Amid the glitz and glamor of blockbusters like “Wicked” and “Moana 2” filling theaters to the brim, it’s easy to overlook the quieter, more intimate world of independent cinema. But these smaller films — crafted scene by scene with passion and unique perspectives — are just as deserving of the spotlight. 

At the Awards-Qualified Short Film Showcase hosted by the School of Cinematic Arts on Tuesday evening, six remarkable short films took center stage, showcasing the independent filmmakers’ power to inspire, challenge and captivate audiences.

The event was curated by Kathleen McInnis, a marketing producer and publicist for emerging filmmakers. McInnis explained that the evening wasn’t just about screening films but about taking the audience on an emotional journey.

“[These films] have come from [their] gut. They go through [their] heart, they come out [their] head and they get put up on screen for us to be touched by,” McInnis said.

The opening film, “Quota,” is a darkly hilarious animated short by Dutch studio Job, Joris & Marieke. In “Quota,” the filmmakers gave life to an impossible scenario: everyone gets a fixed carbon dioxide quota, and a cruel consequence awaits if you hit zero. 

In just two and a half minutes, the short film tackles humanity’s environmental footprint rather extremely, leaving audiences laughing and reflecting on their daily habits. “Quota” delivers a sharp, impactful message of staying aware of the climate crisis, setting the tone for the showcase.

“To Myself, With Love: The Bessie Stringfield Story” followed as an inspiring documentary by Diane Fredel-Weis. The film sheds light on Bessie Stringfield, a trailblazer who became the first Black woman to ride a motorcycle solo across the United States during the Jim Crow era. Stringfield’s courage and optimism shine through rare archival materials and interviews, empowering the audience with her indomitable spirit and enduring legacy.

Fredel-Weis decided to create a documentary about Bessie because, as a Black woman riding motorcycles in the 1930s through the ’50s, Bessie was largely overlooked in her time. Despite this, she continues to inspire a vibrant community of women riders. 

“We have found this audio of her, and she’s never down, and she’s just always optimistic; even when she’s talking about the toughest parts of her life, there’s this light about her,” Fredel-Weis said. “We knew that it wasn’t just going to be a straight story about Bessie. We knew we wanted to talk about her legacy.”

“The Wild-Tempered Clavier,” a seven-minute experimental animation by Anna Samo, offered a whimsical and inventive story inspired by Bach’s timeless music. For Samo, the film was born out of experimentation during the COVID-19 lockdown. She chose an unconventional medium — toilet paper rolls, a total of ten — as her canvas, partly due to toilet paper’s scarcity at the time and its resemblance to traditional film rolls. 

In the Q&A, Samo discussed how she began animating without a set plan and letting the story evolve naturally. 

“I wasn’t sure if I was making a film or wasting toilet paper,” Samo joked. 

However, the result is a visual masterpiece that tells the story of an artist’s attempt to create and persevere in telling a story even as the chaos of war creeps closer to their world. This message is deeply personal for Samo. As a Russian living in New York, the film encapsulates her feeling of losing control while trying to retain balance in a world filled with uncertainty. 

The only live-action film of the night, “Obraza (Resentment)” by Gleb Osatinski, took the audience for a more intense turn. Set in 1990s Soviet Ukraine, Osatinski’s story explores themes of rebellion and identity, as well as the effects of displacement and search for belonging.

In the Q&A, he shared the deeply personal roots of “Obraza,” inspired by his experiences as a Ukrainian immigrant who came to America to escape an antisemitic environment. His idea came from a single image of a tree suspended with roots barely touching the ground, which influenced him to reconnect to his past.

The mood shifts with “Maybe Elephants,” a 16-minute animated film by Oscar-winner Torill Kove. Set in 1970s Nairobi, the film explores a nostalgic and vibrant memory of growing up in a new culture and the impact of changing family dynamics due to her mother’s depression. Kove’s autobiographical tale had the audience smiling and feeling heartache throughout as the characters grappled with significant life decisions and changes.

The finale, “Makayla’s Voice: A Letter to the World,” closed the showcase with an emotional punch. Julio Palacio tells the story of Makayla, a non-verbal teenage girl with autism who learns to express her inner world through a letterboard. The heartwarming documentary highlighted Makayla’s powerful spirit and resilience in her journey to communicate with her family for the first time and defy all expectations.

USC alum and filmmaker Lilia Doytchinova, who premiered her award-winning production “The Haunting of Hollywood” this year, left the showcase feeling moved by each one of the film screenings. 

“Each film had such unique artistry and craftsmanship and their efforts in telling stories,” Doytchinova said. “I just feel inspired, you know, just to keep creating.” 

McInnis emphasized that events like this are crucial for independent filmmakers, especially as they vie for Oscar’s shortlist. 

“It’s stupid expensive for short filmmakers to make a campaign for Oscar consideration,” McInnis said. “But if they don’t, if they’re not seen, if they’re not talked about, they often get forgotten.”

These independent filmmakers’ stories capture their unique experiences and voices in ways that stay with us long after the credits roll. 

“I would hope the key takeaway would be just how much investment of every ounce of an artist’s body, mind and soul has to go into creating films like this. It’s not Hollywood. It’s not studio. These are pieces of work of art that come from [their] very soul,” McInnis said.