It will also be exciting to see these films together as a unified program, as their creative concepts and cinematic languages are remarkably diverse. The classic, at times deliberately sentimental approach of A Friend of Dorothy stands in sharp contrast to the lyrical style of Two People Exchanging Saliva or the playful irreverence of Jane Austen’s Period Drama. What the works share, however, is that they function as a kind of indicator: they probe the questions and dilemmas that concern their creators—and perhaps we can assume that they resonate with audiences as well.
A Friend of Dorothy
The directorial debut of Lee Knight—who is also known as an actor (for example from Benedict Cumberbatch’s Sherlock)—may remind viewers of classics such as Driving Miss Daisy or The Intouchables. Its two protagonists are Dorothy (Miriam Margolyes, who also appeared in the Harry Potter films) and JJ (Alistair Nwachukwu), who meet when the boy accidentally kicks his football into the elderly woman’s yard. JJ wants to become a footballer—or more precisely, his parents expect him to—but he is far more interested in theatre, echoing a dilemma similar to that in Billy Elliot.
Dorothy, meanwhile, owns a real treasure trove of books and plays, so their chance meeting gradually turns into daily conversations. The two people—both seen as somewhat eccentric by society and their immediate surroundings—finally find companionship. Lee Knight’s film shows that we all long for connection, while also serving as a reminder that we should pay much closer attention to one another. It’s a humorous and highly relatable film, featuring a welcome appearance by Stephen Fry.
Jane Austen’s Period Drama
The film by Julia Aks and Steve Pinder begins as if Bridgerton on Netflix had never actually ended. Beautiful dresses, polite ladies, proud gentlemen, and intense emotions fill the screen. Mr. Dickley (Ta’imua) kneels before one of the protagonists—played by one of the directors—to ask the big question, but Essy Talbot suddenly begins to bleed. Panic breaks out, even though what is happening is something entirely ordinary: she has started menstruating.
The filmmakers cleverly use humor to draw attention to the many taboos that still surround this basic biological process. The film is entertaining, yet deeply liberating when Essy delivers a brief “crash course” on menstruation—something so simple, yet a topic people still tiptoe around. It is also worth noticing the pun in the title: the film plays with the double meaning of “period” (both menstrual cycle and historical costume drama), highlighting a fundamental contradiction. While period dramas often portray conservative gender roles, many women still find strong points of identification in them.
Two People Exchanging Saliva
The most unusual—and from a cinematic standpoint the boldest—film comes from Natalie Musteata and Alexandre Singh. The story takes place in a dystopian Paris where a kiss is punishable by death. Angine (Zar Amir Ebrahimi) and Malaise (Luàna Bajrami) fall in love while working in a shop. Even though they are aware of the ban, they grow closer to each other, arousing suspicion in those around them.
Thematically, the film is related to A Friend of Dorothy, though stylistically they could hardly be further apart. The directors employ strong formal tools: the black-and-white cinematography and the dominant musical atmosphere define the tone of the story. Two People Exchanging Saliva powerfully explores repression, and despite—or perhaps because—it revolves around the prohibition of physical contact, it is filled with subtle gestures, emotions, and sexuality. The dystopian Paris represents our contemporary societies: jealousy emerges, conflicts intensify, and power struggles seem endless.
Butcher’s Stain
Meyer Levinson-Blount’s Butcher’s Stain could hardly be more timely—one only needs to read today’s headlines about the Middle East. The story centers on Samir (Omar Sameer), the only Arab employee in a Tel Aviv supermarket, who is accused of tearing down posters of alleged war criminals during the night. Although there is no concrete evidence, an investigation begins, slowly wearing the man down.
The film shows that prejudice poisons everyday life not only when it is openly expressed, but also when it quietly infiltrates daily interactions, making coexistence nearly impossible. As the investigation unfolds, it becomes clear that truth is often secondary; what matters most is whose voice is louder. Yet the film also offers a hint of hope, suggesting that conflicts cannot be swept under the rug forever.
Join us for the screening of the Oscar-nominated short films next Saturday at 8 PM at the Puskin Cinema!
