Ella Taylor

British filmmaker Sally Potter, a bold adventurer with form and genre, has racked up a formidable resume of hits and some misses, among them the gorgeous historical gender-bender Orlando (1992); the sexy dance movie The Tango Lesson (1996); The Man Who Cried (2001), a tone-deaf Holocaust misfire; and the terrific Ginger and Rosa (2012), which explored the tricky friction between ideology and private behavior on the lefty margins of 1960's London, where Potter came of age.

As is often the case, this year's crop of Academy Award-nominated live action shorts — several of them made as newbie filmmakers' calling cards — make up in earnest humanity for what they lack in technical sophistication. One way or another, all of this year's nominees turn on themes of terror — that's if you count the lone comedy, which speaks to the fear, fantasy, or wishful thought that psychiatrists may be crazier than their patients. Here they are, ranked from best ... to best-intentioned.

My Nephew Emmett

In 2012 Ben Lewin made The Sessions, an irreverent and perceptive fact-based dramedy with John Hawkes as a horny, lovelorn polio survivor in an iron lung, and Helen Hunt as his sex surrogate. Lewin, too, had polio as a child, which may account for his nuanced ability to picture the disabled as, you know, people who happen to be carrying an extra load.

Based on a YA novel by Heidi McLaughlin, the endearingly old-fangled Forever My Girl is basically a stretched-out country music song with eye-catching Southern visuals and a familiar loop of lovelorn sorrow topped with uplift you can see coming from scene one.

In Between, a bold, brassy and beautiful first feature about living while Arab and female in Israel, was made by a young Palestinian woman with Israeli funding. But that is not what earned writer-director Maysaloun Hamoud a fatwa from her own people.