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The Screening Room

The High Road

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The High Road is a product of over a year of hard work by myself and fellow Salford undergraduates. It is the final year undergraduate short film of which I wrote and assistant directed. Since making this film, it has won 'outstanding screenplay,' at the Salford Media Awards, and has been show in both BIFA and BAFTA qualifying film festivals.

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42 festivals, funds and schemes worth this film.

The full list for this film
  • Competitioncloses in 11 days · 13 November 2026

    Young Scottish Filmmaker Prize (Glasgow Short Film Festival)

    Glasgow, Scotland · not stated on this page; apply through the Glasgow Film website

    checked 28 Oct 2026 · source
  • Festivalcloses in 22 days · 24 November 2026

    Manchester Film Festival

    Manchester · Shorts US$70 until 27 October then US$75 (North West shorts US$65 then US$70); features US$97.50 then US$99.50 · premiere required

    checked 27 Sept 2026 · source
  • Festivalcloses in 25 days · 27 November 2026

    Open City Documentary Festival

    London · Entry fee via FilmFreeway; selected works under 40 minutes get a £70 screening fee

    checked 27 Sept 2026 · source
  • CompetitionFree to entercloses in 43 days · 15 December 2026

    Sony Future Filmmaker Awards

    International; shortlist flown to Sony Pictures Studios, California · Free to enter · up to 20 min

    checked 27 Sept 2026 · source

Filtered by the film's length and ordered by deadline; every row carries the date we checked it and where. The film is public here, so the ones that want a premiere are marked. The festival plan says how to run the year.

The scorecard

A road trip drama with two women boxed into a car, shot with a clean, symmetrical eye; the plot itself stays off-screen.

3.0of 5
  • Storynot read

    Not read: the synopsis gives only production background, no account of who wants what or how it ends.

  • Picturestrong

    The frontal car shot is precisely composed, symmetrical, with a van's worth of boxes as a clear visual cue; the profile close-ups use light well against flat sky.

  • Wordsnot read

    Not read: no transcript, so the dialogue or narration was not seen.

  • Worldworks

    The packed car and the warm, cluttered bar in the fourth frame suggest a lived-in, specific world, though only glimpsed.

  • Voicegetting there

    The dead-on symmetrical car framing is a deliberate choice, but with no story or dialogue to read, a distinct point of view is hard to confirm from frames alone.

I read the one-paragraph production synopsis and looked at the four published frames; no transcript or caption track was available, so story and dialogue could not be judged. Read 2 November 2026. How the scorecard works