Film
Us
Other titles called Us: the 2019 film.
A 16-minute short film about two lifelong best friends—one gay, one straight—navigating the seismic shift when romantic attachment enters their equation. It's tender and unsentimental, the kind of chamber piece that trusts its actors and audience completely. For anyone who's felt the specific ache of friendship recalibration.
Should you watch it?
Watch it if you enjoy a quiet story about a friendship bending under a new romance, where the unspoken tugs of loyalty and jealousy matter more than big events.
Skip it if you want a sprawling, slow-burning arc, sixteen minutes will feel like a sketch rather than a full portrait.
What it asks of you: A brief, quiet sitting: it moves at an unhurried pace and holds its emotional beats close, so pay attention to what is left unsaid.
Not sure? Find tonight's pick in a minute.
If you liked this
Weekend2011
Two men meet by chance over a weekend and form an instant, electric connection. It's intimate, witty, and genuinely romantic—a portrait of how quickly two people can matter to each other.
But Entirely dialogue-driven, set in one apartment. If you need plot momentum or spectacle, this will feel static.
Moonlight2016
Three chapters of a Black man's life, beginning in childhood. It's visually gorgeous and emotionally precise about identity, desire, and the people who shape us—both tenderly and harshly.
But Deliberately paced and lyrical rather than narrative-driven. Some find it more mood than story.
The Half of It2020
A shy girl writes love letters for a jock who's fallen for her. It's a witty, genre-aware take on Cyrano with real emotional stakes and a refreshingly honest ending about what love actually requires.
But Young adult milieu might feel familiar if you've seen recent teen cinema. The tone shifts between comedy and sincerity can feel uneven.
Not sure tonight? Get a pick in a minute, starting from Us
The wildcard
Something you would not have found on your own.
Boyhood2014
Both films understand that the deepest changes in friendship happen in the spaces between milestones. It's not the breakup that matters; it's the Tuesday after.
Richard Linklater filmed the same boy and his friends over twelve actual years. The engine here is time itself: watching someone become themselves, with their closest relationships shifting in real time beneath the surface.
But Nearly three hours of quotidian life. No climax, no big speeches—just breakfast tables and car rides and slow accumulation. Demands patience most films don't ask for.
More like this (7)
20th Century Women2016
A widow and her son's friends become an accidental found family in 1979 Los Angeles. It's funny, digressive, and deeply interested in how people actually change each other across different life stages and perspectives.
But Episodic and meandering by design; if you want three-act structure, this resists it. Annette Bening's character can be frustrating.
Certain Women2016
Three Montana women navigate small disappointments, unmet needs, and quiet moments of connection. Beautifully shot and genuinely interested in how people endure rather than triumph.
But Extremely quiet and observational. There's no antagonist, no climax—just life as it is lived. Some will find it beautiful; others will find it boring.
The Florida Project2017
A six-year-old and her mother live in a motel in tourist-trap Orlando. It's heartbreaking and funny, filmed with such tenderness that you feel the precariousness without ever looking away from the joy.
But The ending will gut you. Some viewers find the poverty hard to watch, and the lightness of tone relative to the circumstances unsettling.
Dinner with Friends2001
Two couples unravel after a marriage ends. It's sharply written and acted, interested in how intimacy and assumption collapse when you actually look at another person.
But Based on a play and it shows—very dialogue-heavy, and the performances can feel stagey. The middle drags.
Chungking Express1994
Two Hong Kong cops and two women intersect across two interconnected love stories. It's visually intoxicating and genuinely weird, full of longing and specificity that feels very real inside its artifice.
But The narrative is deliberately fragmented and non-linear. Tonal whiplash between melancholy and comedy might feel scattershot rather than clever.
Aftersun2022
Both examine the gap between how a relationship feels from inside it and what someone else might be experiencing. Closeness isn't transparency.
A father and daughter on a holiday in Turkey. What seems like a portrait of their closeness becomes something more melancholic and complicated—about how little we know the people closest to us.
But Emotionally oblique; it doesn't explain itself. The father's inner life stays hidden. If you need clarity and catharsis, this will frustrate you.
Ma2019
Both feature a relationship warped by need and misalignment—one person investing emotional labor while the other is living in a different story entirely. But this one goes dark.
Octavia Spencer as a woman who befriends a group of teens and lets them party at her house—and something goes very wrong. It's a psychological thriller that weaponizes hospitality and the hunger to belong.
But Tonal shift from character study to exploitation horror. Some find it exploitative of that same hunger it's depicting. Deeply uncomfortable by design.
People
Cast
Directing
- Jessica FuhDirector
Writing
- Jessica FuhWriter
Production
- Abram CerdaProducer
- Jessica FuhProducer
- Melody SandovalProducer