Curtain falls on Lisbon Filmapalooza 2026

Warsaw’s Diaboł is crowned grand champion

Exclusive to MeierMovies, March 29, 2026

It was a Polish night in Portugal, as the team from Warsaw dominated the 2026 Filmapalooza awards ceremony on March 28.

Team Studio System and their fantastical drama Diaboł (Devil) were crowned grand champion and picked up five other awards: direction, cinematography, lead actor, sound design and set design. Ilusion Inteligencia Audiovisual, the team from Santiago, Chile, took home the second-highest number of awards (three), for their experimental film Finalmente (Finally): score, visual effects and third place.

The six nominees for best film were:
Warsaw, Poland (first place): Diaboł (Devil) by Team Studio System
Antwerp, Belgium (second place): Benny by Fast Forward Film Crew
Santiago, Chile (third place): Finalmente (Finally) by Ilusion Inteligencia Audiovisual
San Diego, California, U.S.A.: Tango by Extra Rad
Minneapolis, Minnesota, U.S.A.: The Retirement Party by Above-the-Line Entertainment
Rome, Italy: The Meatloaf by Good Situations

For all the award winners, visit 48HourFilm.com or the 48HFP Facebook page.

The Cannes films

Twenty-two films will be screening at the Cannes Film Festival Short Film Corner in May. The 13 from the main 48 Hour Film Project competition are, in alphabetical order by city:

Antwerp, Belgium: Benny by Fast Forward Film Crew
Asheville, North Carolina, U.S.A. (by winning the audience-award drawing): Dinner Party by Titus Touch Media
Buffalo, New York, U.S.A.: Something There by 38 Gigabytes
Cape Town, South Africa: Beneath by Shot by Short Notice
Minneapolis, Minnesota, U.S.A.: The Retirement Party by Above-the-Line Entertainment
Osaka, Japan: Carry Me by NEP
Paris, France: Vivre Ensemble (Living Together) by L’Amour
Rome, Italy: The Meatloaf by Good Situations
San Diego, California, U.S.A.: Tango by Extra Rad
Santiago, Chile: Finalmente (Finally) by Ilusion Inteligencia Audiovisual
Thessaloniki, Greece: White Tower Computers Ltd. by At-At
Uruguay: Liberarse by Raccord 104
Warsaw, Poland: Diaboł (Devil) by Team Studio System

In addition to these 13 films, eight from the “Yes We Cannes” competition (including the overall winner, Karmann from Fast Forward Film) and one from the special-genre contests (Meat Printer by Nightmare on Hilton Street from Des Moines, Iowa, U.S.A.) are headed to Cannes too. For the full list, visit 48HourFilm.com or the 48HFP Facebook page.

My top 25

In my role as co-chair of the Film Review Panel, I watched all 123 city-winning films from the main 48HFP competition and provided feedback. This feedback helped whittle down the 123 to a smaller number for the final panel of judges. (I had no role in the College 48, the “Yes We Cannes” competition or the special-genre contests.)

I would like to thank all my fellow judges, especially the other co-chair of the Film Review Panel, Deborah Braun. Let me also thank 48HFP Founder Mark Ruppert and Festival Director Indra van ‘t Hooft for their tireless work, and Master of Ceremonies Kyle Snavely for his shiny suit. (My retinas are still recovering.)

Because of the consistency of quality among this year’s films, the selection process was especially difficult. There was little to separate, say, the 10th best film from the 25th. With that in mind, as I have done in past years, I present my own personal top 25. This list overlaps the Cannes one somewhat, but several films on my list went unrecognized at Lisbon Filmapalooza, so it’s important they be praised too.

I include my original, unedited notes, made without input from any other judges. I hope you find them instructional. And please keep in mind the 48HFP asks us to provide criticism, not just praise. This feedback was originally intended for and shared only with the 48HFP staff, to help guide the judging process. The final panel of judges never read my comments, and they critiqued the films independently. These comments do not necessarily represent the opinions of anyone else associated with the 48HFP.

Warsaw, Poland: Diaboł (Devil) by Team Studio System. And here’s your winner. What an amazing film, even more amazing for what they did in just 48 hours. The cinematography, particularly the camera movement, is among the best I’ve ever seen for a 48-hour film. And the concept is magical: a grandfather being a superhero, protecting kids from monsters, when the real-life monster is the broken home. It’s a great metaphor. It reminds me of last year’s Warsaw film (from a different filmmaking team), which was also my pick for best overall.
San Diego, California, U.S.A.: Tango by Extra Rad. I love this film. Brilliant concept and stellar execution. Nominations for many things, including most technical categories, along with writing, directing and lead actor. (Both actors are wonderful.) This is surely going to Cannes and will be in the running for most top awards. The songs are great too, but they aren’t listed in the credits, so I assume they aren’t original. The ending doesn’t quite live up to the rest of the film, however, though the “worm” is cool and harks back to a comment made earlier in the film. (Post-Filmapalooza note: This film won best choreography.)
Santiago, Chile: Finalmente (Finally) by Ilusion Inteligencia Audiovisual. The film is an amazing technical accomplishment, not just for a 48-hour film but for any low-budget film. It pushes the limits of what you can do in 48 hours. I got almost nothing from the story, but that doesn’t matter much, as this seems to exist as an almost purely “art film.” The line and character trait are sandwiched in. Possible nominations for many things, including directing, cinematography, sound design, score (if it’s original), costume design, visual effects and makeup/hair.
Paris, France: Vivre Ensemble (Living Together) by L’Amour. Another wonderful effort from Paris. One of this year’s best films. Clear, impactful, concise storytelling that is perfect for a short film. Tonally, it’s wonderful too, balancing drama with just the right amount of playful humor. The ending is just a bit abrupt, though, and I thought they were going to kill four of the five. So wouldn’t they still need to kill three of the five after the heart-attack death of the person from the other group? I’m nit-picking here, though, as this is a thoroughly professional effort. Bravo. Nominations for writing, direction, editing and ensemble. The film is surely Cannes-bound. (Post-Filmapalooza note: This film won best acting ensemble.)
Los Angeles, California, U.S.A.: Echoes by Paradigm Shift. Unique and memorable, this is one of the year’s best films. It captures your imagination. The performances are heartfelt, but a bit on the nose, especially in the final, crying scene. Genre is a bit of a stretch, and the character is sandwiched in. (It makes no sense that the tutor character just happens to know the blind man, who meets the dinosaur kid randomly in the woods.) Nominations for many things, including editing, direction, cinematography, sound and costume design. For the latter, I’m counting the dinosaurs, although I don’t believe they were built for the film.
Nashville, Tennessee, U.S.A.: Sugar Glass by Unidentified Fox. One of the best of this year’s films, this is another assured effort from Nashville. Stunning achievement for a 48. The credits talk about “super 8 development.” Did they really shoot part of this on film?! Nominations for almost everything, including lead actor, supporting actor (the guy who plays the lawyer and other parts), plus writing, directing, definitely cinematography, sound design, ensemble and use of genre. The main thing holding it back from my top rating is the fact that it’s a bit derivative. I feel like I’m seen this story before, and the ending isn’t particularly memorable.
Thessaloniki, Greece: White Tower Computers Ltd. by At-At. Haunting, with a Twilight Zone ending, this film succeeds thanks to its good performances (possible nomination for Fotis, the actor playing the shop owner), sound design, overall Kafkaesque vibe and excellent pacing. Technically it could be a bit better, as the swish pans in the opening scene are a bit jerky. But it’s still competent technically. The ending has stuck with me more than almost any other film at this year’s Filma. Possible nominations for writing, directing, sound design, lead actor, use of prop and use of character.
Atlanta, Georgia, U.S.A.: Will to Live by Famously Hot Films. Simple, touching and pitch-perfect, this is one of the most inspirational 48HFP films I have seen in a while. Possible nominations for lead actor (Loki), writing and prop. It’s not a true workplace film, though, as no scenes take place in an actual workplace.
Cape Town, South Africa: Beneath by Shot by Short Notice. A thoroughly professional production from start to finish, this film could play at almost any festival in the world. Nominations for almost all technical categories, plus a possible one for best actress. Sound design is impeccable. And it’s very creepy. The only drawback is that there’s not enough time to tell the story. At just seven minutes, it’s underdeveloped, and not very original.
Melbourne, Australia: Wish Me Luck by Good Gravy. Sweet, tender and tonally perfect, with wonderful performances, this film proves that a simple but sincere story, if performed well, can be highly effective. Not as complicated or lavish as most of the other top 48-hour films this year, this is nevertheless one of the best. Possible nominations for writing and lead actor, though I can’t figure out which one is best. Sound design and score (if original) are possibly worthy of nominations too. I also love their use of genre. It’s rare that a vacation/holiday film can also be a touching drama.
Tours, France: Always There by Aperitif, My Darling. Great performances (possible nomination for the actress), just the right tone and a great concept make this film truly memorable. It’s very simple but effective because of its clever twist. They aren’t the first to come up with the idea of a therapist causing the behavior of the patient in order to get paid for the therapy sessions, but they still do it very well. However, this is not a true horror film. The vibe, story, music and tone make it a mash-up of genres (mostly comedy). Possible nomination for use of line.
Minneapolis, Minnesota, U.S.A.: The Retirement Party by Above-the-Line Entertainment. A thoroughly pleasant and smart film. Production-wise, it’s pretty simple, but it still manages to nail it, driven by a good script and a great lead performance (the man). Possible nomination for him. And possible nominations for writing, ensemble, score, genre, prop and definitely song. (Post-Filmapalooza note: This film won best song.)
Nantes, France: Poisskai by Ben Brothers Production. A completely enjoyable film with a lot of laughs, this film loses some of its momentum as it goes along but regains it with an unexpectedly sweet ending. It has a charming sensibility and droll sense of humor. Possible nominations for writing, use of genre, use of prop and supporting performance (Bob, the fish).
Bordeaux, France: Chut (Hush) by Collectif Egregore. An impactful and memorable film. And certainly timely. Performances and writing are both very good (possible nominations for lead actor (the main guy who runs the place) and writing). The cinematography (especially color grading and lighting) and good. But it’s not in my top 10 because it’s a bit derivative. And it seems very left-leaning, when, in truth, the threat to freedom of speech comes from both the right and the left. In that regard, it’s slightly heavy-handed. Also possible nomination for best use of prop. The dictionary essentially becomes the entire film, without feeling forced.
Brighton, England, UK: FlashPoint by Overlock Studio. A solid film in many ways, this film really sticks with you, especially the story, so possible nomination for writing. The editing and use of line are also great, so possible nominations for those. The two lead actors are very good. Also a possible nomination for set design, only because I think they are using the same location as the climax of Atonement. But the last scene with the two leads has some issues, such as wind blowing into the mic and the gun effect being amateurish. Also, they never explain why these young, healthy people are wanting to kill themselves.
Inverness, Scotland, UK: Piece in Dal Riata by Dropshack. This is another memorable and very funny film from the 2025 grand champions, Dropshack. Possible nominations for editing, cinematography, sound design, lead actress (Catriona Faint), acting ensemble, costume design, set design (superb) and makeup/hair. As with last year’s film, the humor is a tad broad for me, but it’s still a huge accomplishment. The character trait is so ridiculously wedged in that it’s almost comical. And technically it’s too long, but because the credits start to role during the action (and no further plot is introduced), it’s allowed. (Post-Filmapalooza note: This film won best costume design.)
Geneva, Switzerland: Related by JJ Brothers. This is a beautiful, sad, little film with wonderful performances. And it’s technically very professional. But it’s tough to get to the heart of this story in just seven minutes. It ends up being just a tad contrived, especially because it doesn’t make much sense that this woman would make this visit during her husband’s campaign. She would have gone there on her own at another time. (They obviously had to work in the politician character.) The direction and sound design (and score, if it’s original) are superb, so possible nominations for those. (Post-Filmapalooza note: This film won best supporting actor.)
Denver, Colorado, U.S.A.: Mixtape & Melody by Stranger Studios. Polished and professional, this is one of the best mockumentaries in this year’s Filma. The graphics and visual effects are nifty and eye-catching, so possible nominations for those, in addition to editing. Holding it back from my top 15, however, is the awkward tonal shift from comedy to touching drama. They just can’t quite pull that off, and I was not as impressed by the overall film as much as I could have been, despite its accomplishments. The voiceover is better suited for a comedy than the sweet drama it turns into at the end.
Louisville, Kentucky, U.S.A.: Opacity by Small Step Films. A clever metaphor for social media, the film is full of great ideas and does a pretty good job of delivering them. Unlike most mockumentaries, this builds to a meaningful conclusion. Acting is solid. Possible nominations for ensemble and for original song (if it’s original). The required character seems shoehorned in.
Ottawa, Ontario, Canada. Memoria by Tout Saviors. This is a solid film in almost every way, especially the concept. I don’t think the concept is original, but it’s presented in a fairly original way. I like the juxtaposition of the TV interview and the reactions from the woman. The lead actress is good. I could see some potential nominations for several categories, but the one that stands out is writing.
Asheville, North Carolina, U.S.A.: Dinner Party by Titus Touch Media. I can’t believe I’m saying this about a poop film, but this is hilarious. Though it’s a totally one-note, one-performance film, they nail it. Of course, it’s totally ridiculous, but the acting and the competent technical elements make it work. Possible nomination for lead actor and original score. However, this is technically not a single-room film, as some of it is in the dining room.
Adelaide, Australia: Items, Objects and Things by Electric Milk. Irresistibly quirky, this is a film I won’t soon forget. The sound design and voiceover are excellent, and I never ceased to be curious about what weird thing the next family member would eat. However, by the end, I was feeling a bit disgusted. And despite the film’s professionalism and charm, I was left feeling empty. (Get it?) Possible nominations for sound design and use of line. Bon appetit.
Montana, U.S.A.: Marinate by Big Sky Film Company. An impressive effort driven by good cinematography, good editing and a great lead performance (possible nomination), the film is creepy and effective. But it has sound problems. The dining room just doesn’t have good acoustics, and it seems like they didn’t have enough time to sweeten the sound and fix levels. And it’s a bit hard to swallow for someone who doesn’t eat meat. Ultimately, it’s just not quite disturbing enough to make my top 20. The shot of the guy getting shot and falling into the water is great.
Detroit, Michigan, U.S.A.: No Fowl Play by 52 Scripts. Charming, with good cinematography, editing and acting, this film gives off a professional vibe. It succeeds as a regular film, not just a 48-hour film. It also has a few laughs. But it won’t land in my top 15 because the story didn’t grab me enough. That might be because I don’t eat meat, or more likely because it lacks a true emotional or comedic punch. I was waiting for one huge laugh, and it just never came. But congrats on a really solid effort. Possible nomination for editing, and possible nomination for character, as it brings back the wing-delivery guy, which is a clever idea. (Post-Filmapalooza note: This film won best editing.)
New Haven, Connecticut, U.S.A.: Delivery Driver by Reel Amateurs. Memorable, well acted and well shot, this film leaves an impression. It uses the “fantasy” genre in a strange way. It’s more of a drama. But that’s OK. In fact, it’s kind of refreshing. I also enjoyed its quiet thoughtfulness. At the end of the day, though, it seemed almost like a slice-of-life film and probably won’t land in my top 20 because of that meandering, slow-paced feeling. This is a tough film to contain in just seven minutes. The character is sandwiched in.