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Taryn Joffe
Taryn Joffe participated in “Greatest” Short Films of All Time 2025, a first-ever poll of its kind as a collective love letter to the art of short-form moving image. yanco and Kurzfilm Festival Hamburg, in collaboration with Talking Shorts, invited filmmakers, curators, distributors, critics, and scholars worldwide to nominate 10 audiovisual works under sixty minutes that they personally consider the “greatest” of all time. This was Taryn Joffe’s submission:
This inaugural poll celebrates short films as one of cinema’s most versatile and adventurous forms—a space where experimentation, emotion and invention converge in concentrated brilliance. Shorts may test the limits of imagination and narrative, rhythm, and image. By inviting a collective reflection on the “greatest” works under sixty minutes, this poll honours the short film as a foundation of filmmaking: a medium that continues to redefine what cinema can be, one bold, distilled viewing experience at a time.
— Taryn Joffe| Movie | Original Title | Director | Country | Year | Duration | |
|---|---|---|---|---|---|---|
| Superstar: The Karen Carpenter Story | Todd Haynes | USA | 1987 | 43’ | ||
| Scorpio Rising | Kenneth Anger | USA | 1964 | 27’ | ||
| Ferdinand the Bull | Dick Rickard | USA | 1938 | 7’ | ||
A Walt Disney Productions short film, directed by Dick Rickard, is a hand-drawn classic that tells the story of a gentle bull who prefers flowers to fighting. Its luminous animation and pacifist message made it an early moral landmark for Disney—a timeless ode to nonconformity, empathy, and peace disguised as a children’s tale. |
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| Reality+ | Coralie Fargeat | France | 2014 | 22’ | ||
A sleek, dystopian satire about a future where beauty is bought, not born. Coralie Fargeat’s razor-sharp direction turns cosmetic enhancement into existential horror, blending Black Mirror-like social critique with the seductive sheen of fashion advertising. It’s an early glimpse of her fascination with transformation - physical, psychological and moral - that would later explode in The Substance. |
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| Fleas Amazeze | Jordy Sank | South Africa | 2025 | 15’ | ||
Jordy Sank’s visceral short film captures a Zimbabwean boy’s day of peril during xenophobic unrest in Johannesburg. The camera’s unblinking gaze turns realism into urgency, while its intimacy humanises an often abstracted crisis. It’s a film of breathless momentum and quiet dignity - proof that courage and craft can coexist in the same frame. |
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| Fauve | Jérémy Comte | Canada | 2018 | 17’ | ||
Two boys play by a quarry, and their folly turns into tragedy. Jérémy Comte’s stark, sun-bleached fable confronts the chaos of childhood and the brutality of innocence lost. With echoes of Lord of the Flies and the raw minimalism of early De Sica, Fauve captures the moment when play becomes peril - and youth gives way to consequence. |
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| World of Tomorrow | Don Hertzfeldt | USA | 2015 | 17’ | ||
A stick-figure odyssey through memory, love and the melancholy of progress. Don Hertzfeldt compresses the cosmic and the intimate into sixteen transformative minutes, as a child meets her future clone and contemplates mortality through the lens of wonder. Poignant, philosophical and quietly devastating - this is animation as pure poetry of the human condition. |
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| Le Ballon rouge The Red Balloon | Albert Lamorisse | France | 1956 | 34’ | ||
A floating red balloon drifts through the grey streets of Paris, chasing and being chased by childhood wonder. Albert Lamorisse’s poetic fable is simplicity perfected - wordless, wistful and impossibly alive. It remains one of cinema’s purest metaphors for innocence and imagination: gravity-defying, heart-lifting and eternal. |
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| Skin | Guy Nattiv | USA | 2018 | 20’ | ||
A taut, brutal parable about hate and redemption, where a neo-Nazi’s violent world unravels in a twist of poetic justice. Guy Nattiv’s storytelling burns with moral clarity and cinematic precision, distilling the anatomy of prejudice. It’s shocking, empathetic and unforgettable, and proof that brevity can amplify impact. |
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| Stutterer | Benjamin Cleary | Ireland, United Kingdom | 2015 | 12’ | ||
A tender study of voice, vulnerability and the yearning to connect. Benjamin Cleary crafts a quiet, humane portrait of a man trapped between eloquence and fear, language and silence. Every hesitation feels like a heartbeat. This Oscar award-winning short film is about communication that says everything through what’s left unsaid. |
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