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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 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 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 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 Materna Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Aug 11, 2021 Directed by: David Gutnik Written by: David Gutnik, Assol Abdullina, Jade Eshte Starring: Kate Lyn Sheil, Jade Eshete, Lindsay Burdge With Materna , director David Gutnik presents four emotional vignettes of women and their relationships with either their mother figures, their children, or both. While the four women’s stories intersect in a brief, tense moment on a New York subway car, their backstories and how they came to be in that particular car are quite different. The flashbacks don’t depict simple, saccharine, Hallmark Mother’s Day card relationships. These relationships are layered and complicated—with longing and frustration, the urge to shelter and the urge to smack. Each of the four lead actresses, Kate Lyn Sheil, Jade Eshete, Lindsay Burdge, and Assol Abdullina, rises to the challenge and convincingly demonstrates the emotional range of her subject. (Eshete and Abdullina also co-wrote the screenplay with Gutnik.) Rory Culkin shows up to illustrate that the maternal instinct is not solely the purview of those with two X chromosomes. It’s not a perfect film. The initial segment, while it does pique the viewer’s interest, maybe doesn’t best set the stage for the ones that follow. There are elements that seem to signal sci-fi or body horror that aren’t carried through in the rest of the film. And because of the brevity of each of the vignettes, some of them seem a little roughly sketched, lacking in details that would more solidly ground the perspective of the woman depicted. At the point of intersection in the subway car, each of the women is keeping herself to herself and adhering to the unspoken etiquette of public transportation. But then a white man starts loudly trying to engage them in conversation that quickly devolves into harassment and violence. This screaming, egomaniac clearly sees himself as the most important person in the shared space and aims to capture everyone’s attention, making his private life public, doing a kind of emotional manspreading. It’s interesting to contrast this with what the women are dealing with and how their private lives either do or do not impact this public space. This is Gutnik’s first feature film and I’m looking forward to seeing what’s next. About the Film Critic Christie Robb Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Amelia Eilertsen Amelia Eilertsen is a writer at UK Film Review. Follow On Twitter Read My Film Reviews

Chapel of Rest Listen to our review on the film podcast What our film review said: READ FULL REVIEW The theme of death is clear from the opening of the film, with the setting and general atmosphere but Cash goes deeper than just writing a film about death. He explores complex issues such as the scandal of child abuse in the Catholic church and what it means to protect family members all while telling a dramatic and exciting story. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Freedom Street Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 14, 2022 Directed by: Alfred Pek Written by: Alfred Pek Starring: JN Joniad, Nur Azizah, Ashfaq Hussain Whilst Freedom Street is a documentary which focuses on the plight of refugees caught between Australia and Indonesia, UK audiences will find plenty of relevance in director Alfred Pek’s examination of brutal government policy, impossible bureaucratic baton-passing and media cruelty towards refugees and asylum seekers in our own country. Pek, an Australian-Indonesian migrant, hosts the documentary, which examines the complex historical relationship between Australia and Indonesia, as well as the domestic factors in each country that have forged their respective stances on immigration. Amongst this, the stories of three refugees – JN Joniad, Nur Azizah and Ashfaq Hussain – are told, with the devastating and outrageous treatment they are subject to from the two governments laid bare. Freedom Street is an outstanding documentary which brilliantly explains and deconstructs the complex immigration relationship between Australia and Indonesia, and the impact this has on the vulnerable people who are beholden to it. It takes a difficult and controversial subject, and brilliantly presents the bluster and bureaucracy of Australian politics that have created hostile conditions for refugees, only to cut through this devastatingly with the enthralling and dignified accounts directly from the mouths of the people caught up in the cruelty. The long interviews with the refugees whose stories the documentary follow are fascinating, with Pek making sure to present these in a visual and dynamic way without sensationalising. At times these can get a little long, and the intensely detailed nature drags in moments. But largely viewers will be encapsulated by the danger and risk taken by these fundamentally innocent people who are just desperate for their freedom. The documentary benefits from a longer filming schedule – taking place over a number of years – as we see how the subjects grow and face increasing challenges from the Australian state – particularly Nuz Azizah, whose life story could be a movie in itself. The rest of the film utilises stock and news footage to present the historical context of the Asia/Oceania region’s stance on refugees and asylum seekers, with some impressive and at times shocking examples which clearly demonstrate the battle at hand to change hearts and minds. The footage will likely be familiar to Australian viewers, but not so much to those of us in the UK – though certainly similar words have shamefully been ushered by our own politicians when referring to refugees – particularly those like those in the film who arrive by boats. Surrounding this are experts and activists who present a variety of views relating to Australia’s policies on immigration, who are well-researched and credible to the documentary’s benefit. Whilst a little overlong at times with a tendency to ramble, Freedom Street impressively presents an impassioned critique of Australian immigration policies, and presents true stories from refugees victimised by them that are impossible to ignore. Watch the official trailer here . CORRECTION: In the video review, it is stated that the filmmaker sought asylum in Australia. This is incorrect, he was actually an immigrant to Australia. About the Film Critic Patrick Foley Digital / DVD Release, Documentary, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Showing Up Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 12, 2023 Directed by: Kelly Reichardt Written by: Jonathan Raymond, Kelly Reichardt Starring: Michelle Williams, Hong Chau Visual poet of the day-to-day Kelly Reichardt returns to screens this weekend with a look at art as well as craft in her dramedy, Showing Up . Michelle Williams is Lizzy, a sculptor who’s not getting enough done for her upcoming show. It’s a small show in a small gallery not exactly downtown, but it’s a show and she’s got a lot of work left to do. So does Jo (Hong Chau, one of three 2023 Oscar nominees in the cast!), Lizzy’s neighbor and landlord. In fact, Jo has two shows coming up, so who knows when she’ll be able to fix Lizzy’s water heater? And just like that, Reichardt leaches the glamour from the art world, dropping us instead into a place far from glitzy but bewilderingly human. Williams is characteristically amazing, her performance as much a piece of physical acting as verbal. You know Lizzy by looking at her, at the way she stands, the way she responds to requests for coffee or work, the way she reacts to compliments about her work, the way she sighs. Williams’s performance is as much in what she does not say as what she does, and the honesty in that performance generates most of the film’s comic moments. Chau knocks it out of the park yet again, and like Williams, she presents the character of Jo as much in her physical action as in her dialog. The chemistry between the two is truly amazing, simultaneously combative and accepting, or maybe just resigned to each other. Reichardt’s phenomenal cast does not stop there: Judd Hirsch (irascible and hilarious), John Magaro (sad with an undercurrent of potential danger), Andre Benjamin (chilling), Maryann Plunkett (frustrated) and Amanda Plummer (weird, naturally). As is so often the case, the environment itself is its own character, every gorgeously mundane detail filmed in Reichardt’s go-to 16mm film. She and cinematographer Christopher Blauvelt once again find the grace and beauty in the spots everyone else ignores. Like Nicole Holofcener and Claire Denis, Reichardt invests her attention in the small moments rather than delivering a tidy, obvious structure. The result feels messy, like life, with lengths of anxiety and unease punctuated by small triumphs. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Avaak(Unsaid) Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 20, 2023 Directed by: Pankaj Khanchandani Written by: Pankaj Khanchandani Starring: Rakesh Ankalkoti, Madhura Tapre, Promod Kale The writer-director Pankaj Khanchandani is an independent filmmaker who wants to highlight the change in dynamics of any relationship because of the lack of communication. Khanchandani has written an intricate script and talented actors like Rakesh Ankalkoti, Madhura Tapre and Promod Kale have managed to give life to the director’s imagination. The plot of Avaak (Unsaid) revolves around Suraj (Rakesh Ankalkoti) who wants to move to a different city for better career opportunities his mother Sheela does not want him to go but he leaves without seeking his mother’s permission creating an irreparable impact on their lives forever. The film opens with a long shot of a house with dim lighting where Suraj is shown leaving the house in the present followed by Avaak going back to a series of flashbacks to establish the subject matter of the movie. The carefully written day-to-day conversations between all the characters in the dramatic piece increase the degree of audience engagement with the content making it real and relatable. The white and black colour palette dim lighting, rustic set design, dialogues, sound, costume, hair, makeup, and props are kept natural to complement the mood of Avaak (Unsaid) so that it emotionally appeals to the audience. In terms of performance, Rakesh Ankalkoti plays Suraj who is a loving and responsible son to his parents with his own set of dreams relating to his career. The young actor showcases the struggle of Suraj when is in the dilemma of choosing his priorities or the professional dream. Ankalkoti understands the nuances of different situations in the screenplay and modifies his acting skills according to what is required of him. Madhura Tapre plays the role of the mother in the film. Tapre portrays various shades of her character efficiently as well as effectively right from emotional to angry. The senior actress transitions from one timeline to another in Avaak ensuring the presence of the continuity factor. Promod Kale as the loving and supportive father is a treat to watch all through the running time of the film. Kale as an actor brings the stability to the household that makes the backbone of Avaak. Kale illustrates all the qualities of an ideal father and inspires the audience with his screen time in the film. Avaak (Unsaid) talks about the role of communication in shaping any relationship, not being expressive can be detrimental to the equation between people in the future. The short film reiterates the need to fill the gap between two generations to better understand each other and work towards a lifestyle in which they can coexist happily. The cinematic piece restates the importance of maintaining their individuality as a person because one cannot fullfil any responsibilities when he or she isn’t confident and happy in their life. The creative piece also highlights the various insecurities an elderly couple face and their dependence on their offspring increases with time. Avaak also tells the audience about the significance of spending the maximum time with parents before it is too late and the only option left is to regret later. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >