Each of the five Oscar-nominated documentary short films carries a punch. They are an important tribute to filmmakers’ desire to create work that matters. The films screen at the Martha’s Vineyard Film Center through March 15, along with the Oscar-nominated animated and live-action shorts programs.
Joshua Seftel’s documentary “All the Empty Rooms” explores the impact of school shootings through a powerful project by veteran CBS News Correspondent Steve Hartman and photographer Lou Bopp. As the number of shootings grew, Hartman decided to shift from heartfelt human-interest stories to a seven-year project focused on the impact of gun violence. He and Bopp highlight these tragedies by documenting the bedrooms of children who were killed. There is a silent, reverential air to the intimate photographs of stuffed animals, clothes left out, and hairbands around a doorknob. Parents explain that they leave everything untouched to preserve their children’s scent and presence. Hartman notes that since starting the project in 1997, school shootings have increased from 17 to 132 annually. He says, “Before the project, I was growing more and more numb after each school shooting. All of America is going through the same process. Now when I hear about a school shooting, I can place myself in that room, and it hurts a lot more than it did before. I want the project to remind people that these could be your child.”
Putting faces to the deaths of the unseen is also central in Hilla Medalia’s “Children No More: Were and Are Gone.” The film follows a group of women in Tel Aviv who began organizing a silent vigil in a public square in March 2025. A banner explains to those passing by that each protester is holding a candle and a poster with the picture of one of the 18,592 children killed in the war in Gaza. Every image has the child’s name, age, date of death, and the words “WAS AND IS NO MORE.” One of the organizers explains the group’s dedication to a silent vigil and avoiding conflict: “The only way to make change is for people to look inward and understand something very, very dark is going on. And it goes against all the principles of humanity, of Judaism. Our goal is to awaken something inside.” The organizers also speak about the importance of not giving in to the police effort to create tension between them and those demanding the return of the hostages and Israeli soldiers. Week after week, more people join the group, standing silently as some people pass by and look away, while others respond with denial, sorrow, or rage.
Christalyn Hampton and Geeta Gandbhir’s “The Devil Is Busy” takes us into the heart of a women’s health clinic in Atlanta, Ga. We meet Tracii, the determined head of security, at 6 am as she arrives to prepare the clinic, including checking behind closed doors for hidden intruders. We follow her throughout the day to ensure the safety of women seeking abortions, amid new restrictions and virulent protesters shouting outside. The pressure is immense, Tracii says: “This is a very high-stress situation. Any day you’re not scheduled to go home from here, because you never know once people get in the building, what they may do.” But Tracii’s dedication to the cause and her deep religious beliefs sustain her: “I rely very heavily on my faith while I’m in here, because the devil is busy out there.”
The film “Armed with Only a Camera: The Life and Death of Brent Renaud,” is credited to Craig Renaud, along with his brother Brent. But as the title indicates, we know that Brent is no longer with us. The documentary highlights his lifelong commitment as a photojournalist to capturing the devastating human toll of conflicts worldwide, including in Somalia, Iraq, and Ukraine — where he was killed by Russian soldiers in 2022. As we follow Brent’s body home, we see his final recordings from Ukraine and from other wars, as well as footage from the brothers’ childhood in Arkansas, revealing their close relationship. The film is dedicated to Brent and all the devoted journalists who use their cameras to work for truth and understanding, including the more than 100 killed every year.
“Perfectly a Strangeness” by Alison McAlpine has a mystical quality. We follow three donkeys trekking through an anonymous desert. As the sun rises and the day unfolds, we hear the clip-clop of their hooves on the dirt and see the journey from their perspective. They soon come upon an enormous, abandoned astronomical observatory, which they, and thus we, explore with nary a human in sight. Although a documentary, “Perfectly a Strangeness” is a sensory, cinematic exploration in which we create our own narrative.
All three Oscar shorts programs will screen intermittently through March 15 at the M.V. Film Center. Some of the documentary short films contain graphic war imagery, adult themes, and strong language. Recommended for viewers 17 and up.