The Denver Film Festival brings together some of Colorado’s most talented filmmakers each year for its dedicated Colorado Narrative Short spotlight screenings. Hosted at the Sie Film Center off Colfax Ave, this year’s screenings were a colorful array of unique stories across various genres.
“28 Kegs Later,” directed by Preston Tompkins
Starting with the absurd apocalyptic film “28 Kegs Later,” director Preston Tompkins creates a comical universe where the only way to survive is to drink. In a bizarre situation where zombies overrun the world, two men in a bar accidentally reveal that being drunk makes them immune to zombie attacks. And in a continual string of weird events, strangers and zombies alike gather in a small bar during the end of days. Hilariously unhinged and simple in nature, the film is like watching a frat boy’s fever dream, and everything seems to be a party until the alcohol runs out.
“Tapioca Esophagus,” directed by Jack Cosgriff
After seeing one version of the end of the world, University of Colorado Boulder student and budding director Jack Cosgriff took the audience on a wild adventure with his film, “Tapioca Esophagus”. Following the death of a young and troubled party girl, Loretta, her self-absorbed and short-sighted friends take her body on a wild adventure. From public intoxication to attempted drug theft, Loretta’s friends dream up all kinds of ridiculous ways to honor their friend by living it up with her dead body. And in a weird and oddly heartwarming turn of events, Loretta’s drug dealer, friends, and equally selfish father share moments of vulnerability and camaraderie over her dead body.
“Lay Lefty Down,” directed by Traven Rice
Continuing a trend of heartwarming and eccentric family bonding, “Lay Lefty Down,” directed by Traven Rice, tells the story of a woman as she navigates recovering from a mastectomy during her breast cancer treatment. As she walks out of her car and opens the door to her home, she’s greeted by a surprise gathering of people who have come for a funeral for her left breast. Organized by her mother, the funeral features an array of breast-themed desserts, college friends, coworkers, and her ex-husband. Featuring awkward and graphic speeches dedicated to her left breast from her boss, old lovers, and ex-husband, the gathering is equal parts uncomfortable and hilarious. And while the woman initially struggles with the entire gathering, in a heartwarming moment of resonance with her mother, who also had breast cancer, she reconciles and owns her truth with everyone present.
“We’re All Sorry Souls,” directed by Alessandra Mesa
“We’re All Sorry Souls,” directed by Alessandra Mesa, is also a heartwarming story about Frieda, a young woman who works as a ski lift operator in Vail, as she navigates grief and isolation while serving as her neurodivergent brother Frankie’s sole caregiver. Following the death of her mother, Frieda tries to stay afloat while facing the reality that she may lose her job while singlehandedly supporting her brother. To add to the strain, Frieda’s estranged ex-lover reemerges, and she’s forced to confront her pain. In a powerful story about self-transformation and unbreakable bonds, Frieda is finally able to confront her ghosts and let go of past entanglements, realizing that she has the strength within to take care of herself and her brother.
“End of Things,” directed by Bruce Tetsuya
Visually striking, immersive, and experimental, “End of Things,” directed by Bruce Tetsuya, is a complex exploration of fatherhood and trauma. The film follows an ex-military pilot who sees a vision of the end of the world and dives into his fear for his daughter’s safety and well-being as he gets lost in his visions. From the opening scene where the main character encounters a sage man, the audience drifts deep into his psyche as the film cuts through different vignettes that weave in and out of consciousness. Bridging the gap between memories, fears, lucid dreams, and the present day, the film showcases technical excellence and bold direction from seasoned director Bruce Tetsuya. “End of Things” is also the 2026 recipient of the Denver Film Festival’s True Grit Award.
“Reentry,” directed by Keenan O’Reilly
In a searing portrait of life for recently released inmates, “Reentry” follows two young men who make a pact to stay out of prison following their release. Directed by Keenan O'Reilly, the film cuts between two men in their parallel timelines, exploring the difficulty of re-integrating into society. Between navigating the strict conditions of parole while trying to make ends meet and grappling with fractured family dynamics, two men struggle to maintain their freedom. In a bid to take care of their family and avoid staying off the street, old ties reemerge and threaten to pull them toward bad habits. Simple, intentional, and human, “Reentry” is a critique of how the prison system fails individuals and the laundry list of systemic barriers ex-convicts must navigate following their release.
Reviews by Juli Yanai