On the Phone (2026)

2232. On the Phone (2026):

-Written by Kyle Bain.

A young couple, both influencers, attempt to make an ad using their puppy. On the Phone highlights humanity’s consumption by social media and our continued need to be seen and liked by others. 

On the Phone had been on for less than thirty seconds when I said out loud to myself “this is gorgeous.” Writer-Director Matthew Kyle Levine’s On the Phone possesses a gritty aesthetic, one that almost transports viewers back in time to something that feels like the 1980s. While the film takes place in the present, that nod to the past presents viewers with a juxtaposition, allowing them to analyze the similarities and differences between societal norms of the past and modern day. It cannot be understated how important Levine’s decisions regarding the film’s appearance is to the overall production, and it continues to provide viewers insight not only into On the Phone, but the world as a whole. 

As the narrative progresses and the couple, Lilly (Desi Stephens) and Brandon (Kenny Sale), shifts their focus, there’s a moment when viewers are effectively pulled out of the film. This is not a criticism, as the moment in which On the Phone changes feels intentional. Once Lilly and Brandon stop filming and begin wandering the real world, no longer protected by the thin veil of the phone, their true colors come out. Their personalities are incredibly offputting, and viewers struggle to appreciate them any longer. What was once a couple attempting to complete a job becomes a narcissistic duo of nearly incomprehensibly horrid vigor. They quickly become the villains of their own story, and as the audience is forced to take a step back and analyze their personalities, it’s almost impossible not to feel a sense of separation between yourself and the couple (and, by proxy, On the Phone as a whole). 

What I greatly appreciate about On the Phone is that it doesn’t linger. It doesn’t harp on inconsequential moments, it doesn’t develop unnecessary tertiary plotlines, and it doesn’t extend itself further than it needs to. Levine hones in on the story he wants to tell, and ensures that he never oversteps. Regardless of the moment in which I believe viewers will intentionally be pulled from the characters, On the Phone does a great job of remaining accessible to viewers as a result of it being concise and remaining linear throughout. 

Moreover, On the Phone is firmly planted in reality. While singular moments within the film may differ from our own experiences, we understand how social media has altered our lives, and how it will continue to affect the way in which we operate as a species going forward. With that said, On the Phone uses this sentiment as a subtle device to guide the narrative and continue to appeal to viewers along the way. 

On the Phone is a strong outing for everyone involved. It’s steeped in reality, and as the narrative and its tone shift, viewers become more privy to the short film’s purpose. Nothing is lost in this film; everything plays a role, and those roles are brilliantly executed. 

P.S. Not for nothing, my puppy, Winston Schmidt, loved the natural sounds (i.e. dogs and birds) that immersed us in On the Phone. 

Written & Directed by Matthew Kyle Levine. 

Starring Desi Stephens, Kenny Sale, & Therese McGinn.

8.5/10 = WORTH RENTING OR BUYING