You’ve likely seen the buzz coming out of Sundance 2025 or caught the posters for the Manhattan Short Film Festival. People are talking about Em & Selma Go Griffin Hunting as if it’s just another "creature feature." It isn’t. Not even close.
Honestly, the title sounds like a quirky adventure from a children’s book, but the actual 18-minute short film is more of a gut-punch. It’s a 1930s-set, black-and-white nightmare about the weight of tradition. If you go in expecting Fantastic Beasts, you're going to be very, very confused.
Why Em & Selma Go Griffin Hunting is More Than a Monster Movie
Directed by Alexander Thompson, the film takes place in an alternate version of Depression-era America. In this world, becoming a "proper woman" doesn't involve a debutante ball or a high school diploma. It involves killing a griffin.
The plot follows Em, played by Milly Shapiro (who you definitely remember from the terrifying Hereditary), and her mother Selma, played by Pollyanna McIntosh (The Walking Dead). They aren't just hunting for sport; they’re hunting for social survival. Selma is dogmatic, almost desperate, about the ritual. She’s a "single mother and a whore" by the town’s standards, and Em’s success in the hunt is the only thing that can redeem their family name.
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The Gritty Reality of the "Mythical"
What really sticks with you is the design of the griffins. Forget the majestic, golden-maned lions with eagle wings you see in medieval heraldry. These things are gross.
Because of selective hunting and what the film describes as "continuous inbreeding," these creatures are deformed. They look like a mix of vultures, camels, and mangy cats. They feel like a species on the brink of extinction, which makes the hunt feel even more cruel. Thompson intentionally avoided the "classic" look to make the violence feel banal. It’s just another chore in a dusty, miserable 1930s landscape.
The Core Conflict: Tradition vs. Compassion
The turning point in Em & Selma Go Griffin Hunting happens when Em catches the eye of a griffin. In that moment, the "beast" isn't a monster; it’s a living thing. Em hesitates. She questions the senselessness of it all.
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Selma's reaction isn't one of motherly understanding. It’s pure, unadulterated terror. She knows that if Em fails, they are both outcasts. There’s a scene involving "wood nymphs" that really illustrates the film’s grim outlook. These aren't Tinkerbell-style fairies. They are violent, predatory insects whose mating rituals involve ripping off wings. It’s a bleak metaphor for what Selma believes womanhood is: a cycle of being hurt or doing the hurting to survive.
Why the Ending Is So Polarizing
Without giving away every frame, the climax involves a baby griffin used as bait. Em makes a choice that breaks the cycle, but it doesn't lead to a "Disney" happy ending.
When Em refuses to kill, she doesn't just save a creature; she destroys her mother’s status. The final image of Selma pointing a rifle at her own daughter’s chest is one of the most haunting things in modern short cinema. It’s an "all-or-nothing" ideological dilemma. You either follow the rules of the tribe, or you become the prey.
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Actionable Insights for Fans and Filmmakers
If you're looking to watch or learn from this film, here are a few things to keep in mind:
- Look for the Visual Metaphors: The film was shot in black and white specifically to mimic the photography of Dorothea Lange and the writing of John Steinbeck. Every frame is meant to look like a Dust Bowl-era artifact.
- Pay Attention to the VFX: The creature effects were handled by veterans from Star Wars, Avatar, and Marvel projects. They used life-sized puppets on set so the actors could actually interact with the "beasts."
- Track the Festival Circuit: Since this is a short film, it isn't on Netflix yet. It’s currently touring festivals like Sitges, the Calgary Underground Film Festival, and the Manhattan Short collection. If you want to see it, check your local indie theater's schedule for "Short Film Programs."
- Understand the Allegory: The film isn't "about" griffins. It’s about "intergenerational friction." It’s about how parents pass down their traumas and expect their children to carry the same burdens they did.
Em & Selma Go Griffin Hunting is a rare piece of media that uses the "fantastical" to tell a story that feels painfully real. It’s uncomfortable, it’s visually stunning, and it’s a masterclass in how to use 18 minutes to say more than most two-hour features.
To stay updated on where you can stream the film after its festival run, follow the official production accounts on Instagram or check the Manhattan Short 2025 finalist list for screening dates in your city.