Filmmakers have tackled the coming of age genre through countless ways and methods over the years, which makes the Coming of Age block at Indy Shorts one of the more enticing options available. Caught on Tape, written and directed by Chris Alan Evans and Alexander Jeffery, plays into the inherent awkwardness faced by teenage boys in the VHS era. When Finn first learns about the glories of pornography, he hatches a scheme to find his father’s collection. There’s a number of laughs and genuine truths to be found, in a film all about staying true to yourself during a time when everyone seems to tell you how the world works.

Ebb & Flow, written and directed by Nay Tabbara, takes a decidedly more dramatic and feminine approach, setting one young girl’s desires against the turmoil in Beirut. The threat of violence, referenced frequently throughout the film, works nicely as a metaphor as kids are forced to grow up more quickly than they should be. Of course, Loulwa and her friend are more concerned with sneaking away to meet up with a few boys on the beach, as she pines for her first kiss. Even if you don’t live in a warzone, there’s something universal about the film, where something like a teenage crush can feel like the end of the world at times.

Another non-English entry brimming with heart, Tomorrow, looks at the bonds of brothers as they come to terms with their differences. One younger brother prepares to go to school while his older brother, who has Down Syndrome, is left behind. The film is sparse in its plot, but it’s full of touching details that feel genuine, and the young performers are simply lovely, as if director Estefania Ortiz simply observed the actors in their natural habitats.

Easily the most comedic of the block is We Met at Camp, from MCPlaschke, about a group of friends as they obsess over their various summer camp crushes. Plaschke infuses the film with plenty of delightful period details (it takes place in 2004) that feel inherently specific, but with a genuinely queer sensibility. Even if you haven’t had a summer camp crush, there’s something relatable for everyone in the film if you’ve ever had an unattainable crush at a young age. Silly, smart, and heart-warming, We Met at Camp is a gem of the festival.

Finally, Essex Girls speaks to another universal experience of young adulthood. That is, finding the right social circle where you truly belong. Yero Timi-Biu’s film follows Bisola, a young Black girl who finds solidarity with another group of Black friends from a different school, since she is the only Black girl in her grade currently. Think of it as a live-action British version of Inside Out 2, where raging hormones and any number of intangibles lead to questioning loyalty between long-standing friends and the new, cool kids. Timi-Biu gives the film a real sense of care from the film’s opening, even when it veers into predictable character and story beats.

The Coming of Age block will screen at Indy Shorts Film Festival on July 28 at 2:45pm at the Living Room Theaters and in Indianapolis, and virtually through July 28. Buy tickets here.

Whether you’ve been in a relationship for 10-plus years or single for the same amount of time, there’s always a place for romance in films. The “Love & Romance” block has enough variety within its genre, from comedy to sci-fi to straight-up drama. First up is Erin Brown Thomas’ [SUBTEXT], a fun and original spin on the horrors of the first date. From the film’s opening seconds, Thomas reveals that she has an eye for style through breakneck editing, and it spins further out of control when the subjects’ inner thoughts are declared out loud. The writing and dialogue may not carry at times, but the film ends strongly, and Thomas deserves credit for relaying a characteristic mood that will stand out.

On the more humorous side, My Eyes Are Up Here, directed by Nathan Morris, tracks the fallout from a one-night stand. The film picks up after a romp between a disabled fashion model and a slacker, and the awkwardness that ensues as they try to purchase the Morning After pill. Jillian Mercado gives a solid performance as Sonya, and has solid chemistry with scene partner Ben Cura. The film deals with a disabled person’s views on sex, and the non-disabled person’s biases, in a frank and honest manner that helps in the end. Not all of the humor lands as intended, but it’s a thoughtful romance that we don’t see often enough.

For a more queer perspective, the curiously titled A90 isn’t too dissimilar from this year’s Past Lives (yes, really!) as it touches on themes like fate and lost opportunities. Annette (Marli Sue) develops a crush on a female patron (Sinead MacIness) of the roadside café where she works, but can’t work up the courage to make a move – and it doesn’t help that the patron appears with a significant other one day. Writer and director Olivia J. Middleton injects the film with a palpable sense of longing and chemistry, maximizing its runtime to focus on its principal characters, while keeping the dialogue to a minimum. This is an easy recommendation, and the best of the “Love & Romance” block.

Pragma takes a decidedly sci-fi-adjacent approach, by dealing with the very idea of chemistry and attraction. Featuring turns from Ted Lasso stars Nick Mohammed and Phil Dunster, the film follows a dating experiment that feels like a humorous take on speed dating in a 1984-esque world. Lucy Heath – who also wrote the film – stars as Willow, who goes on a series of dates but is transfixed by her first match with Jack, played by Dunster. Mohammed appears as the dryly observant overseer, who watches and weighs in on all of the dates. At 19 minutes, Pragma takes its time to develop Willow and Jack. The film could have easily taken narrative shortcuts or cheap laughs, but director Ellie Heydon prioritizes the emotional complexity of its characters and the idea of long-term and short-term happiness, and it leads to a more satisfying result.

The Love & Romance block will screen at Indy Film Fest on July 19 at 7:30pm at the Living Room Theaters in Indianapolis, and virtually through July 23. Buy tickets here.

You don’t have to venture all the way to Hollywood to know that quality films can be made anywhere, including in our own backyard. All of the films in the Indiana Spotlight blocks were produced by Indiana-based filmmakers, and it’s that passion for the Hoosier state that shines through in a large number of them. Dreaming of You(th), a wordless story told exclusively through song, takes place in the recognizable steps of the Indianapolis canal at the heart of downtown. Director Mike Woodall uses the universal language of dance to tell the story of a hopeful romance between two middle-aged strangers, and the choreography and camera movement has the energy of a music video.

Crescendo works in a similar way, in that it uses music to tell its story without any dialogue, but directors John Brach, Emily Hunt, and Margaret Murray use creative editing and visuals to sell the emotions. Stories about the creative process are inherently interesting to me, so to see the film tackle an internalized struggle in a unique way was an unexpected highlight of the block. Biran MacNeel’s Weekend in Brazil is all about the aimlessness of that post-high school period when you’re unsure what to make of your life. That protagonist Kiara (a fantastically restrained Aria Harrell) is stuck in her small Indiana town, with little prospects to look forward to beyond her high school friend’s parties, doesn’t help either. Too many independent films go too far by valuing style over substance, but Weekend in Brazil gives its story and characters the emotional honesty they deserve. Another easy standout is Matt Spear’s Love, Grandma, an 8 minute film that tackles the emptiness of those moments immediately after a death. With just a handful of words in the film’s final moments and a surplus of ambient noise, Spear manages to convey the unfathomable grief that a family experiences after a loved one dies. This is one of the best films of the entire festival.

On the documentary side, there’s films that explore Indiana’s past and present. The Diary of Henry J. McBride follows a college student as she researches the titular diary of an Indiana soldier during the Civil War. The film find some interesting avenues of history that would never have otherwise been told. For a more personal touch, check out Rocky Walls’ Gun Control. The film tells the story of local artist Brian Presnell, and his lifelong struggle with gun-related trauma, which began as a child dealing with an abusive stepfather. Presnell’s story is heartbreaking but hopeful, as he finds ways to use a creative outlet for change.

One of the block’s most harrowing but topical offerings is Safe Place, directed by Samuel-Ali Mirpoorian, which recounts the final moments of Jerod Draper’s life. Draper, a southern Indiana man, was arrested and, shortly after arriving in jail, was essentially abused by his jailers by failing to give him appropriate care. Mirpoorian lets the distressing footage from Draper’s cell, and the officers’ depositions, speak for itself but also finds worthwhile interviews from Draper’s friends and family. At 20 minutes, Safe Place could easily be expanded but makes the most of its protracted runtime by focusing on what really matters: a life cut tragically short by a group of people, unable to see what’s happening right in front of them.

The Indiana Spotlight block will screen at Indy Film Fest on July 18 at 7:00pm and 7:15pm at the Living Room Theaters and in Indianapolis, and virtually through July 23. Buy tickets here.