Short films are short. That sounds obvious, but it is the single most ignored reality we see when watching submissions. Because of that, it is essential to start your story immediately. We see a lot of short films that open with extended exposition. Conversations about the past. Arguments about people we will never meet. References to events that happened long before the story actually begins. And that is a problem.

Exposition Is Not a Hook

Exposition has a purpose. Sometimes it is necessary. We all know the rule of thumb, show us, don’t tell us. But when exposition dominates the opening of a short film, it throws the viewer off balance. We recently watched a film that opened with a long argument between a couple. The entire conversation revolved around people and situations from their past. Characters we never met. Events that never appeared onscreen. None of it was directly connected to the actual story of the film. Four minutes passed before we even understood what the movie was about. In a short film, that is an eternity. Describing plot is not plot. The story beats need to happen onscreen. If something does not happen onscreen, it is not part of our emotional experience.

When Exposition Works, and When It Doesn’t

There are exceptions, of course. A film like Paris, Texas uses exposition masterfully. Information is withheld. Hinted at. Built slowly like pieces of a puzzle. When the final revelation arrives, it lands because the groundwork was carefully laid. That is very different from opening a film with unexplained exposition where the audience has no sense of why the information matters. Context matters. Timing matters. And in short films, timing is everything.

Contrast Is Everything

We watched another film recently that handled this beautifully. The opening shot focused immediately on the main character, stressed, focused, and fixated on what they wanted. Within the first minute, we understood the plight. We understood the goal. We understood the stakes. The film was off and running. That is what a strong opening does.

Mood Alone Is Still a Delay

A slow start does not always come from exposition. Sometimes it comes from mood. We often see short films that open with extended montages that are beautiful, ominous, tense, dramatic, or atmospheric. The images may be striking. The tone may be clear. The music may be doing a lot of emotional work. But if that opening does not introduce character, conflict, or direction, it delays the start of the movie. Whether the montage is lyrical, frightening, abstract, or intense, the effect is the same. We are still waiting for the story to begin. Mood is not story. Tone is not narrative. Atmosphere, on its own, does not give us something to invest in. If we do not know who this is about, what is at stake, or why now matters, the opening becomes a holding pattern rather than a launch.

Start With the Threat or the Want

The most reliable way to open a short film is simple. Start with an event, a conversation, or an action that directly threatens the main character, or sends them on their journey. What do they want? What stands in the way? Why does it matter now? Answer those questions early, and the audience will follow you anywhere.

A Great Example of an Immediate Hook

In 2025, the film that won Best Short Comedy at our festival, “B!tch, I’m Early” by filmmaker Jesse Cowell, is a perfect example of this principle in action. The film opens with the main character narrating a simple problem. She wants a promotion. Another woman in the office always arrives earlier and looks like the hero. So her goal becomes clear immediately. She needs to be first at work. That is it. The hook is obvious. The stakes are clear. The audience instantly wants to see whether she succeeds. It is funny. It is relatable. And it starts immediately.

The Hook Does Not Have to Be Obvious

Not every hook needs to be that direct. It can be nuanced. It can be layered. It can be subtle. But the audience still needs orientation. We need to know what the character wants, what they are trying to do, and why we should care.

Why the Hook Matters So Much

Think about the familiar internet meme. Someone posts something controversial or provocative. The comments fill with people saying, “I’m getting the popcorn,” or images of someone wide-eyed, shoveling popcorn into their mouth. That reaction is the hook at work. The hook makes us lean in. It makes us curious. It makes us care. Short films need that same instinct.

The Takeaway

Start the story already. Do not warm up. Do not explain the past. Do not delay the conflict. Give us a reason to invest immediately, and we will stay with you. In a short film, the hook is not optional. It is the engine.