Friday, June 20th, 2025
Why Your Film Doesn’t Need A Twist Ending
You know the moment: the big reveal, the record scratch, the slow zoom on a character’s face when everything suddenly changes. Plot twists have become a staple in short filmmaking – but here’s the truth: most of the time, they don’t work.
At Norwich Film Festival, we watch thousands of short films each year, and it’s striking how many of them end with a twist. Sometimes it’s a last-minute genre switch. Sometimes it’s a “gotcha” reveal that recontextualises everything that came before. And sometimes, it really lands. But more often, it doesn’t.
This blog isn’t anti-twist. But we do want to challenge the idea that a good short film needs one. Because in our experience, it doesn’t – and chasing one can actually dilute what makes your story meaningful.
The Problem With the Twist Obsession
The issue isn’t that twists are inherently bad. It’s that they’re often:
- Overused or predictable
- Underdeveloped or confusing
- Tacked on at the last moment instead of being woven into the structure
And in a short film – where time is limited and pacing is everything – a clunky twist can undo a lot of otherwise strong work. We’ve seen many films where great cinematography and compelling performances are undone by a twist that either doesn’t make sense or feels too clever for its own good.
Too often, the twist becomes the reason the film exists, when it should just be one part of a bigger story. A weak twist doesn’t just fall flat, it undermines the entire narrative.
Festival Formula emphasises that short films work best when they embrace the form rather than try to mimic feature-length structure. Their advice to filmmakers is to think clearly about what a short can uniquely achieve – and let go of trying to replicate feature tropes in miniature.
Short films succeed when they embrace the format, not when they try to imitate features.
Twist, or Shock Endings, have obviously been around since the dawn of time, but it’s hard not to lay at least some of the blame at the door of M. Night Shyamalan. I actually love The Sixth Sense. And I remember seeing it in the cinema and thinking that my mind had been blown. But if I watch one more short film where (spoiler alert – ) the main character was dead all along, I swear I’m going to scream.
The Sixth Sense
What Actually Makes a Short Film Land
Short films are not miniature feature films. They don’t need a three-act structure, a plot twist, or a long backstory. They need clarity, purpose, and intention.
Some of the best short films we’ve screened at NFF do the following:
- Explore a single, compelling idea with precision
- Deliver a distinct mood or tone
- Build character through visuals, pacing, or subtext
- Make us feel something, not just surprise us
As Raindance put it, successful short films tend to be driven by strong characters, clear objectives, and meaningful change, none of which rely on plot twists to be effective.
When you only have a few minutes to connect with the audience, every second matters. A twist that doesn’t land is wasted time. A moment of truth, vulnerability, or visual brilliance? That’s what sticks.
What Programmers Actually Want
As programmers, we’re not sitting around waiting to be outsmarted. We’re hoping to be moved. Surprised, yes, but also impressed by your craft, your restraint, your clarity.
Here’s what makes us take notice:
- Confidence in your storytelling
- Strong sense of tone and pacing
- Cohesive vision and editing
- Characters we care about, even briefly
- A memorable ending that fits
If a twist achieves that? Amazing. But when it’s clearly the only reason the film exists, it can feel like the filmmaker is winking at us instead of inviting us in.
The Golden West
Take The Golden West by Tom Berkeley and Ross White, for example. Set against the stark Welsh landscape in the aftermath of the Irish famine, the film builds a tense, character-driven story between two sisters seeking fortune – and possibly redemption. The ending is undeniably surprising, even surreal, but it doesn’t feel cheap or tacked on. Instead, it’s the natural culmination of everything we’ve learned about these women: their trauma, resentment, and fragile hope. The filmmakers don’t use the twist to trick the audience, but to deepen the emotional impact of the story. It lingers not because it’s shocking, but because it feels tragically inevitable.
There Are Other Ways to Surprise Us
We’re not against surprise – we love to be caught off guard. But surprise doesn’t have to mean a twist.
Some of the most powerful short films we’ve screened have ended with:
- A devastating final image that reframes the entire story
- A subtle change in a character’s behaviour that says it all
- A visual or tonal shift that lingers in your mind
- A joke that lands perfectly because it was earned
No Film School advises filmmakers to keep their focus on the core concept and to ensure every scene reinforces it – a reminder that clarity and intent are often more impactful than shock value.
When your story is grounded in a strong concept, the ending doesn’t have to be flashy, it just has to be true.
A Note on Expectations
Some of this comes from pressure. Newer filmmakers often feel like they need to prove something — to show how clever, capable, or cinematic they can be. And plot twists can feel like a shortcut to legitimacy.
But if you’re trying to land a twist just to impress a programmer, you’re aiming at the wrong target. The programmers you’re trying to “fool” have watched hundreds – maybe thousands – of shorts. They’ve seen every kind of twist you can imagine.
A film that’s authentic, well-crafted, and emotionally resonant is far more memorable than one that pulls a rug from under us for the sake of it.
Final Thoughts (And a Bit of Advice)
If your short film has a twist and it works – fantastic. Keep it. But don’t feel pressure to include one just because you think it’s expected.
What festivals actually want is intentionality. Whether your film is 3 minutes or 20, what matters is that you’ve made something that feels honest, crafted, and confident.
Tell the story only you can tell. Whether that ends with a bang, a whisper, or a lingering look – make sure it fits.
Submissions Are Open
If you found this helpful, share it with another filmmaker. The better informed we all are, the stronger the work gets. Want more programming insights? Browse our latest blogs at norwichfilmfestival.co.uk/blog.
See you on the circuit!
You can submit now via FilmFreeway. Full details on categories, eligibility, and deadlines are also available on our submissions page.
Posted in: Advice
