By: Kelly Kearney
Written and directed by Joey Scoma, /HAAW/ is a “Midnight Mash-up” short from this year’s Tribeca Film Festival that cleverly explores themes of xenophobia and fear of the unknown. What begins as a horror-comedy set on a ski trip quickly morphs into a darkly humorous tale of cosmic vengeance.
A Rude Ride to Revenge
The story centers on Brett (Ben Gigli), a xenophobic man who – along with his more well-mannered friend, Jacob (Joey Scoma) – boards a gondola for a ride up the mountain. Sharing the cramped tram with them is an unusual family (Kelsey Gunn, Michael Rousselet and Max Raths) dressed in bright, vintage ’80s ski gear. But it’s not just their fashion that sets them apart. It’s their rubbery, exaggerated facial features and black bottomless eyes make them seem not just foreign, but extraterrestrially other. Their only form of communication appears to be a strange, staccato utterance: a monotone, one-syllable laugh—“haaw.”
As the gondola climbs, the tension inside it thickens. Brett makes quiet, mocking remarks about the family while Jacob initially stays quiet, trying to remain polite. However, the awkwardness begins to gnaw at Brett. He takes a puff from his vape (a small but telling sign of his disregard for others in a confined space) and begins to stare, fixated on the family’s strange appearance.
What follows is a study in discomfort and unraveling control. The family’s “haaw”s grow louder and more pointed. Their once-playful gestures toward the scenic landscape outside become increasingly eerie, their laughter turning from whimsical to sinister. Brett locks eyes with the child, peering into black pools that seem to reflect back not empathy or shared humanity, but something ancient, alien and ready to teach him a lesson.
In those eyes, Brett does not find common ground — only the mirror of his own hate. The infection of his contempt spreads and as it consumes him, the film reaches a climax that is both absurd and satisfying. The unusual family gets the last laugh—literally—and the final note lands somewhere between cosmic horror and punchline.
Turning Silence into Tension
Director Joey Scoma masterfully paces the story, using awkward silences and the claustrophobia of confined spaces to build tension. His choice to shoot in the older 4:3 aspect ratio evokes a nostalgic nod to 1980s ski movies — films that often featured a one-dimensional villain who rejected anything outside the norm. The pillarboxing effect not only reinforces this vintage aesthetic but also serves as a clever visual contrast to the film’s very modern commentary on humanity’s ongoing struggle with intolerance. But the narrative Scoma weaves isn’t all dark and preachy. Comedy bubbles up from the absurdity of the family’s brightly colored outfits and their exaggerated attempts to “fit in” — a vibe Brett completely fails to grasp. While the scenery outside of the gondola is a vast and snowy wonder, it’s the close shots of the actor’s reactions that guide us through the story.
With much of the short’s runtime devoid of dialogue, the sound design by Kevin Senzaki and composer Maxton Waller takes center stage–infusing the film with the visceral thrum of Brett’s rising blood pressure—a sonic pulse that spikes alongside his dawning realization that the family is not just different, but otherworldly. In between the HAAW’s–the rocking sound of cable lines and squealing brakes fill the metal box climbing up the mountain. The sensation of rushing blood becomes a symbolic voice, carrying the weight of a lesson that demands to be learned. It’s a lesson heard not through words, but through the film’s flashing imagery and the silent, yet expressive performances of its leads.
Despite Brett’s lazy posture and sarcastic, snarky commentary, his comeuppance is swift and staggering. When the truth hits him — that he’s crossed a line — it’s like a freight train barreling through his smug detachment, coursing through his veins and lodging in the deeply unused portions of his underactive brain. He never saw it coming, but we do and it’s deeply satisfying to watch it arrive.
Screams and Social Commentary
This short is a tight, visually creative commentary on the rising tide of xenophobia and the breakdown of human empathy. Rather than relying on heavy-handed messaging, /HAAW/ leans into familiar horror and comedy tropes and a surreal visual style to create a world where the discomfort is palpable and the consequences of prejudice are impossible to ignore. It’s not interested in lecturing its audience—it simply holds up a mirror and lets the absurdity of hate speak for itself.
In a world where “otherness” is so often met with suspicion or outright hostility, /HAAW/ dares to reframe that tension through humor and vengeance, crafting a story that is both entertaining and unsettling. The laughs are well-earned, often coming at the expense of ignorance and bigotry, and they’re delivered in a way that invites reflection without demanding it.
If you’re in need of a sharp, stylish laugh — and maybe a reminder of where unchecked hate can lead — then strap into this ride. It’s more than just a good time on the slopes; it might just open your eyes and hearts, too.