BEE
WRITER | DIRECTOR | PRODUCER | EDITOR | ACTOR
After pushing away the flower he once vowed to love, a bee spirals through guilt and memory, only to realize some goodbyes come too late.
“Are fake flowers basically porn for bees?” This thought inspired this surreal short film about intimacy, disconnect, and the quiet breakdown of a relationship. I got the idea after watching a bee obsess over my mom’s spring wreath full of artificial flowers, and the metaphor bloomed from there.
Inspired by filmmakers like Taika Waititi, I leaned into surrealism, letting humor and heartache share space without undercutting each other. I worked with DP Alan Baird to bring a distinct visual style to each emotional beat: dreamy, glowing flashbacks, harsh red silhouettes in the craft store, and grounded realism in moments of confrontation.
This was my first time fully taking the reins: writing, directing, producing, editing, and acting. We shot it over two days with a small team of incredibly generous creatives. I owe so much to Kenna, whose performance and insight gave me a new lens on working with actors. And ultimately, Bee showed me that making films isn’t a pipe dream. It’s a weird, chaotic, beautiful work, but absolutely possible.
NEVERLAND PD
Winner:
Best Proof Of Concept (Zepstone Film Festival)
Best TV/Web Series Episode (Zapstone Film Festival)
CO-WRITER | ACTOR
In a town where fairy dust is contraband and Crocs are criminal, a rookie cop must choose between his past and his precinct.
Director Spencer Barry pitched the idea to me with just one sentence: “I want to combine Peter Pan with Reno 911.” That was all I needed to hear.
We blocked out the story together, then took turns refining the script; riffing, rewriting, and leaving each other notes until we landed on something that made us both laugh like idiots. The shoot took place over two days, including a very memorable scene where I wore a police uniform through a public park during a baseball tournament. (10/10 would not recommend for social comfort.)
As ridiculous as it is on the surface, writing Neverland PD taught us to prioritize story over jokes. Every beat needed a reason, and grounding the absurdity was key to making the humor land. For the record, the croc ring was my idea. And yes, I still laugh at it.
This film is currently on the festival circuit and unavailable for public viewing. For private access, feel free to contact me at tannerkrahlf@gmail.com.
No power in truth
Winner: Best CInematography (48 Hr Film Festival)
CO-WRITER
In a town that worships power, a young reporter digs up the truth about a local tycoon and buries him with it.
No Power in Truth was created in just 48 hours as part of the 48-Hour Film Project. Our team was assigned the genres of Film Noir and Musical; we stuck with Noir (thankfully, director Spencer Barry and DP Alan Baird had already done deep research for a project of their own, which gave us a huge head start).
We were also required to include a specific character (Victor), a prop (ice), and the line: “So squishy.”
Spencer and I co-wrote the script under a tight deadline, bouncing ideas back and forth until we landed on something that balanced tension, legacy, and an old-school sense of justice. I stayed on set throughout production to help the cast quickly understand their characters and emotional arcs, critical in a sprint production like this, where actors have minutes, not days, to prepare.
The house we filmed in was two hours away, and we blocked out most of the story before even seeing it. Once we arrived, the layout immediately inspired us, especially the staircase, which became the backdrop for one of the film’s most pivotal moments.
Despite the time crunch, this was one of the smoothest productions I’ve ever participated in. The film went on to win Best Cinematography, showing how much can be done with the right people and 48 hours of creative chaos.
This film is currently on the festival circuit and unavailable for public viewing. For private access, feel free to contact me at tannerkrahlf@gmail.com.
Date Night
CO-WRITER | COLORIST | ACTOR
A lonely woman orders a dinner date with a cadaver, but when he comes back to life, things spiral into a romantic comedy full of rigor and rigor mortis.
When Valentine’s Day was approaching, director Spencer Barry and I made it a goal to make something. He pitched the concept of a woman who orders a dead body for companionship, and we co-wrote the script together. We’re both fans of dark comedy with emotional undertones, so we leaned into the absurdity while grounding it in something more honest.
We shot the film just one week before the holiday, with last-minute casting changes that led to Spencer directing entire scenes in full clown makeup. I handled color, acted in the film, and absolutely face-planted into a cold plate of fettuccine more than once. It was worth it; the shot looks great!