Short Film Review: ‘Bygones’ – Letting Go, Heals.

Some stories find a way to linger long after the credits roll, not because of spectacle or scale, but because of the quiet, complex humanity they hold. ‘Bygones‘ directed by Angel McCoughtry and beautifully written by Anna Taborska, is one such story.

It is a short film that delves into the layered yet familiar terrain of past mistakes, buried truths, and the powerful reckoning that comes with forgiveness and healing.

On the surface, Bygones seems like a story about an unlikely friendship that blossoms over basketball. Charissa (played by Malyah Glover) is a young, confident athlete who strikes up an unexpected connection with an older man, JJ, at the gym. He’s grey-haired and reserved, but there’s a shared love for the game between them that immediately bridges their generational gap. We learn that JJ once played college ball himself. He easily becomes like a mentor, training partner and friend to Charissa.

The film takes its first real emotional turn when Charissa invites JJ to a family cookout. There, he’s startled by a photo of Leon, Charissa’s grandfather and leaves without any explanation. It turns out that JJ and his college team had played against Leon in college before.

Charissa, however,r soon uncovers a much bigger truth that changes everything. JJ was involved in the events surrounding Leon’s tragic death back in 1969. This is where ‘Bygones‘ real themes are revealed. The emotions of betrayal, revisited grief and unspoken remorse are stirred.

Malyah Glover brings a grounded, quietly strong performance to Charissa. You can feel her confusion, hurt, and disappointment, especially in the moments where she begins to grapple with JJ’s silence. It’s not an overly dramatic performance yet that works. Her restraint gives the emotions room to breathe.

As for JJ, his older self doesn’t say much, but his silence is filled with weight. You sense a man who has been carrying something for decades, something unresolved, something heavy. As the film unfolds, we begin to understand how his life has been quietly shaped by the events of that fateful night. It’s not just regret he feels, it’s a longing to make peace, even if he’s unsure how.

The flashback scenes from 1969 are impressively handled. Unlike the typical desaturated or grainy approach often used to represent the past, these scenes are colourful and tastefully composed, showing care in both the visual aesthetic and storytelling. Jordan Pressley plays the young Leon with charisma and humility. Even with his limited screen time, he leaves a mark, portraying Leon as a man who’s grounded despite his fame and notoriety or winning a championship at the collegiate level.

Bygones isn’t just a film about a past tragedy. It’s a story about the aftershocks of choices, about the emotional residue of actions long gone. It reflects on the fragile nature of trust and how difficult it can be to hold space for both the truth and healing. More than anything, it’s about reflection, regret, and the possibility of reconciliation.

There’s a quiet lesson here about the duality of sports. The same court that unites us in joy and passion can also become a stage for rivalry, tension, and sometimes irreversible harm. Yet, through all of that, the film reminds us that forgiveness is the most powerful play of all.

I will gladly score Bygones 4 out of 5 stars. Its selection to the 2025 Raindance Film Festival is well-deserved, and I believe its message, centred on forgiveness and the enduring impact of sport, will resonate with many. It’s the kind of short film that feels like a seed for something bigger. I would love to see this story expanded into a feature. There’s more to explore, more to feel, and more ground to cover with these characters and their story.