Family conflict, regret, illness, and the things left unsaid are at the heart of Between Breath & Silence, an emotional British short film that handles its difficult subject matter with maturity and care.
From the very beginning, it is obvious this is a professionally made production. Before much dialogue is even exchanged, the quality behind the camera immediately stands out. The cinematography from Paul Mortlock is excellent throughout, with carefully lit interiors and thoughtful framing giving the film a polished cinematic appearance rarely seen in many independent shorts. Director Nicole Pott clearly has a strong visual eye too, allowing scenes to breathe naturally while maintaining an intimate atmosphere that suits the story perfectly.
The film follows Tom, played by Thomas Sargeant, who returns home after learning that his father Paul is seriously ill in hospital. Tom arrives alongside his boyfriend Matt, played by Kris Mochrie, who offers to stay and support him through the difficult situation ahead. Tom declines however, wanting to face his family and whatever tensions await alone.
This early interaction immediately establishes one of the film’s strengths, subtle character work. Very little is over explained, yet we quickly understand the emotional weight Tom is carrying and the uncertainty he feels returning home.
At the family house, Tom reunites with his mother Sandra, played by Angela Lonsdale. One particularly effective moment early on sees Sandra fitting a hearing aid into her ear before speaking with Tom. It is a small detail, but one that quietly tells the audience a great deal about her character and her situation without needing unnecessary exposition.
Together, Tom and Sandra head to the hospital to visit Paul. Upon arriving, they are told only one visitor can enter the room at a time, leading Sandra to insist that Tom should go in first. There is an unspoken understanding here that Tom and his father have unfinished business, and the film handles this dynamic with restraint rather than melodrama.
Graeme Hawley delivers a genuinely moving performance as Paul. Known to many for Coronation Street and The Phantom of the Open, Hawley brings warmth and vulnerability to the role. When a doctor informs Paul that his illness is terminal and that he only has months left to live, the scene lands with real emotional weight precisely because it is played so naturally.
The film avoids over sensationalising illness. Instead, it focuses on the quiet devastation families experience during moments like these. Paul is eventually allowed home to spend his remaining time in comfort, and it is there that old tensions begin to resurface.
Tom’s brother Ryan, played by Sam Retford, arrives home not long after, and the atmosphere quickly shifts. The relationship between the brothers is strained, with years of resentment and misunderstanding simmering beneath the surface. The film never explicitly spells out every reason for their fractured bond, although there are suggestions that Tom’s sexuality may be part of it. More than anything though, they simply feel like two very different people who no longer know how to communicate with one another.
The arguments between them feel believable because they are not overly dramatic. These are not characters screaming cinematic monologues at each other. Instead, the tension comes from awkwardness, frustration, and years of emotional distance.
As Paul’s condition worsens, the emotional core of the film becomes increasingly powerful. Both brothers begin to confront the painful reality that there are things they may never get the chance to say to their father. Conversations about love, regret, and missed opportunities emerge naturally as the family struggles to prepare for what is coming.
Thomas Sargeant deserves considerable praise here, not only for his lead performance but also for writing the screenplay and producing the project. His portrayal of Tom is grounded and emotionally honest, never slipping into exaggeration. The entire cast performs strongly, with no weak link among them. Angela Lonsdale brings quiet dignity to Sandra, while Sam Retford balances Ryan’s defensiveness with glimpses of vulnerability underneath.
Nicole Pott also continues to show herself as a filmmaker with significant potential. Already having a short long listed for a BAFTA, it is easy to see why her work is attracting attention. Between Breath & Silence demonstrates confidence behind the camera and a clear understanding of tone, performance, and pacing. It will certainly be interesting to see both her future projects and her earlier work.
The film also excels technically beyond just its visuals. Richard Collins’ score is subtle and effective, while the sound design and editing help maintain the emotional flow of the story without becoming intrusive.
Between Breath & Silence is an emotional 19 Minutes
At just nineteen minutes long, Between Breath & Silence manages to explore grief, family fractures, reconciliation, and mortality in a surprisingly complete way. It is a deeply human story filled with situations and emotions many viewers will sadly recognise from their own lives.
This is not a flashy short film relying on twists or gimmicks. Instead, it succeeds through strong performances, excellent craftsmanship, and emotional honesty. A touching and very well made piece of filmmaking that proves small stories, when told well, can leave a lasting impact.
| Acting | |
| Direction | |
| Cinematography | |
| Writing | |
| Sound | |
| Screen Critix Rating |