If you ever find yourself on a southbound tram in June, keep an eye out for St Kilda Town Hall—you might just stumble upon Australia’s best short films. The St Kilda Film Festival is one of the nation’s biggest short film festivals. Running for just over a week each year, the festival is easy to miss, but next June I would recommend all of you to lock in. The nearly 1,000 submissions this year were whittled down into about 200 interesting, experimental and/or emotional glimpses into the Australian filmmaking scene. 

SKFF is known for finding filmmakers before they go big—they’re an Oscars qualifying event, after all—but there really is something for everyone. And, also, some weird shit. But it’s cool.

SKFF hosted their opening night at the Palais Theatre this year, drawing people down the tram line to hear from official speakers and watch a selected line-up of short films. Myf Warhurst from Spicks and Specks acclaim hosted various speakers as we sat in the freezing Palais. (Allegedly, they left the doors open on a night that festival programmer James Shutt described far better than I can: “weather”). 

There were cheers from the crowd for local councillors, a zealous speech from Port Phillip Mayor Alex Makin, and proud introductions to the festival from various organisers. Then, finally, the lights dimmed and we got to watch the 2026 SKFF advertisement reel. And, of course, some shortlisted films.

Shorts screened at SKFF come from all sorts of genres and are made by all sorts of Australians, but they must, indubitably, be less than 40 minutes. As such, here are some thoughts on the ten films screened on opening night—in 40 words or less. 

Writers in Love (dir. Sarah Joan Wischusen Giles)

A cracking comedy resonant with creatives all-around. Two writers—and lovers—try to one-up each other’s writing across a range of stories (INTs and EXTs alike). Self-reflexive; morally complex; pastiche; a mastery of screenwriting. A bit ostentatious (complimentary), with meticulous production design.

The Fling (dir. Jemma Cotter)

A part-claymation part-live-action horror-comedy. Things at a restaurant start getting Really Weird over the course of two hungry women’s dates. Cutlery is eaten, men are vanquished, aliens reveal themselves and lesbians fall in love (and are also eaten). Chef’s kiss. 

A Stable For Horses (dir. Davie Paterson) 

A young man is reminded of his dad’s legacy. Metaphor reigns supreme, tragedy is crafted through ellipsis, and geez the soundtrack’s moving. A cool car, crime, and class-consciousness. This is an Australiana short made of something to chew on.

The Fix-It-Man And The Fix-It-Wooman (dir. Nelson Armstrong, Cornelius Ebatarinja)

A love story rich with First Nations culture and a beautiful, sculptural art style you can’t help but adore. Charming; awkward; funny; utterly lovely. If falling in love is a dance, this film is the story of finding your partner.  

Hindsight (dir. Mikey Hamer)

Subject meets form meets subject; a video-game-style, painfully awkward game store purchase interaction. Truly some guy versus the world. Get drawn in by the graphics, stay for the hope that maybe he makes it through this. A clever neurodivergence story. 

Ayana (dir. Saskia Faniis)

A brief, brief, glimpse into the greatest burden of loving: loss. This film is a symphony of grief filled with montage, small moments, simplicity and complication. The warm hum of Ayana’s mother is melancholic yet somehow carries you through.

Parasomnia (dir. Charlton Lansley)

Analog, abstract, textured. Horror is so back.  This film is confident in its form—you know what’s going to happen, but you can’t tear your eyes from the screen. Perspective is key. Ominous spaces everywhere. Don’t take a wrong turn…

PAPER ANGELS (dir. Sebastian Hill-Esbrand)

A poignant short doc that tells the story of how Mikey Mendoza went from world-famous skater to sustainable fashion designer. This film looks backwards to go forward, exploring passion, adversity, and how you can still believe in making positive change.

Baby Shower (dir. Matt Day)

Many people’s favourite of the night. A woman’s baby shower is complicated by her estranged dad showing up. The drama started slow, but built to a flourishing, bloody good finish. Complex families, unintended sex toys, unexpected crime, Hugo Weaving.

The Intervention (dir. Jessica Sofarnos, T.K Williams)

An intervention is sprung on a woman; somehow her Hinge date is there too? A clever satire, this comedy throws you to the wolves. It’s dynamic, comedic, and maybe the worst thing that could ever happen on a first date.

The Palais’ opening presentation ended quickly after the films, but the night wasn’t over for SKFF. We scurried out to free shuttle buses, avoiding the cold, wet Melbourne as much as possible. Five minutes later, things continued at the St Kilda Town Hall with an after party.

The after party was overflowing with wine, a bustling hall room and an excitable atmosphere. Everyone there was passionate about film, from SKFF filmmakers, to alumni, to people who just really like short films. Dancing was a little limited given the room was mostly full of people catching up, but a DJ and projected film-highlight-reel left plenty of entertainment. My one glaring fault in the night was sadly there was nowhere near enough food, but you can’t win everything. Sooner than I knew it, the drinks were being packed away, the clock struck midnight, and my PTV chariot was waiting to take me home.

A film festival that celebrates the often-unsung short filmmakers, St Kilda Film Festival is once again a roaring success in 2026. Award winners across a range of categories will be announced Sunday June 14 at the Awards Ceremony & Closing Ceremony, with tickets free to purchase. If you are interested in short filmmaking, the festival’s submissions will open for 2027 in about late August—check out the Under the Radar category if you’re under 21. Otherwise, the SKFF will return next year in June. I hope to see you there!