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HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Jellyfish and Lobster Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jan 31, 2024 Directed by: Yasmin Afifi Written by: Yasmin Afifi Starring: Flo Wilson, Sayed Badreya, Sergute Mariam Jellyfish and Lobster (2023) is a heartwarming, hopeful piece of dramatic short filmmaking. Clearly constructed with deep passion, it tells a bittersweet story: set in a care home, a woman (Grace, played by Flo Wilson) has cancer; she befriends a man (Mido, played by Sayed Badreya) who has Alzheimer's disease. Together, they find a swimming pool which holds fantastical qualities, allowing them to live as their younger selves when submerged. It’s a fairytale of sorts – youth rediscovered; romantic passion relived. The pool acts as a fascinating narrative device, used to illuminate our protagonists’ passions for life which, in turn, informs how they are to approach their current situation. These less realistic sequences also serve as a much-needed break between the more upsetting content of the screenplay. Utilising a conceptual story-trait as a way of subtextually complementing ‘real world’ characteristics is not uncommon is short films; however, while fantasy most certainly plays a part in the characters’ journeys, they maintain an emotional realism. One really senses their sadness and then their contrasting excitement. In this respect, it’s an impressively experiential work. Tone, and the ability to gage, balance, and manipulate it, is one of the most significant traits of a movie -- truly a make-or-break when it comes to the success of any work. What’s unique about Jellyfish and Lobster is its approach to combining comedy with deep discussion of real-world issues. Subtly, we often transition from amusing to tragic in the space of a few seconds; but these transitions are always fueled by the narrative trajectory. It must be said, there are a few lines that feel slightly clunky or unnatural; yet the script is incredibly strong overall, harnessing these fluctuating emotions with expert precision. A huge factor, of course, are the central performance(s), and thankfully they deliver. There’s some brave acting on display – never afraid to explore the darkest territory, yet embracing a sense of fun when they see the light. In particular, the portrayal of Grace is the film’s best quality: as playful as she is acidic, Flo Wilson brings a wonderful complexity to the role. Displaying a range of emotions and never appearing detached, we’re always brought along for the ride. When it comes to the more technical aspects, the film is working at an exceptional level. Cinematography-wise, there’s a lot of beautiful lighting and photography to feast your eyes on. The use of widescreen is effective in its suggestion that what we’re viewing is a grander, more epic journey than we might be led to believe; and the film grain is also a pleasant addition – after all, the short is about travelling back through time, in a personal sense. Not too dissimilar from the piece’s content, the look is soft and vibrant, matching the story perfectly. Despite the serious subject matter, the film manages to be joyful and cathartic. In part, this is due to the high-concept, fantasy element... but more so it’s a tale of friendship and finding solace through those around you. With pitch perfect performances and a story that’s always engaging, there’s no doubt that audiences will be moved by Jellyfish and Lobster . About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Community Service Listen to our review on the film podcast What our film review said: READ FULL REVIEW Taken from a story by London care-giver Will O'Keeffe, Community Service strips bare the realities of a life not well lived. We struggle along with Hugh as the days unfold and nothing gets better and we look on helplessly as he fumbles around trying to keep the pieces of his life together. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Swallow Your Dreams Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 11, 2022 Directed by: Dan Sloan Written by: Dan Sloan Starring: Paul McGann, Amy Bailey There is a long standing debate which has never been fully resolved as to whether, for the artist, the taking of drugs and stimulants is beneficial, even necessary, or if in the end it is always a stifling hindrance. There is a certain level of creative genius which seems to go hand-in-hand with addiction and the image of the tortured artist trying to smoke, drink or snort themselves out of the melancholia of life is still one which exists today. The modern generation, however, may never become familiar with the antics of Oliver Reed, Peter Cook or Alex Higgins and would perhaps only feel anxiety, embarrassment or disgust at behaviour that for those who witnessed it first hand produced joy and delight – the infamous appearance of Ollie on Aspel being a case in point. Van Gogh had his Green Fairy, Thomas De Quincy had opium, Bob Marley had weed and William S. Burroughs had morphine – perhaps the reason that most art, TV, music and film today is sterilised, stale and unimaginatively similar is because those producing it can't risk any backlash for fear of being cancelled and have therefore become constrained into being dull as dishwater. In his new short film, Swallow Your Dreams , writer/director Dan Sloan tackles this debate, somewhat with kid gloves, through the world of Classical music and the idea of reaching for a dream. James, played in a piece of clever casting by Withnail and I's Paul McGann, is a concert pianist who believes he has something more to offer. He's recently taken to popping a couple of undesignated pills at night and he's been dreaming of a symphony which he just can't seem to get a grasp of in his waking life. James has been becoming increasingly distant, keeping his wife in the dark about his drug taking and bunking off work to keep his concentration on the beautiful music in his head. He's been spending lots of time in the recording studio and keeps on returning to put his hands on the keys, but as yet nothing's happening and people are starting to get worried. James' wife, Olivia (Amy Bailey) is angry about the deception and she recognises the beginnings of the vice-like grip of addiction seeping into James' behaviour. She confronts him, hoping to get him to see the irrationality of his actions, as well as how he's hurting those around him, but her intervention falls on deaf ears. The perfect, elusive piece of music is all that matters to James now and the drugs are the only way he sees in being able to access it. Production-wise, Swallow Your Dreams is outstanding. The placement and movement of the camera, the colouring, the lighting, the backdrop of the studio and the concert hall, are all beautiful to watch and perfectly encapsulate the loneliness and yearning of the journey that James is on. Both leads, too, are excellent in their roles, with McGann perfecting his fifty yard stare as he looks right through his wife in their scenes together. Then, of course, the music by Benjamin Woodgates is suitably evocative and urgent, playing us continually through the story as we feel the ups and downs of James' search for himself through his unfinished symphony. It is telling though, that Sloan's film is a product of its time, as he gently encourages us to look in on James' predicament without fully exploring it. The drugs are presented not as illegal narcotics garnered from a criminal underworld but as a prescription based pill of which his dosage is 'only what it says to take'. Similarly, Olivia only responds with anger, judgement and condescension, blaming James for his bad choices rather than offering up any understanding or support, much like the cancel culture of today. It is clear that the issues being raised in the film aren't being dealt with in any depth and therefore it lacks any real punch in getting to the heart of the matter. This is a shame as there is real merit to the basis of the story and the characterisation as well as the quality of the production being so strong. Who knows? Perhaps a trip to the Amazon for a wee ayahuasca holiday might do Sloan's storytelling the power of good; but then again The Verve were most probably right when they said, 'The Drugs Don't Work'. Just Say No, kids. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Rotten Meat Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 15, 2021 Directed by: Rebekah Strauss Written by: Rebekah Strauss Starring: Imani Love, Rick J. Kock Not one to watch on a full stomach, Rotten Meat is a subversive short thriller about consumption, validation, and desperation which is unnervingly unique in presentation but relies a little too much on symbolism to immerse viewers fully. Carmen (Imani Love) reflects on an affair with her boss, plastic surgeon Dr. Adrian Carmichael (Rick J. Koch). Her time spent with the doctor triggered an obsession with self-perfection, which resulted in botched facial surgery - ruining her natural beauty. Carmen plots a reunion with her former lover – but her damaged face mirrors the mental scars he inflicted – and her plan begins to spiral off the rails. Rotten Meat is a short, arthouse-style film which follows a recent trend set by the likes of Raw which use macabre imagery and shocking, consumption-based plots to make powerful statements about modern society. There is a risk, with such a controversial basis, that any statements films like this make will be overshadowed by gory, vomit-inducing horror. But Rotten Meat walks this line carefully, biding its time and slowly building tension throughout before unleashing its hidden gore in a powerful, more meaningful manner. The result is a furious critique of modern beauty culture, obsession and pressure young women face in a society that views them as objects to consume. The contrast between the Carmen that viewers meet in the film’s opening flashback, and the Carmen who has been butchered by surgeons and suffered a mental breakdown is striking. Her vengefulness against Dr. Carmichael is clear to see, and evidently emanates from somewhere deeper than a bad breakup. His dismissiveness towards her when invited over for dinner casts the doctor as an unsympathetic character – and despite Carmen’s horror-villain tendencies, her plan never feels unwarranted – at least until things get really crazy… The plot is straightforward and minimalist, with the film effectively establishing its characters and key moments, whilst trusting in its characterisation enough to allowing audiences to fill in some key gaps in their backstories. There are some moments that fall short however, and feel frustratingly undercooked in important moments. Dr. Carmichael’s choice to stay for dinner in Carmen’s apartment once he figures out there is no emergency feels under-explained, given it is so powerfully evidenced that he cares little for his ex-mistress. When things turn threatening, it is especially strange that he would not leave, and the film could have tried harder to cement a reason for him to stay. Viewers may feel somewhat thrown off by this moment. The film’s production is stylish and artistic, with modernist filming techniques giving the short an inimitable feel. Long shots of direct eye contact with the camera by the cast become surprisingly unnerving, and differentiate the film from the average horror or thriller. The prosthetic effects for the surgery are striking, and add impressive authenticity to a lower-budget film. Rotten Meat is not for everyone, but as an opinionated and provocative piece of art, it accomplishes its goal of making a strong statement about the beautification-consumerism complex. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, Indie Feature Film, LGBTQ+, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Sticky Situations Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Feb 6, 2024 Directed by: Damien Brewer Written by: Damien Brewer Starring: Damien Brewer, Sophie Chittenden, Lordsika Thoughtful and often moving, Sticky Situations (2022) tells a harrowing story. It’s vicious, unwavering and confrontational in its outlook on criminal life, but manages to be watchable - giving us a brief glimpse into a world of constant threat. Centering around two drug dealers and the high-pressure interactions that arise for them – climaxing with a tragic act of aggression – we see their friendship evolve. The characters also demonstrate how conflict affects moral decision-making; the way bravery can lead to a show of mercy and restraint. Realism is omnipresent when it comes to shorts – our focus being a prime example. Some would argue that the ‘Realist’ and the ‘political’ are inseparable within art; that a Realist work is defined by its offering prescient ideas and narratives. Damien Brewer’s work certainly displays these elements, yet arguably does not appear trite or repetitive: instead, it uses characteristics of the form to present the story in a thought-provoking manner. A lot of this is down to the unique perspective it’s being told from. Set entirely in an urban environment, the surroundings present as simultaneously nuanced and oppressive. The world is so fully lived in that you get a real sense of authenticity both in terms of the characters’ domestic lives as well as the portrayal of their activities. Some of this is due to the natural style of writing and convincing interior setups, but it’s also a result of shooting on location; utilising practical lights in the city to motivate cinematic technique. And when it comes to camerawork, there are some well-considered and dynamic shots on show. Even though handheld is implemented throughout, it feels tonally suitable; of a piece with the story it’s attempting to get across. The only issue comes with the colour grade which would have benefited from further contrast and depth: some will be able to tell that the video -- having been shot in log (presumably) -- is intended for the shadows and highlights to be pushed slightly, thus illuminating richer detail (which the footage clearly possesses). Another brief, technical complaint: one cannot help but feeling that this film would be far superior were the editing more restrained. There are emotionally intense dialogue sequences that consist of frequent, distracting cutting. The script is strong, as are the performances, therefore it does not require rapid editorial pace to compensate. Scenes would hold far more strength and resonance for an audience if the piece simply took a breath and allowed the drama to do the work. Sticky Situations is a well-directed short: there’s a clear understanding of staging, the visual construction of back-and-forth interactions; however, the film would be genuinely impeccable if the editing was as well-considered as the content... That content being as dark and relevant as it is, it’s important to clarify that there is valid reasoning behind the violence in the piece: it’s there to provide commentary, something reflective to contextualise the very real and disturbing scenarios depicted. Overall, Sticky Situations proves to be incredibly engaging. While inconsistent in places, this crime drama is intelligent and certainly has something potent to say to its audience. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Andes: 50 years Later Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 25, 2022 Directed by: Chris McNaughton Written by: Chris McNaughton Starring: Eduardo Strauch The backdrop and title of the short film chosen by the director Chris Mcnaughton get the film to right away appeal to the emotions of the masses. The opening sequence of the documentary has a message about the importance of love. In the very first shot, the camera tracks the museum to flush the audience with memories of the 1972 real-life incident. The use of the projector to showcase the old photos of the people who were present at the time transports the viewers to the same timeline. The musical track by Simon Daum and Yo Yo Ma complements the theme of the short film and assists the makers to bring out the range of emotions all of the people involved are feeling. The storyline of the cinematic piece is based on a true event. The plane carrying a rugby team from Montevideo Uruguay crashed into the high Andes Mountain. The film tells the extra- ordinary tale of the 16 survivors beating all the natural hurdles for straight 72 days. These people who battled through all the terrifying circumstances and miraculous events deserved to be remembered and document their struggles so that the audience gets to know about their bravery. The short film/documentary takes the form of a firsthand narration from one of 16 survivors- Eduardo Strauch. The use of a real survivor in the buildup of the narrative and the natural lighting in each frame of the movie and newspaper article in the museum provides a sense of realism to the documentary. The introduction and voice modulation of Eduardo Strauch highlights the pain, struggle, conflict and, misery. It is very difficult to relive the tormenting experience again and again. Eduardo is brave to do so and share his experience with us through this beautiful film. The camera-man manages to capture the magnificent landscape of the sight of the crash. The beautiful location chosen for the shooting of the movie by the cast and crew is a great choice so that they enjoy the picturesque view while absorbing the moving storyline of the cinematic piece. The makers also showcase the model of the planes used in 1972 with the help of the old clips available to them. This was done so that the topic of the movie becomes relatable to the audience and they don’t get bored with the historical event the film sheds light on. The documentary reminds us of a few very important life lessons that we tend to forget/ take for granted. It tells how crucial it is to be adaptive to the given situation. The film also reiterates the importance of nature, the presence of love in one's life, and the power of the human mind. Both love and the mind become critical factors for pushing oneself towards survival. It also teaches us that looking for happiness in consumerism rather than within oneself is the wrong way and then blaming the world for the mindset isn’t right. The short film gives out even the minute details of the real life plane crash giving importance to continuity in the creative piece so that the audience knows all about heroic tale of the event. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Frannie Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Aug 14, 2022 Directed by: Alan Cameron Written by: Alan Cameron Starring: Emily Brolin, Dawn Brolin, Eli O'Brien, Bryant Daugherty, Marvin Novogrodski A young woman returns to her family home after a long absence and deals with her dysfunctional relatives. After spending several years away from her family, Frannie (Emily Brolin) is asked to come back and help her mother (Dawn Brolin), who is going through difficult times. Frannie dislikes her relatives and is eager to leave. However, as time passes, she gets to know them better and begins to appreciate them more. And she also starts a relationship with Luke (Daugherty), a friendly neighbour. This comedy drama takes a look into family values and the idea of finding a purpose in life. Frannie has unconventional family that includes her mother whose emotional state has gone downhill after her husband left a few months ago, her clumsy brother Teddy (O'Brien) and her uncle Rob (Novogrodski), who is a heavy drinker and spends a great deal of time on a sofa, on the house's lawn. As the story progresses, Frannie interacts more and more with her relatives and, although they have their differences, things between them improve as they begin to care for each other. The screenplay has funny and awkward moments, some adult humour, revelations and there are moving scenes and scenes of confrontation and reconciliation. As the titular character, Emily Brolin delivers a strong performance a woman in her twenties who is estranged from her family and is at a point in her life where she does not know which would be the best choices for her. Her character is intelligent and strong and goes through significant character development throughout the story. Dawn Brolin also does a great job as her mother, who uses a megaphone as a means to let her emotions out. Arnaud Drieu makes a wonderful contribution by developing music that is beautiful and dramatic and accompanies the scenes very effectively. This feature is an emotional and humorous story that deals with family, reconciliation and self-discovery. It reveals the significance of having a caring family and the joys that come with that. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS McEnroe Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 17, 2022 Directed by: Barney Douglas Written by: Barney Douglas Starring: John McEnroe, Bjorn Borg, Billie Jean King, Patti Smyth The run of bad boy Nick Kyrgios all the way to this year's Wimbledon singles final brought inevitable comparisons with the equally temperamental John McEnroe. They both railed against the tennis establishment with its inherent snobbery and elitism, but other similarities are more difficult to pin down. This new film by Barney Douglas throws more light on the kid who so spectacularly burst onto the scene as an 18-year-old. The original enfant terrible transformed tennis in the late 1970s with the rarest of talents. Quickly dubbed 'Superbrat' he was a gift to comedy writers far and wide. No comedy sketch or routine was complete without that familiar mop of curly hair and red headband. But for all his volatility and comic strip persona John McEnroe was a gifted left-hander and arguably, the greatest serve and volley player of all time. As the frames start to roll on this engrossing film, we begin to understand what a deeply complex man John McEnroe is. His wife Patti Smyth makes the most telling observation early on. She read John's report from first grade as a six-year-old. His teacher noted 'John is very harsh on himself'’. It betrays an obsession with perfection even at a very young age. His blow-ups on court were highly amusing and endeared him to many. Such antics were reminiscent of people playing tennis in the park on a Sunday afternoon as they argued over every point lost. But for McEnroe it was symptomatic of a deep rooted insecurity; failure was always attributed to circumstances beyond his control. His intense rivalry with Bjorn Borg is well documented. McEnroe broke the Swede's five year run of Wimbledon singles titles in 1981. With only three years between them McEnroe expected an ongoing duel but Borg was to all intents and purposes retired at 25. How could McEnroe prove he was the world's greatest tennis player if Borg wasn't around to beat on a regular basis? Again the quest for perfection looms large in McEnroe's life and a continual need to prove himself. The effect of Borg's absence cannot be underestimated. McEnroe's last grand slam titles were in 1984, by which time he had embarked on a toxic relationship with Tatum O'Neal. His subsequent divorce and later marriage to Patti Smyth gave him the stability he craved. However, it’s still difficult to draw conclusions from a remarkable life. The documentary cleverly links the narrative with film of McEnroe walking through deserted New York streets; another passage pictures him walking through a bleak desert that suddenly clouds over into a thunderstorm; all of which feels symbolic of a quest for answers and peace of mind. But this remains a frank and disarming portrait of a most charismatic sporting icon. About the Film Critic Brian Penn Theatrical Release, Documentary < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Scaring Women At Night - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 30, 2023 Directed by: Karimah Zakia Issa Written by: Karimah Zakia Issa & Ace Clamber Starring: Izaiah Dockery, Kavita Musty, Dashawn Lloyd Blackwood “While grappling with his own fears, moving through the world as a trans man, he does his best to navigate his new dynamic with women.” Having had its world premiere at TIFF in 2022 and part of BFI Flare’s 2023 selection, Scaring Women At Night is an impactful short film that speaks to the lived experiences of one transgender man. As he presents as masculine, he seeks to understand how he can be more approachable to women without making them fearful of him. This is particularly prevalent at night, when the film’s storyline takes place, as he is walking behind a woman who believes that he is following her. In trying to not appear threatening, this is an interesting introspective film that considers an entirely different perspective to the trans male identity and experience. Cinema has seldom considered stories and narratives in this way, and so it is refreshing to see a very contemporary issue handled in such an incredibly authentic way. The story focuses on protagonist Ash having a conversation with himself about who he is now after his transition, particularly concerning his relationships with women. As he walks home alone, he encounters a woman also walking alone, leading the film to openly confront their individual fears. Filmmaker Karimah Zakia Issa explores how Ash has lived experiences from each side and is the guiding force for audiences to see an all-too-familiar event differently. He has adapted to survive, yet is confronted by these additional societal challenges. There is a real sense of unease created that extends throughout the short, with fears that many can relate to, particularly the reality of being followed. The filming is excellent, with scenes being spliced together often with jarring jump cuts to keep the viewer alert. Placing a trans character into this action allows these fears and issues to be considered in a new way. Ash attempts to make his appearance less scary, for example, in realising that he may now be considered a threat by presenting as male. It is a truly raw inner conflict, as the resolution is unclear. Scaring Woman At Night is a fantastic beginning of a conversation that leaves the viewer wanting to learn more. As this is a pre-feature short film, it is exciting to consider how the film will be developed into a feature. It is a refreshing perspective to be considered on screen and not one to be missed. About the Film Critic Amber Jackson LGBTQ+, Short Film, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Where the Flowers Bloom Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 1, 2023 Directed by: Olivia Luying Wang Written by: Olivia Luying Wang Starring: Dina Selimovic, Erik Scilley, Danilo Crovetti In a challenging and emotional short drama, Olivia Luying Wang’s Where the Flowers Bloom tackles trauma, depression, and anti-war sentiment in a well-acted and produced but at-times surface-level and melodramatic account of one woman’s attempts to come home from battle. Former soldier Diana (Dina Selimovic) has returned home from war with haunting accounts of tragedy a sinister accomplice. Her husband Max (Erik Scilley) makes efforts to reclaim normality for the pair, but Diana’s PTSD creates a barrier between them. When their neighbour’s child Oleg (Danilo Crovetti) visits, Diana’s life reaches a crossroads as she realises her struggle to make human connection. Where the Flowers Bloom is an intense and emotionally heavy short that pulls no punches with a harrowing account of the damage that the unresolved traumas of war can inflict on soldiers. The film is unafraid to portray the horrors of war or to portray the realities of suicide and self-harm (for which viewers should be aware). Diana’s grief is brought to life by a spectacular performance from Dina Selimovic, who portrays the character with complexity, compassion and respect – and utterly convinces the audience that untold pain resides behind her striking eyes. The film looks great as well, with cool tones seeped over the screen that pull the viewer into Diana’s sadness-tainted world. Diana and Max’s home forbodes over the pair and further creates a sense of darkness and distance with the select sources of light only penetrating in brief moments to match the protagonist’s emotional state. The script does let the film down, with clunky and expository dialogue that never really convinces despite impressive delivery. Viewers are whacked over the head with story beats and thematics, which unintentionally create a sense of insecurity on the filmmakers’ part that audiences wouldn’t keep up with the plot. This is not to say that the film isn’t moving or touching, and it is clear that the filmmakers’ hearts are in the right place. But melodrama is the result of the attempt to punch straight through the viewer’s ribcage and tug as hard as possible at their heartstrings. The film’s final image is the ultimate embodiment of this mindset, and is sure to be divisive. Audiences must be left to their own decision as to whether they think it is necessary or appropriate (I stray on the side that thinks it is just about justified), but regardless, it is certainly evidence that the mantra of ‘less is more’ has been left by the wayside. Where the Flowers Bloom is ultimately a brave and memorable short film that does have imperfections. It is imperfect, but its compassionate message is admirable and unashamed. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS No More Inner Voice Film Review average rating is 4 out of 5 Critic: Julian Gaskell | Posted on: Jun 13, 2022 Directed by: Jozef Raiche Written by: Jozef Raiche Starring: André LeMire, Rob Lundholm, Robin Bargo A short film about a young boy Nathan (André LeMire) working in a local store for a horrible boss (Rob Lundholm) to save money to help his sick grandfather (Robin Bargo) whose savings are taken by his brother (Isaac Aderman). Nathan then ends up grappling with his inner voice to decide how he is going to get more money quickly in order to buy the medical equipment his grandfather needs. Written and directed by Jozef Raiche it’s a clever depiction of life in reality versus what is going on in the inner consciousness. By combining colour with black and white cinematography he creates two separate worlds. In colour we see the world as it is and in black and white we see his inner voice being played out in conversation with a friend in the neighbourhood. Switching between serene neighbourhood landscapes to more frantic arguments we see how he and his consciousness respond to the changing circumstances. It is nicely directed using plenty of variety of framing and movement, cutting quickly between shots to good effect. The camera follows the actor from location to location not worrying about getting a perfectly framed shot each time, which gives a dynamic feel of being there in the person's shoes, here following Nathan around his suburban neighbourhood, at his mundane job, caring for his sick grandpa and having a difficult time with his boss and brother. For me the music doesn’t quite match as a means of building tension with an overly creepy slow organ keyboard sound more in tune with an eerie futuristic horror than a psychological drama. On the flip side the dialogue and wild tracking is clear and adds to the sense of being there with Nathan as we see him battling his reality and consciousness. The actors put in good ordinary folk performances that manage to pull off this microcosm of a quaint neighbourhood consisting of Nathan’s boss, his grandpa, his brother and his consciousness friend. Josef Raiche himself plays Nathan’s consciousness and brings a friendly normality as the local neighbourhood Matrix like guide and the neighbourhood gives an extra feel of being inside someone’s consciousness by being unusually deserted in the shots. Nathan’s disillusionment with his inner voice is most powerful when he considers how he has got to this point, but it quickly escalates into trouble when he chooses to ignore it. It’s a smartly put together short that explores the internal activity of the mind by trying to visually show its emotions vis à vis what is happening in reality. It would be interesting to see if it would be successful in a longer format … but you probably don’t need me to tell you that. About the Film Critic Julian Gaskell Short Film < All Reviews Next Film Review >