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Film Feature by Chris Olson August's episode of the UK Film Club Podcast was packed tighter than a can of sardines, crammed with the latest movie reviews, short film reviews, and indie feature films. It was a pleasure, as always, to join my co-host Brian and cover some of the best movies out right now. As always, Brian gives his coveted "Film of the Month" award to one of the cinema releases, and this month it was for the new Stephen King adaptation, The Life of Chuck . Directed by Mike Flanagan and starring Tom Hiddleston, Jacob Tremblay and more, the film was co-written by Flanagan and King. The storyline goes: A life-affirming, genre-bending story about three chapters in the life of an ordinary man named Charles Krantz. Listen to Brian's review using the Apple Podcasts embed below: If you don't have Apple Podcasts, you can also check out Episode 30 of the UK Film Club Podcast on other platforms such as Spotify, Pocket Casts and more. Short Film Reviews on the Podcast Whilst we love covering the newest movies in UK cinemas, UK Film Club also takes time to appreciate indie filmmakers from around the world and in Episode 30 we covered 3 excellent short films: Kreaster : A proof-of-concept piece with impressive sci-fi stylings. Bread Winners : A startling and expertly crafted drama. Gold Hearts of Hot Rod County : An 80s-inspired coming-of-age film with excellent aesthetics. Indie Film Reviews on the Podcast We don't shy away from covering feature-length indie films on our movie podcast either, and in August's episode we were lucky enough to cover 2 excellent movies: The Bulls' Night Out : A 90s crime film crammed with New York accents. A Road to a Village : A Nepalese drama about the impact of progress in rural communities.

★★★★★ Starring: #GenevieveChenneour, #AdamFrith, #AlfieNoble, #MiaRodgers Directed by: #CarolineHajny Short Film Review by: Alexandra James Directed by Caroline Jajny, Diary of a Ghost  focuses on the theme of grief and loneliness, more specifically prolonged grief. No one can truly determine how long it is ‘acceptable’ to grieve someone close to you, however, it is difficult to place a time limit on something that can affect people so differently. For protagonist Sage, this grief feels like the weight of the world over the loss of her boyfriend, Riley. This deep sadness brings forth a lot of other emotions and forces Sage to isolate herself and remain rooted in the past, unable to escape the dark and terrifying memories. Instead of reliving the happy moments, she becomes fixated on his death and begins to lean into this trauma further by religiously writing in a grief journal as some form of comfort. A very real and powerful story that not only is touching but delves into a very important subject that many of us experience and yet perhaps are afraid to discuss. The complexities of grief are so vast, and Diary of a Ghost  explores just how much it can overwhelm many aspects of your life. We are introduced to Sage Evans, a stranger knocks on her grandmother’s door to check the meter, however, we quickly learn that her grandmother is now in a hospice leaving Sage alone in her house with nothing but her thoughts. Trying to distract herself, she meets with an old friend, but it was clear her mind was elsewhere. Their interaction inevitably leads to speaking of the past and in turn causes the flooding back of memories of her partner. Her friend assumes that she should be moving on at this point, given that it had been a year since the incident. But time almost stands still when faced with a traumatic loss and its as if everything around Sage is insignificant and she cannot find pleasure in anything anymore, even having a few drinks at the pub with friends. Actress Genevieve Chenneour conveys this feeling of heartache in a very realistic and moving way, there is a strong understanding of what it means to be stuck in this deep emotional pit, her commitment to the role is apparent and extremely moving. Diary of a Ghost  is a creative and honest representation of prolonged grief and focuses on the individual and often how difficult it is to convey to others how painful and consuming grief can be. This narrative shows that not everyone can pull themselves out of this emotion so easily and very much remain in the past, unable to see a light at the end of the tunnel. Instead, many people unfortunately dwell and surrender to this emotion. For Sage, this diary kept her very much stuck in one place and the seclusion only pushed her further into this inescapable pain. A film that many can relate to, as it highlights the dangers of just what can happen when trapped in a state of despair.

★★★★★ Starring: #MiaMcKenna-Bruce, #LouisaConnolly-Burnham, #MichaelFox Directed by: #LouisaConnolly-Burnham Short Film Review by: Alexandra James Sister Wives  is a short romantic film directed by Louisa Connolly-Burnham, the film centres around an orthodox Mormon relationship. A husband and wife introduce a second wife to their relationship and with this brings challenges for the couple, as well as tension as the dynamic changes within the household. Living such a sheltered life only raises questions for the two wives, their daily activities are monitored constantly, and they often fear the consequences of questioning the status quo, as well as life outside the community. However, left alone in the home for a few days as husband Jerimiah is sent on a mission, the wives begin to open-up to one another and a romantic relationship begins to develop between the two. A narrative of forbidden love and repressed emotions. Louise Connolly-Burnham director and star of this film creates a perfect balance of apprehension and curiosity within the character Kaidence. For many years Kaidence has served her husband, obeyed God and kept her opinions and thoughts very much to herself. However, when new wife Galilee enters the family home, although dismissive and even jealous was her initial response to a new wife, Kaidence eventually allows herself to be vulnerable. She shares with Galilee her worries and fears, even showing taboo literature she has kept hidden from her husband. Their relationship begins to blossom but into more than just friends. The chemistry between both women is one element to this film that is truly enticing, the subtle movements and intimate looks to one another highlight a strong passion between the two. This passion only becomes fuelled by the secrecy of their relationship, although their relationship is seen as a sin within their community, this only strengthens their connection as they find safety and comfort in one another. I think what is great about this short is the symbolism that runs throughout. The location is very dark and isolated representing how the women feel within the community, away from civilisation and left with just their own repressed thoughts. Moreover, the costume designs, both women wear plain or pastel-coloured dresses, making the hidden red dress at the back of cupboard seem that much more vivid and a powerful symbol. It became apparent that the girl’s relationship begins to flourish, red being seen as a very sensual colour and displays the women breaking out of their wife persona and learning to explore their sexual identity. Sister Wives  is a deeply emotional short film that explores the theme of love, repressed desires and religion. The cinematography within this short, is shot beautifully and aids the story by feeding into the narrative with the isolated locations, moody atmosphere creating a gripping storyline. Both Louisa Connolly-Burnham and Mia Mckenna-Bruce’s performances are incredibly noteworthy, portraying an electrifying connection that draws in the audience from the start to finish.

★★★★ Starring: #AndrewHodgson Directed by: #GuyPearson Short Film Review by: Alexandra James Extension , a short film directed by Guy Pearson and starring Andrew Hodgson, is a documentary style film recorded entirely in black and white and follows one man and the passion he has for his ‘project.’ The audience are kept completely in the dark about what this project is and can only make small assumptions about what it can be, however, I can assure you that you are all wrong! This is a short comedy that I found sweet and amusing, I loved the ambiguity that surrounded the film and became fascinated by the protagonist. Just your everyday northern bloke sharing his daily activities and how he enjoys his spare time. A simple, funny and fantastic film that leans into its absurdness to create something that is truly unique. The simplicity of this short is an element to really appreciate, as the protagonist speaks about how he gathers materials for his project and friends and family that have helped with supplies, you cannot help but see him as an extremely likeable character. Instantly the audience are drawn into his world and even though we are merely following him through the forest gathering wood and explaining what pieces can be used, you can’t help but want to learn more about his life. He seems like a humble character with simple pleasures and his fascination with this project makes us think and wonder what exactly he is working on. The typical answers, perhaps a tree house, a sculpture or maybe a piece of furniture, nothing can quite prepare you for what the project really is. Certainly, it’s the ridiculousness to this film that makes it funny and engaging, the small twist to this piece is a great element and shows a very creative and fun side that many will be amused by. Having researched the making of this film a bit further, I discovered that the ending to this piece was not the original. Due to unforeseen circumstances, there was lost footage and a lot of effort to try and recover what had vanished. Instead, a whole new ending had to be created which is very unlike the original. I think this is what you call a very happy accident, because even though the story may not be as envisioned, occasionally, this new path fits perfectly and turns out to be a surprise, but a good one! For a documentary style film, I really enjoyed how natural Andrew Hodgson was on screen, his persona and relaxed approach in front of the camera made the ending that much more of the perfect twist. Alongside the graininess of the footage, it appeared as though it had just been found or home footage, which kept the audience in the dark right until the end and the reveal of the project was so much more unexpected and certainly brought a bigger chuckle as well.

Film Feature by Chris Olson The dinosaur-sized shadow of the Jurassic Park franchise looms large over any new instalment, and Jurassic World: Rebirth is no exception. With the latest film in the series now in cinemas, the spotlight inevitably turns to the financial considerations that underpin such a colossal undertaking. As UK film critics, it is our duty not only to dissect the artistic merits but also to analyse the economic forces at play. Initial reports pointed to an estimated production budget of £140 million ($180 million), a figure that, while substantial, appeared to be a more controlled expenditure than some of its recent predecessors. For context, the last two Jurassic World films reportedly had significantly higher budgets, making this a noteworthy departure. This seemingly leaner budget for Rebirth suggests a calculated strategy from Universal Pictures, perhaps acknowledging the franchise's need for a creative reboot while managing the financial risks. The film's opening weekend takings in the US and Canada provide the first real test of this strategy. With a domestic haul of £71.5 million ($92,016,065), the figures are undoubtedly healthy, yet they also reflect a certain reticence compared to the explosive debuts of the previous Jurassic World trilogy. This opening is solid but not spectacular, indicating a tempered enthusiasm from audiences. The film's long-term success will hinge on its ability to sustain these numbers and resonate with a global audience, a task made all the more difficult by the competitive summer blockbuster season. Much of the film's success, both critically and commercially, will be credited to the creative team behind it. The casting of Scarlett Johansson, a bona fide action superstar, alongside acclaimed talents such as Jonathan Bailey, Mahershala Ali, and Rupert Friend, was a shrewd move, injecting fresh energy into the series. However, the true legacy of Rebirth may well be tied to the return of a familiar name: writer David Koepp. As the scribe of the original 1993 Jurassic Park and its sequel, The Lost World, Koepp's return signals a conscious effort to reconnect with the franchise's roots. Taking the director's chair is Gareth Edwards, a visualist with a proven track record in big-budget sci-fi, having helmed Godzilla and Rogue One: A Star Wars Story. His direction, combined with Koepp's screenplay, aims to deliver a film that is both a thrilling spectacle and a return to the thematic core that made Michael Crichton's original work so compelling. The creative DNA of Rebirth is a fascinating blend of old and new, and it will be this synthesis that determines whether this latest entry is truly a "rebirth" or simply a costly footnote in a long-running saga. Now listen to our Film Podcast Review of Jurassic World: Rebirth on Apple Podcasts:

In a review for their podcast, UK Film Club , critics Chris Olson and Brian Penn shared their thoughts on the new Netflix sequel, The Old Guard 2, starring Charlize Theron. While acknowledging the need to watch the first film to fully understand the sequel's plot, their overall assessment was lukewarm, with both critics agreeing the movie was "competent" but ultimately forgettable. Chris Olson initially sets up the film's premise, noting the return of Charlize Theron's character, Andy, who at the end of the previous film had lost her immortality. The sequel sees her reunited with the team, now living in exile, as they face the emergence of a "long-buried character." Olson is cautious about revealing too much, fearing it would spoil the film's limited twists and turns. Brian Penn kicks off the critical discussion by labelling the film as merely "competent." He believes the sequel "goes by the numbers" and, unlike the first film, fails to take any chances. A major point of criticism for Penn is the lack of character development. He argues that outside of Andy, the characters are not strong enough to stand out, and the film could have benefited from more fleshed-out character arcs. The film's central theme of immortal warriors protecting humanity is, to him, a familiar but underdeveloped concept. Olson echoes Penn's sentiments on character development, stating that the film "wasn't fully fleshed out" and simply "skims along." He also criticises the antagonists, describing them as "melodramatic" and reminiscent of the villains in The Mummy (1999), but without the same level of charm. Olson feels the movie is "clunky" and heavily relies on Charlize Theron's star power to be watchable. He even questions if the film is worthy of Theron's talent, suggesting it's not one of her best choices. Both critics found the film to be an emotionally detached experience. Olson mentions that upon finishing the movie, he simply "went okay" and didn't think about it again until the podcast review, suggesting a profound lack of emotional impact. He appreciates some of the action sequences and the banter among the group but feels that in today's cinematic landscape, great stunts alone are not enough to sustain a story. A key point raised by both Penn and Olson is the film's wasted potential. They both believe the core idea of immortal warriors living through centuries is a fantastic premise that has been poorly executed. Penn suggests a better direction would have been to take the characters back in time to pivotal historical moments, such as the Battle of Waterloo, instead of confining them to a modern-day spy thriller format. Olson agrees, feeling that the modern setting makes the immortal premise feel "a bit pointless" and lacking in genuine threat. In conclusion, Olson and Penn find The Old Guard 2 to be a serviceable but ultimately disappointing sequel. It's a film that is "fine and sturdy" in its execution but fails to achieve anything brilliant. They conclude that it never reaches a point where the audience feels a true connection to the characters or the stakes, leaving them with the impression that Theron's involvement was likely for the paycheck. Listen now to UK Film Club on Apple Podcasts:

Film Feature by Chris Olson A film that was described as Get Out meets Candyman by the always wonderful people at Fangoria, Noseeums (sometimes referred to as No-See-Ums) will delight horror fans at the 2025 FrightFest event, with its world premiere on the 23rd of August at London's Odeon Luxe. The film stars Aleigha Burt, Tabitha Getsy, Trisha Arozqueta, and Jasmine Nguyen, telling the story of Ember (Burt) a college student who joins her affluent white friends for a weekend retreat at the isolated country estate of Abigail, their campus queen bee. The opulent setting is overshadowed by an inexplicable sense of dread that Ember can’t shake. Drawn to an unkept grave site hidden in the backwoods, she is suddenly besieged by swarms of no-see-ums, tiny black insects native to Florida, whose bites leave an invisible, maddening sting. The irritation soon gives way to something more sinister: flashes of a brutal, forgotten past and premonitions of grisly deaths. Ember learns that the land is cursed by the restless spirits of those wronged long ago. As the spiritual connection deepens, Ember embraces her role as the vessel for their long-overdue vengeance, becoming the hand of retribution for the dead. Raven Carter is a filmmaker, director, and co-writer of the feature film Noseeums . A former film student at Florida State University, Carter's debut feature is a Southern Gothic horror story with a political undercurrent exploring the loss of Black land rights. The film, produced by Torchlight Studios, is set to have its world premiere at FrightFest London, a prominent horror genre festival. Carter has stated that premiering the film in front of a passionate genre audience is a "dream come true," and she is excited to be sharing her work with a festival she has long admired as a fan. Prior to directing Noseeums , Carter's background includes work as a digital content creator, writer, and producer, with a career spanning national talk shows and digital media. The executive director for Noseeums, Reb Bradock, had this to say: "This is the first feature film from Torchlight Studios, produced in collaboration with FSU:" “As a horror film festival enthusiast, I am proud to see our debut feature, NOSEEUMS, in the Official Selection at FrightFest London, a prominent horror-genre driven festival, for its World Premiere.” About FrightFest FrightFest is a major international film festival in the UK that specializes in horror, fantasy, sci-fi, and thriller films. Often called "the dark heart of cinema," it showcases the best in genre movies, from low-budget independents to major premieres. The main event takes place annually in London over the August Bank Holiday, with additional events like FrightFest Glasgow and a Halloween-themed gathering. The festival is renowned for its passionate and dedicated audience, who travel from all over the world to discover new talent and celebrate the horror genre with filmmakers. It's a key event in the genre film calendar and a different entity from the "Fright Fest" Halloween events held at theme parks.

The 69 th BFI London Film Festival (8th-19th October) in partnership with American Express have announced that this year’s American Express Gala will be the UK premiere of Searchlight Pictures’ RENTAL FAMILY at the Southbank Centre’s Royal Festival Hall on Thursday 16 October with director HIKARI and star Brendan Fraser expected to attend.   Directed and co-written by HIKARI (37 SECONDS, BEEF) , RENTAL FAMILY stars Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman and Akira Emoto. Set in modern-day Tokyo, RENTAL FAMILY follows an American actor (Brendan Fraser) who struggles to find purpose until he lands an unusual gig: working for a Japanese "rental family" agency, playing stand-in roles for strangers. As he immerses himself in his clients’ worlds, he begins to form genuine bonds that blur the lines between performance and reality. Confronting the moral complexities of his work, he rediscovers purpose, belonging, and the quiet beauty of human connection. Rental Family is produced by Eddie Vaisman, Julie Lebedev (Sight Unseen), HIKARI and Shin Yamaguchi.     RENTAL FAMILY releases in the UK January 2026.     Director of RENTAL FAMILY, HIKARI, said: “I feel so humbled and honoured to return to the 2025 BFI London Film Festival with my second feature, RENTAL FAMILY, and with a gala presentation! While it’s inspired by a real, and sometimes unusual, business in Japan, it’s ultimately about people longing for connection, and discovering the meaning of true friendship in modern Tokyo. I hope RENTAL FAMILY offers a bit of escapism to Japan and a few laughs!”     Kristy Matheson, BFI London Film Festival Director, said: “Following the acclaimed 37 SECONDS and the subversive, roller coaster ride of BEEF, we are excited to bring writer-director HIKARI’s latest comedy-drama RENTAL FAMILY to the BFI London Film Festival as our American Express Gala. Brendan Fraser is set to steal movie fans' hearts once more with his stunning central performance in a film that explores the complexity of human relations with huge generosity and wit.”      The 69th edition of the BFI London Film Festival in partnership with American Express will take place in the following venues:   The Southbank Centre’s Royal Festival Hall returns as the gala venue   BFI Southbank is the home of the competition programme, Screen Talks and LFF for Free events   The UK’s biggest screen BFI IMAX will once again host LFF screenings   LFF Expanded works will be presented at Marie Rambert Studio, Rambert, BFI IMAX and BFI Southbank   Five partner cinemas in London's West End include Curzon Mayfair, Curzon Soho, Institute of Contemporary Arts (ICA), Prince Charles Cinema and Vue West End    Festival venues across the UK include Broadway Cinema in Nottingham, Chapter in Cardiff, Glasgow Film Theatre, HOME in Manchester, MAC in Birmingham, Queen’s Film Theatre in Belfast, Showroom Cinema in Sheffield, Tyneside Cinema in Newcastle, National Science and Media Museum in Bradford, Filmhouse in Edinburgh and Watershed in Bristol   Press and industry screenings take place at Picturehouse Central       In addition to UK-wide screenings at the Festival venues, audiences will also be able to explore LFF programmes past and present with a special collection of films on BFI Player.      The 69 th BFI London Film Festival in partnership with American Express takes place from Wednesday 8 October – Sunday 19 October, 2025. The full festival programme will be revealed on Wednesday 3 September 2025, with tickets on sale from 16 September (BFI Members book early).  Watch the Rental Family Trailer Below:

Film Feature by Chris Olson Episode 29 of UK Film Club was a bumper crop of the latest movie reviews, with three cinematic releases covered by house film critic and co-host Brian Penn, four indie film reviews which both Brian and I reviewed, as well as a throwback film from the 90s for our Nostalgia Pick. The Cinematic Releases Covered on our Film Podcast F1: The Movie Starring Brad Pitt, Brian was impressed by this high-octane racing movie. He had this to say about it: "You've got the older man who sees something of himself and the new kid on the block. It's everything you want want it to be. Exciting, adrenaline-filled, lots of action. It's co-produced by Jerry Bruckheimer, so you kind of know what you're getting. This is the man who brought us Top Gun, amongst many others. Lewis Hamilton is also a co-producer. So he adds a degree of authenticity, so it seems that much more real. And, you know, Brad Pitt still kicks it as a leading man." Superman For the latest version of our man from Krypton, Brian was again impressed - something he isn't always when it comes to Superhero Movies - but for this 2025 adaptation from director James Gunn, Brian had this to say: "As you'd expect, the visuals are stunning. The set pieces are amazing. I think it's difficult to get Superman wrong, really. It's such a strong story. Superman is deeply ingrained in popular culture." Jurassic World: Rebirth But it was this latest instalment in the Jurassic Park/World franchise which would become Brian's coveted "Film of the Month" for UK Film Club. Starring Scarlett Johansson, Brian said this about the new movie: "Really is outstanding. They've reinvigorated the Jurassic brand, which I didn't think was possible." Click the player below to listen to the episode on Apple Podcasts, or head to your preferred platform (e.g. Spotify) and listen there. Streaming & Indie Film Reviews on our Film Podcast Along with the cinematic releases, we also reviewed a fabulous selection of indie films: Tiny Little Voices This charming post-pandemic rom-com was brilliantly received by both of us hosts, and was given this glowing praise from yours truly: "The sound design and the music is really great. It's got a lighthearted atmosphere for the audience. The whole feel of the film feels... so uplifting it feels like it's uplifting even though it's actually turning quite a sort of sad story really about how this is impacting people it's done in a way that's fun it's it's bright you're gonna watch it and come away feeling a little bit sort of warmed by it and I think the lead. Up/Down A short film about a man in purgatory, this piece drew great praise for its intriguing story and excellently delivered visuals. I also said this about it: "Michael Cook's made some really great short films. I think this is a fantastic short. It's slick production, has this really like dark and meaty atmosphere that you're in throughout." Migrating Fears A documentary about the UK's history with migration, with some excellent talking head footage. Brian said this about the film: "Very interesting. You know, it provides a an excellent posted history of migrations to the UK. And it hits all the right marks because it touches on colonialism, the empire, hugenitis, fleeing persecution, wind rush, Russian Jews, fleeing persecution. You know, it does all of that really well." Nyctophobia An arthouse piece, feature film Nychtophobia was a challenging watch but for good reasons. I said this about the indie movie: "Lots of interesting use of black and white colour here, but it's all primarily about the central character of Liz, who has a fear of the dark and her whole attempts to try and get to sleep something I sympathize with massively as the father of two children uh two young children I must say and yeah it has a very kind of dreamlike quality to it um there's sort strange scenes and visuals and like I color like colors popping out sometimes..." The Old Guard 2 And our Streaming Pick for July's episode of UK Film Club was the new Charlize Theron-led fantastic film on Netflix, The Old Guard 2. Listen to the episode to hear what we thought of this sequel. Listen Now to the UK Film Club Podcast

★★★★ Directed by: #LelandMontgomery Written by: #LelandMontgomery Starring: #ChrisAguila, #CassBuggé, #ZoeChao, #WilliamThomasHodgson Film Review by: Darren Tilby Family dramas are nothing new, we’ve all suffered them at some point. And unfortunately, they often seem to come to the fore during significant and/or personal events - birthdays, weddings, etc. In Leland Montgomery’s slice-of-life exploration of sibling dynamism, that event is the death of a mother. We join three sisters – Olga (Cass Buggé), Mary (Zoe Chao) and Irene (Tera McHenry) – and their younger brother, Andy (Chris Aguila,) at the funeral of their recently deceased mother. And while there is an apparent closeness, there also seems to be resentment bubbling just below the surface. Resentment that, while the three sisters, still living in the family home, are “trapped” in their backwood, go-nowhere town, Andy has managed to move out and on with his life. But, after the group decides to sell the family home, the chance for the sisters to escape their existence seems tantalisingly close. Unfortunately, with family, nothing is ever that simple. It’s an intimate cast which presents itself in Like Animals, one with an incredible amount of personality. Especially for a 14-minute-long short film. Each of the sisters is easily discernable from one another, not just by the obvious differences in their appearance, but by the way they carry themselves and their attitude and mannerisms in general. It’s a truly remarkable cast, and every character here seems well developed and vital to the story, and with ample reason for their actions. The only problem here is the nature of the film itself. It’s just a tiny window into a story that should have more substance. And, sadly, it doesn’t. Thematically, Like Animals deals mainly with the usual family stuff – selfishness, anger, love and loss – and so the basic set up is pretty straight forward. But there’s certainly nothing wrong with this, in fact, the movie benefits from it immensely. However, behind this veneer lies a superlative exploration of personal choice, regret and missed chances. Eli Arenson’s work on the movie’s cinematography thoroughly emphasises the scale and prevailing sense of emptiness in the girl’s lives. Which is achieved through brilliant framing of the film’s dustbowl-like exteriors. While I do think – maybe with a little more time, or more concise writing – this could have been better, there’s a compelling examination on the complicated nature of sibling relationships here. Like Animals is a well-made piece of filmmaking and the underlying themes of regret and resignation are subtle but effective; they elevate the movie no end. But the real stars are its characters (which is fitting for a film that’s so character-oriented). The performances by the actors are superb, and the character writing itself is some of the best I’ve seen in a short film for quite some time. Like Animals is available on YouTube and linked below. And it’s well worth 14-minutes of your time.

★★★★ Starring: #HannsGal and #StuartNixon Directed by: #MohamedMussa Short Film Review by: Alexandra James Black Screen , a short film directed by Mohammed Mussa is an experimental film that delves into the theme of everyday lifecycle, the routine aspects of day to day and the defeats one can experience through it all. Actor Hanns Gal is the protagonist for this short, and with minimal dialogue the audience live through his very troubling emotions and experience the ways in which he copes with these moments of frustration whether it be through music and dance or discussing philosophical questions with friends. The entirety of the film leads the audience down a path of ambiguity, forced to observe the protagonist and become immersed into his story. There is a captivating nature to this short film, as it is an experimental short, it may not be to everyone’s taste, however, there is clear aspects to the film that are shot so seamlessly and beautifully that you instantly become mesmerised. The film opens to our main protagonist making groaning and moaning sounds as if in pain. We are then left with a bed and eventually we see our main character lying there appearing very depleted and subdued. All the takes within this short are extremely long and this can often create an uncomfortable or sometimes frustrated feel, it also allows the audience to really become submersed into the heart of the scene. However, these takes can also be seen as the film’s downfall as well. The shower scene was extremely emotional and moving and shows the character at his most vulnerable, stripped down of all protection and allowing him to space to breakdown and completely let go. Nevertheless, this scene was too long, and it became difficult to remain engaged throughout its entirety. As the film progresses, we hear the first conversation within the film between our main character and a friend idly walking down the street as the sun begins to set. His friend attempts to delve into the philosophical side and questioning if given the opportunity would you like to view your true self. Although extremely deep, the conversation seems very light-hearted and friendly and shows the audience what life is about, deep chats with friends over a beer, funny stories to share and the beauty of the sun setting as their discussions develop. This was an enjoyable scene and indeed created a new dynamic to this short that was crucial to the story. Although the long takes to certain scenes added the depth, these small conversational scenes helped to break up this tension. Black Screen  is a moving and authentic short film filled with ambiguity creating a strong allure with its exceptional cinematography that portrays life in a simple but beautiful view.

★★★★★ Starring: #ColtonCaulfield, #TiffaniGrace, #AlexanderThomas Directed by: #ColtonCaulfield Short Film Review by: Alexandra James Above all a Dreamer , a short film directed and starring Colton Caulfield the audience follows a struggling entrepreneur who is desperate to find his big break. However, nothing seems to be going right and when he discovers that he also has a brain tumour, this desperation grows into something bigger as he is willing to overpower whoever to get where he needs to, even his business partners. This dark comedy drama shows a very real representation of the dangers of following the ‘American dream’, the manipulation and dirty tactics that are involved to get what you want, as well as what can happen when it all crumbles before you. A simple business plan, or so it seems, but what can happen when you put everything into an idea, and who are you willing to screw over to become a success? The entirety of the film is shot in black and white, with a few elements of colour here and there. Creating a lot of tension and drama to the overall ambience of the film, although, there were some witty and dark comedic elements to this piece which did alleviate some of the tension and was very funny and made the characters that much more relatable with some of the awkward encounters they faced. Nevertheless, what really shone through was the acting and characters, each character had a story, and it became clear that this project meant a hell of a lot for each of them, but for protagonist Adam he managed to take things one step further to ensure his security. Adam as a character needed to have that combination of a victim complex but also possess a manipulative and slyness to his personality. The audience almost feel empathy for his situation and until we hear his partners stories, this empathy quickly turns to frustration and anger. This is a tough character to portray; however, Colton Caulfield cleverly forms a character who has a very calculating and cold persona. Although a simple product to pitch, the drama and the craziness that is connected to these business entrepreneurs is not your average. Arguments, threats as well as some accidental poisonings are just a few of the oddities that are at play. Some incidents may seem a little intense, but I believe this adds to the narrative in great way, it became entertaining and humorous in a dark way, it also made me as a viewer wonder just how far this can go! Above all a dreamer  is a unique, funny and in some elements tragic short film. Its allure is the journey the narrative takes you on, although not what you would expect, it certainly is entertaining with each character having their own flare to add to the story. A fabulous film, involving some risky business and what can happen when you try to follow your dreams.