If stop-motion animation still needed a reminder of how bold, inventive, and emotionally resonant the medium can be, Ida Melum’s Ovary-Acting arrives like a brilliantly crafted mic drop. Fresh off her BAFTA nomination and Annie Award win for Night of the Living Dread, Melum returns with a short that is at once laugh-out-loud funny, deeply humane, technically jaw-dropping, and incredibly timely. It’s no wonder the film walked away with the Best Short Animation Grand Prize at RIIFF after premiering at Tribeca  Ovary-Acting feels like the kind of short destined not only for festival acclaim, but for long-lasting cultural affection.

At its core, the film is a buoyant, witty, and deeply personal exploration of modern parenthood or more precisely, the complicated, often comically fraught decision of whether to become a parent in the first place. What could feel weighty or didactic in lesser hands becomes, through Melum’s sharp comedic instincts and signature warmth, an emotional rollercoaster delivered with delightful absurdity and honesty. The subject matter biology, bodily autonomy, ethics, practicality is handled with refreshing clarity and cheek, offering universal resonance whether you’re a parent, a maybe-parent, or a staunchly never-parent.

Much of the film’s emotional punch comes from the vibrant collaboration between Melum and BAFTA-nominated writer Laura Jayne Tunbridge. Tunbridge’s script, layered and incisive, dances effortlessly between razor-sharp humor and heartfelt introspection. The dialogue never strains for laughs or sentimentality; instead, it flows with the natural rhythm of uncertain humans trying to navigate one of life’s most monumental choices. It makes perfect sense that Melum and Tunbridge have worked together before the trust and creative harmony are audible in every line.

The voice performances from Synnøve Karlsen and Sofia Oxenham are nothing short of pitch-perfect. Both actresses bring a nimble balance of comedic timing and emotional nuance, giving the film’s miniature characters a startling sense of presence and relatability. Their chemistry elevates the script, infusing every moment with a lively authenticity that grounds even the wildest comedic beats.

Visually, Ovary-Acting is a miniature masterpiece. Production and character designer Svein Erik Okstad has crafted a world so rich in detail, charm, and emotional texture that you could freeze any frame and marvel at the craftsmanship. The handcrafted environments feel lived-in and intimate, yet delightfully imaginative; Okstad’s designs are not just visually striking but narratively expressive, heightening the film’s emotional stakes and comedic rhythms.

Captured through the lens of Director of Photography Jøran Wærdahl a veteran with 25 years at Klipp og Lim the film’s cinematography is nothing short of exquisite. Wærdahl’s understanding of puppet animation elevates Ovary-Actingbeyond technical proficiency to something far more poetic. His lighting and camera work make the miniature sets feel expansive while preserving every handmade detail that makes stop-motion such a magical art form.

Editor Lesley Posso, long-time collaborator of Melum, once again brings her award-winning touch, guiding the film’s pace with invisible finesse. The comedic timing is impeccable, the transitions seamless, and the emotional beats perfectly pitched a testament to Posso’s intuitive sense of rhythm and storytelling.

The soundtrack, an absolute treat in its own right, features a charming, playful score by Joseph Stevenson, whose music infuses the film with warmth and whimsy. And then there’s the original song by Alastair McNamara an extravagant, Broadway-tinged delight that feels like a love letter to classic Hollywood musicals. It’s audacious, joyful, and entirely irresistible.

What truly sets Ovary-Acting apart is its ability to blend absurdist humor with thoughtful social commentary without ever feeling heavy-handed. It’s a film that laughs with you, thinks with you, and if you let it sticks with you. In a festival landscape brimming with animation talent, Melum’s work stands out not merely for its craftsmanship, but for its emotional intelligence and originality. She has firmly cemented herself as one of the most exciting voices in contemporary animation.

That the film has already qualified for consideration at the 98th Academy Awards feels less like a surprise and more like an inevitability. Ovary-Acting is that rare short film that feels complete, confident, and utterly singular a joyful reminder of what animation can do when placed in the hands of artists who deeply care about their craft.

Five Stars.

Belle Hudson