Dead Hands 2010
In *Dead Hands (2010)*, director Sarah Daggar-Nickson crafts a haunting 14-minute short film that plunges viewers into the fractured psyche of Ben, a soldier returning home after war.
Director: Sarah Daggar-Nickson
Cast
Frequently Asked Questions
What is Dead Hands (2010) about?
*Dead Hands* follows Ben, a traumatized soldier on leave after combat, as he reunites with his girlfriend Sophie in an airport hotel. Haunted by hallucinations and the weight of his past actions, Ben's grip on reality grows increasingly fragile. The film explores whether Sophie's love can pull him back from the edge—or if his innocence is lost forever.
Who directed Dead Hands?
Sarah Daggar-Nickson directed *Dead Hands (2010)*. Known for her work in independent and psychological cinema, Daggar-Nickson crafts a visually striking and emotionally intense short film.
Who stars in Dead Hands?
The cast of *Dead Hands* includes Brady Corbet in the lead role, alongside Cody H. Carolin and Patch Darragh.
Is Dead Hands (2010) worth watching?
While *Dead Hands* isn't your average short film, its intensity and brevity make it a compelling watch—especially for fans of psychological thrillers and character-driven dramas. Its raw performances and atmospheric tension leave a strong impression, though its unrated status and niche appeal may limit its mainstream reach.
How long is Dead Hands?
*Dead Hands* runs for 14 minutes.
About Dead Hands (2010) — A Soldier's Haunting Return in a 14-Minute Masterpiece
In *Dead Hands (2010)*, director Sarah Daggar-Nickson crafts a haunting 14-minute short film that plunges viewers into the fractured psyche of Ben, a soldier returning home after war. Brady Corbet delivers a raw, unsettling performance as Ben, a man drowning in the aftershocks of violence—haunted by hallucinations, trapped in a state of exhausted detachment, and unable to reclaim the innocence he once had. The film drips with tension as Ben reunites with Sophie, his long-lost girlfriend, in an airport hotel where neither past nor present feels entirely real. Daggar-Nickson masterfully blends psychological horror with a meditation on trauma, leaving audiences to question whether redemption is possible or if some wounds never heal.
Crafted with a minimalist aesthetic, *Dead Hands* lingers on the fragility of human connection and the quiet devastation of war's lingering scars. The atmosphere is thick with dread, as Ben's unraveling mind blurs the line between protector and predator. Sophie's presence offers a glimmer of hope, but the film's ambiguity forces viewers to confront its central question: Can love alone mend what war has broken?
A visceral, thought-provoking short film that lingers long after the credits roll.