Why short films deserve more respect

The route of shorts-to-feature-films is a well-travelled one. But the irony is that, while the short film is given much credit at the beginning of a director's career, affirming their worthiness in directing anything with more weight or gravitas, it is soon all but forgotten, its merit diminished. Suddenly, it's inferior.

For a film tradition so old and established, this sad reality means that short film is no longer acknowledged as a distinct art form and genre, with its own identity and role.

I make, therefore, I am

Short films play several key roles in cinema.

First, they establish the artistic merit of a director. They're a dangerous undertaking, requiring meticulous precision and careful consideration. But, by making a successful short film, a director announces their arrival to the movie-making world with a flourish, branding themselves as a potential contender for larger projects.

One can almost hear a distorted version of Descartes' words echo: I create short films, therefore I am (a filmmaker). In other words: there is no film director without a short film.

The fact that the "short film" experience has become a prerequisite for a director's success establishes it as both challenging and indispensable. If it was easy, perhaps, everyone would master it. But as it is, short films hold great meaning and value (at certain stages), not only appreciated within the film community, but revered as well.

However, it seems as though the lifespan of the short film as a "fundamental" filmmaking step is short-lived. Its significance is confined to the early, foundational stages of directing, during which we witness its all-consuming importance.

In retrospect, however, it becomes a stepping stone and nothing more. Miss it, and you might crumble, but climb it, and you won't have to look back ever again. As soon as a filmmaker succeeds in directing a short film once, twice, or perhaps three times, they move on indefinitely to greener pastures.

What does it mean for filmmakers to experiment with short films in the early years of their careers, either as a condition imposed on them by the industry or as a commonly accepted "tradition" prevalent in the film community?

Isn't it a detraction? A practice that suggests a lesser regard for the shorts, which are placed on a pedestal then discarded?

And who was it that decided to relegate the short film to the bottom rungs of filmmaking – in such a seemingly arbitrary manner – and do it such a grave disservice? It seems to stand at the margins of cinematic greatness, merely a glimmering river that directors might dash across to finally touch oceans and seas – namely, feature films.

Doesn't the short film deserve more credit? Couldn't it be more than just a "stage", but rather an enduring practice in directing and cinematic creativity?

Perhaps filmmakers should endeavour to continuously, and throughout their careers, create great short and feature films, alternating between them to achieve balance.

Or, perhaps, some filmmakers could devote themselves exclusively to directing short films, as is the case in other creative genres – such as short stories in literature. After all, both of these art forms are based on condensing material, maintaining brevity, narrowing down an artistic vision, and focusing on austerity and minimalism.

There are international – and Arab – writers who, in their work, adhere to the short story format, never abandoning it in favour of another literary genre, and never seeking to alter its importance. These authors remain loyal to the genre and become synonymous with it, such as Horacio Quiroga, Ryunosuke Akutagawa, Augusto Monterroso, Alice Munro, Zakaria Tamer, Said El Kafrawy and Ahmed Bozfor...to name a few.

Meanwhile, it's rare (to the point of non-existence) to find a globally acclaimed director who is exclusively loyal to the short film. Nor is there a filmmaker who began their creative journey with short films, and after experimenting with feature films, returned to the short film to bookend their creative journey.

Whatever the case may be, there is a worldwide interest in short films, as evidenced by their celebration at dedicated festivals, such as Clermont-Ferrand Short Film Festival, Sundance, Palm Springer, Berlin, Edinburgh, Tangier Mediterranean Short Film Festival, Alexandria Film Festival, and more.

However, most short films nominated at these festivals are often debut films of emerging directors. They serve as a first step and an indicator of future potential. But these filmmakers, whether or not they win, will eventually move on to feature films without a glance back.

As a result, we're faced with the semi-abandonment of short films, leaving them in a perpetual state of obscurity and limited relevance, without the chance to realise their full potential.