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We’ve all seen countless conventional social realism representations of those sidelined by society with their gritty, miserable aesthetics, populated by problematic characters, and whilst they are undeniably powerful, director Michael Jobling wanted to explore a different way of portraying such narratives in his pilgrimage or purgatory drama short The Walk. Written by Sophie Ellerby, who came across an article about a vital local bus route being abruptly cut, and collaborated with Jobling to dive into the psyche of an individual battling the logistical obstructions of a 24-mile round trip in order to sign on, coupled with the heavy psychological weight of grief and isolation. Featuring a singular performance from BAFTA-winning actor Adeel Akhtar, The Walk – which we highlighted as one of the stand out shorts of London Film Festival 2023 – is rife with melancholy and hard hitting truths but also proffers glimmers of hope and a sensory appreciation of the grounding beauty of nature.

This intense short by Michael Jobling is one of those films which is likely to be received very differently by different audiences. It focuses on the 24 mile trip, on foot, which Amar (Adeel Akhtar) has to make every Wednesday in order to attend his Job Centre appointments and avoid being sanctioned. People who have never had to use such services often struggle to believe that such scenarios are real. Those who have used them know that such things go on all the time.

There’s a lot here that goes unspoken. The struggle to afford food, rent and bills on what the government provides. The prohibitive cost of bus fares and shortage of useful bus routes. The deep fear of being left destitute as a result of missing an appointment or being late, and the frustration which comes from having a whole day wasted which one might otherwise be using to.

It’s always hard to pinpoint what it is the short films of London Film Festival share because, as we’ve witnessed time and time again, the selection is always so eclectic. Short films of such varying budgets, genres and tones sit side by side with one another, a refreshing change to see at such a prestigious film festival. It puts precedence on an ideas-led cinema as opposed to one led by technical innovations and the flashiest kit. That’s not to say the shorts at Lff don’t look good or have great production value, because they do, but it’s more about what this says to up-and-coming filmmakers who don’t have massive resources behind them. It tells you that all you need is to be clever with what you have around you and you can have a film playing at the UK’s biggest film festival. With that in mind,...