\/tr>\n\t
A Silenced Lament<\/td>\n\t\tPei Ying CHEN<\/td>\n\t\tTaiwan<\/td>\n\t<\/tr>\n\t
Bulak<\/td>\n\t\tTynystan Temirzhan<\/td>\n\t\tKyrgyzstan<\/td>\n\t<\/tr>\n\t
Candidate 024<\/td>\n\t\tVarun Gupta<\/td>\n\t\tIndia<\/td>\n\t<\/tr>\n\t
Click<\/td>\n\t\tBlake Ahn<\/td>\n\t\tSouth Korea<\/td>\n\t<\/tr>\n\t
Kill The Girl Who Carries<\/td>\n\t\tXiaoxuan Huang<\/td>\n\t\tChina<\/td>\n\t<\/tr>\n\t
Navillera<\/td>\n\t\tSitang Bootsripoom<\/td>\n\t\tThailand<\/td>\n\t<\/tr>\n\t
Tamasira<\/td>\n\t\tClare Chong<\/td>\n\t\tSingapore<\/td>\n\t<\/tr>\n\t
The Angel and the Gamekeeper<\/td>\n\t\tNavid Solati<\/td>\n\t\tIran<\/td>\n\t<\/tr>\n\t
The Beauty and the Beast<\/td>\n\t\tGolam Muntakim<\/td>\n\t\tBangladesh<\/td>\n\t<\/tr>\n\t
The Bellow<\/td>\n\t\tMarjan Ashrafizadeh<\/td>\n\t\tIran<\/td>\n\t<\/tr>\n\t
Through The Cracks<\/td>\n\t\tHoang Le<\/td>\n\t\tVietnam<\/td>\n\t<\/tr>\n\t
“VATERLAND” OR A BULE NAMED YANTO<\/td>\n\t\tBerthold Wahjudi<\/td>\n\t\tIndonesia, Germany<\/td>\n\t<\/tr>\n\t
When it burns<\/td>\n\t\tJeong-seo Park<\/td>\n\t\tSouth Korea<\/td>\n\t<\/tr>\n\t
Welcome Party<\/td>\n\t\tMengsheng Valen Zeng<\/td>\n\t\tChina<\/td>\n\t<\/tr>\n\t
Animation<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
2:LOVE<\/td>\n\t\tRonni SHALEV<\/td>\n\t\tBelgium<\/td>\n\t<\/tr>\n\t
Acid City<\/td>\n\t\tJack Wedge, Will Freudenheim<\/td>\n\t\tUnited States<\/td>\n\t<\/tr>\n\t
ACID ECHO<\/td>\n\t\tElsa Moulin<\/td>\n\t\tFrance<\/td>\n\t<\/tr>\n\t
A Little Death<\/td>\n\t\tLeto Meade, Jonathan Rockefeller<\/td>\n\t\tUnited Kingdom, United States<\/td>\n\t<\/tr>\n\t
Burning Incense<\/td>\n\t\tSteven Hao Nhan Truong<\/td>\n\t\tSwitzerland<\/td>\n\t<\/tr>\n\t
Croisi\u00e8re<\/td>\n\t\tTh\u00e9o ALESSANDRI, Cynthia CORDIER, Morgane DERAIL, Charles ESTEVE, Charlotte GOGNET, Thalie REBOUL<\/td>\n\t\tFrance<\/td>\n\t<\/tr>\n\t
Deep End<\/td>\n\t\tPuzhen Zhang<\/td>\n\t\tUnited Kingdom<\/td>\n\t<\/tr>\n\t
Eri<\/td>\n\t\tHonami Yano<\/td>\n\t\tFrance, Japan<\/td>\n\t<\/tr>\n\t
Foxing: Kitsun\u00e9-tsuki<\/td>\n\t\tTakeru Shinozuka<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
Hacker Leonilia<\/td>\n\t\tGustavo Fontele Dourado<\/td>\n\t\tBrazil<\/td>\n\t<\/tr>\n\t
noir & lumi<\/td>\n\t\tCl\u00e1udio Jord\u00e3o<\/td>\n\t\tPortugal<\/td>\n\t<\/tr>\n\t
Penguin<\/td>\n\t\tKaspar Jancis<\/td>\n\t\tEstonia<\/td>\n\t<\/tr>\n\t
Silent Cinema<\/td>\n\t\tKrste Gospodinovski<\/td>\n\t\tNorth Macedonia<\/td>\n\t<\/tr>\n\t
Singapore God<\/td>\n\t\tEXYL<\/td>\n\t\tSingapore<\/td>\n\t<\/tr>\n\t
States<\/td>\n\t\tKatarzyna Kijek, Przemys\u0142aw Adamski<\/td>\n\t\tPoland<\/td>\n\t<\/tr>\n\t
Take Care<\/td>\n\t\tPatricia Str\u00fcbin<\/td>\n\t\tSwitzerland<\/td>\n\t<\/tr>\n\t
The Day I Smoked a Cigarette with my Father<\/td>\n\t\tSameh Alaa, Robin Vouters<\/td>\n\t\tBelgium, Egypt, France<\/td>\n\t<\/tr>\n\t
The End<\/td>\n\t\tNiki Lindroth Von Bahr<\/td>\n\t\tDenmark, France, Sweden<\/td>\n\t<\/tr>\n\t
the greatest house my father built<\/td>\n\t\tKing Yaw SOON<\/td>\n\t\tMalaysia, United States<\/td>\n\t<\/tr>\n\t
The Taste of Pineapple Bread<\/td>\n\t\tManfei Li<\/td>\n\t\tSwitzerland<\/td>\n\t<\/tr>\n\t
Non Fiction<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
A Wolf in the Suburbs<\/td>\n\t\tAm\u00e9lie Hardy<\/td>\n\t\tCanada<\/td>\n\t<\/tr>\n\t
In Dreams, When You Can\u2019t Sleep at Night<\/td>\n\t\tRachel Gutgarts<\/td>\n\t\tFrance<\/td>\n\t<\/tr>\n\t
Mark Hama: In Service<\/td>\n\t\tBrendan Leahy<\/td>\n\t\tUnited States<\/td>\n\t<\/tr>\n\t
Sawyer Avenue, Sunday Afternoon<\/td>\n\t\tBill Morrison<\/td>\n\t\tUnited States<\/td>\n\t<\/tr>\n\t
SCAM SLAVE: From Hell to Home<\/td>\n\t\tTimothy Blackwood<\/td>\n\t\tUganda, United States<\/td>\n\t<\/tr>\n\t
Shapes in Between: Norman Takeuchi’s Journey<\/td>\n\t\tAki Takabatake<\/td>\n\t\tCanada, Japan<\/td>\n\t<\/tr>\n\t
The Knights of NYC<\/td>\n\t\tJesse Smolan<\/td>\n\t\tUnited States<\/td>\n\t<\/tr>\n\t
The Last Climber<\/td>\n\t\tThida Swe<\/td>\n\t\tMyanmar<\/td>\n\t<\/tr>\n\t
The Starry Hours<\/td>\n\t\tLoris Theurillat, Axel Clarmont<\/td>\n\t\tSwitzerland<\/td>\n\t<\/tr>\n\t
Tristesse<\/td>\n\t\tYuri Muraoka<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
Walking with Love<\/td>\n\t\tYouko Mochizuki<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
Japan<\/td>\n\t\t<\/td>\n\t\t<\/td>\n\t<\/tr>\n\t
Lost & Found<\/td>\n\t\tAtsushi Nagao<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
the Wound Spring<\/td>\n\t\tGentoku Yamada<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
Almost Us<\/td>\n\t\tHayato Otogi<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
BROTHER<\/td>\n\t\tKen Izumisawa<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
Playing House<\/td>\n\t\tYouhei Shikano<\/td>\n\t\tJapan<\/td>\n\t<\/tr>\n\t
Elimination Period<\/td>\n\t\tKouta Higuchi<\/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 shortlisted films will be announced monthly until the end of March 2027. These selections will appear on the festival\u2019s website by the end of April 2027. This month\u2019s shortlist includes films submitted by the end of August, though the timing of announcements may vary.<\/p>\n\n\n\n

\u25a0SSFF & ASIA 2027 <\/strong>Call for entry https:\/\/app.lifelogbox.com\/festival\/shortshorts<\/a><\/p>\n\n\n\n

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