The Drive

David Arrow’s “The Drive,” released in 2025, has already won 45 awards and been nominated for a further 17; currently, it remains in consideration for the 99th Academy Awards to be held in 2027. These accolades have been achieved through a jaw-dropping recollection of the assassination of John F. Kennedy, set in 1963, from the viewpoint of our seemingly ordinary and maternal protagonist, Ava (Amber Paul). The short’s starring role was provided to this established actress under intentional care, as Paul had won several awards following her previous work alongside the director, e.g. for her role as Jill in Arrow’s “5 Questions.”

The killing of JFK was amongst one of the biggest culture shocks to ever dawn America at this time, and this film treats the historical event with ultimate consideration, forming a harrowing perspective placed not on Elm Street road itself, but in a car nonetheless. As Ava carries out what appears to be a routine carpooling journey, horror unfolds when this news hits the radio. The following of Ava’s car by a mysterious man, paired with Amber Paul’s excellent non-verbal acting, alludes early on to a more personal involvement for the characters.

Produced by 4A and Lady Girl films (overlooked by Leon Derriey), “The Drive” was fortunate enough to have a bundle of creative minds working in the shadows. Costume and production design, credited to Leon Dobkowski and Rachel Marquez, are to be marvelled at, providing an instantly graspable 60’s autumnal palette through their choice of clothing and colour. Hair design, too, a major role in this immersive detail, carried out by Jennifer Hargrove. Colin Barry-Jester’s polarising sound design is also extremely fitting - the beginning of the film provides a patriotic score over visuals of key monuments in the United States - America is on top of the world! Until the breaking news spreads across the nation, as then the non-diegetic sound transforms into a defeated, haunting affair.

Supporting stars also help to unease the minds of the already tense audience i.e., the trailing mannerisms of the suited man (Allen Guy Wilcox), or the unpierced innocence of the child actors. Despite the assassination never appearing on screen, the event remains looming subconsciously over this plot. A particularly innovative way of such consists of the focus onto an empty seat next to Ava, the same side as John’s positioning during his murder.

Themes of paternal protection throughout tragedy are heavy within this product, demonstrating how life altering moments can disrupt daily tasks in such a short amount of time. The short runtime of 12 minutes plays as an advantage to the film itself, placing the audience directly in the heat of the moment to cleverly create discomfort and display how fast these calamities take control. The pedestrian-based standpoint exhibits that the impact of this day supersedes gender, race and class by showing the standstill effects this information leads to across the population. The eventual revelation of the suited man astonishes beyond viewer expectations, diffusing all fear and leaving a sorrow stain behind as the credits roll. Whereas today it is easy to view such occurrences from decades ago as a basic “fact” established in life, it is easy to forget the emotional toll incorporated - this short ensures that you do not.

This “footnote to history” is an indispensable example of the lost stories upon centuries and centuries of misfortune. Arrow’s vision is executed to a tee, drawing an audience in with false promises of immediate danger and jeopardy to our “regular” character, retaining focus with a more terrifying introspective fate: ignorance. Uncovering a media-driven desensitisation to the intricacies of the JFK assassination may drive viewers (pun intended) to reevaluate their recollection of other national adversities, considering how many lives were forever changed beneath the surface in a plethora of way. “The Drive” leaves behind such a lasting impact in such a small period of time due to it’s concise nature and compelling writing and cinematography, inviting all consumers to a new mindset if they are willing to listen.