Search Results

★★★ Directed by: #DarwinReina Starring: #JenniferEagle, #JJDuffy, #TamiaDow, # GuadalupeHernandez , #IsaacReyes Short Film Review by: Alexandra James A Hell of a Trip to Delicias directed by Darwin Reina, follows a couple on holiday in Granada. They are your typical tourists, not looking to really immerse themselves within the culture just to party and have a good time. Their naivety and complete lack of awareness to the history and colonial heritage, paints them in a very negative light and already sets them up to become a big target in this horror! Unfortunately, for this couple they have picked the wrong hotel to enjoy the festivities of Grenada and instead of fun and laughter they will be trapped in a nightmare with no escape. The film focuses on the colonial rule, racism and genocide of the indigenous people. This has left many to be fuelled by anger and vengeance, and unfortunately for the guests at Hotel Delicias, they are prepared to take out their vengeful hate on them. The film begins with couple Ashley and Matthew arriving in Granada a little lost and confused, however, a worker from the hotel manages to direct them to where they need to go. At first glance and being introduced to Ashley and Matthew, it was not overtly obvious that they were a couple. The pair did not suit each other and so it made it hard to find that connection between the two. As they enter the hotel, they are greeted by the hotel staff, who already seem strange and suspicious and clearly in cahoots! Soon the couple settle in and enjoy the music, food and partake in some dancing with the locals. They eventually end up back at the hotel for a party where they meet other guests such as an Italian couple who share that they will be climbing a volcano the next day. Neither of them knew that would be the last time they set their eyes on them. The concept of the film was interesting and a horror that is fueled and driven by the theme of revenge can make for a powerful and intense watch. Nevertheless, there were some scenes that felt unnecessary and coupled with the overacting, it made the scenes almost comical. The sex scenes felt slightly out of place and did not add to the intensity, instead it took away some of the buildup. The elements of a horror film and the storyline were there and acted as a driving force. However, there were certain details that needed to change such as the couples lacking that connection, as well as the actor's taking scenes to an extreme which ultimately made aspects of the horror feel amusing rather than fearful and took away from the eeriness of this piece.

★★★★ Directed by: #DarwinReina Starring: #HasseBrontén, #ToroCuenca, #DanaDilan, #DidrikMorgan Short Film Review by: Alexandra James No Tell!  An action packed, gritty crime drama that focuses on a mob boss looking for an escape out of the crime lifestyle but needs to move quickly before his luck runs out. To do this, he must pull off one last hit while still acting as the big boss and test the loyalties of his trustees. However, which one of them is willing to betray the other to come out as top dog. The three henchmen include Shorty, Popeye and Jimmy all following the orders of their main guy Pancho. After pulling off a big drug heist, Pancho decides that its time to put them to the test and see just how reliable they all are. The audience are thrown into the midst of the drama, and we are introduced to the characters one by one. The location is out in the woods and as they begin to step out the car and open the boot, we are greeted with a man tied up and covered in blood trying to scream for his life. This was a great opening scene and made for a gripping and exciting start getting us prepared for more shocking moments yet to come. This style of introducing the characters and their names flashing up across the screen creates a real edge, almost like Tarantino’s Reservoir Dogs . It’s a great way for us to get a feel for the characters, as well as introduce the audience to this world of crime that surrounds the men. The scene then cuts back to their apartment, there was a slight contrast between scenes with the men sitting around the table. The film is set in the city of Stockholm and had some great shots of the city and landscape, making the setting feel vibrant and exciting especially when introduced to these gangsters and the hard-core world they live in. However, the apartment itself was very dark, and did not exactly reflect the men’s crazy lifestyle. In addition, there were a lot of cuts and awkward angles between each of the characters which made for choppy editing. It would have been beneficial to see them in a high-end apartment, as they walk around with suits and are clearly making lot of money due to their criminal activities. Moreover, the acting was a little clunky at times, the conversations did not seem at all natural and therefore the performance did not feel convincing. No Tell!  has established a good crime drama, the characters are no nonsense types and are completely ruthless, having no hesitation pulling out a gun on even their closest partners. This makes for a very brutal watch and in turn keeps the audience on their toes, as we are unsure who to put our trust in and the unpredictable behaviour of the characters. That is the mark of a good crime genre, the shocks and the impulsiveness, you never know who is going to go next!

★★★★ Directed by: #HughLiu Starring: #InannaCusi and #DavidCJones Short Film Review by: Alexandra James The Last Rendezvouz , written and directed by Hugh Liu, is a short film shot over a span of just 48 hours. It is a character based short that is all improvised and allows space for the actors to study and interpret the characters in their own way, as well as express their personal vision of how they believe the character should be represented. Last Rendezvous  focuses on a father and daughter relationship, but at its most critical. The audience quickly learn that the father has not been a part of his daughter's life for a long time, however, it seems as though this is a good thing, as his presence is a bad influence and far from responsible. Nevertheless, his neglect still weighs heavily on his daughter and although immature, their relationship when together was strong and fun at times and it’s the abandonment that forces the child to become an adult far too soon and ultimately take on those parental duties for their siblings. The film begins at a remote location, at the end of a pier. A place that is very close to both father and daughter, it was a frequent meeting spot for the two and even little gifts were left by her father there from time to time. As she walks onto the pier, she is startled to see her father standing there, however, they discuss some of their past rebellious escapades and take a trip down memory lane. Unfortunately, this little trip does not last long, as these memories are also tarnished with feelings of loneliness and the absence of her father who should have been there for the important years of her life. It's interesting that this short is all improvisation, with just a few pointers on what props to interact with and some descriptions of the characters goals in life and past experiences, this makes for a truly authentic piece. I did enjoy watching the characters unfold the more they started to interact with one another, there were some teething issues as with many improvised scenes, sometimes there might be a hint of uncertainty as the actors think of what to say next or debate how they think the character should respond to certain aspects, so there were times when the audience felt unsure of themselves. Nevertheless, it gave the film a realness and it highlights that awkwardness between father and daughter, as they both have been apart for a long time and are unsure how to behave with one another. This is a very natural and realistic interaction, and I loved that the actors took time to really invest in their characters background and make the scenes engaging by bringing in that past trauma and relive some of the memories they experienced together. A very moving and original film that shows how improvisation can really set a picture a part and allows scope to explore the characters minds.

Filmmaker Interview by Chris Olson Thanks for speaking with us. Whereabouts in the world do we find you right now?  Greetings, I am coming to you live from West Hollywood…aka Television City where they film “The Price Is Right” ! Amazing. You are currently promoting a new series called Sex Tech Magic Mayhem. How do you describe the series to a new audience?  STMM is a Techie, Edgy, Sexy Variety Series centered around hot topics and shot in a cinematic colorful style with a unique structure that changes episode to episode. The show is a combination platter of narrative, sketch comedy, and character interaction pieces which are woven together to create a cohesive storyline that explores themes such as Ethical NonMonogamy, AI, Alchemy, Jealousy, the Metaverse, Dating and Attachment styles, Blockchain Technology, and Transformational Magic. I play over twenty different characters that interact with each other, and my fashion and cutting-edge electronic rap musical style sets a colourful funhouse nightclub backdrop for the in-depth explorations on culture, magic, and captivating relationships. It sounds great! What made you want to create this? I love comedy shows that not only make people laugh but also expose truths and use their resources to dive deep into topics in ways a single individual cannot. But these shows usually revolve around politics. I always wished for a show like “The Daily Show” or “Last Week Tonight” that was centred around topics that strike my heart, topics like new forms of relationships, intentional magic, or AI … a show that shares tools for dealing with trauma and jealousy and mental health and sexuality and manifestation, and uses comedy not to teach or preach but to expose a common human experience. We are living in the Third Dimension - a world ruled by Polarities. Polarities are not just a part of life for everyone, but Beyond that…Without Ups and Downs, there is no Manifestation, no Creation. We literally can’t create anything without that Pendulum swing. That’s why people who have had hard lives often are very “successful”. That’s also why I feel really sorry for “privileged” people who write tell-alls about their hardships, and people give them shit about it - when in reality we all have a cocktail of positive, negative and neutral experiences, no matter what our circumstances. We can’t judge another person’s success or struggle. The most incredible awesome things - like being rich or famous or brilliant - can cause the most pain. The most horrific things that happen to us can be the funniest things in the world - especially when we choose to change the narrative of our own lives. Every day we have the chance to ask ourselves “What version of this story is the most empowering for me?” THAT is Magic. How can we surf Polarities to our advantage for the highest levels of breakthrough ? How can we change the story? That is at the heart of Sex Tech Magic Mayhem and what our storylines hope to convey. It is about using Magic and Alchemy to empower us in our daily lives, in a way that’s real and lets all life mishaps exist for our benefit. Yup, so that happened….. now how can I use it? What stage is the show at right now and when/where can people see it?  “Sex Tech Magic Mayhem” is currently in production, with about one third already shot. Season 1 will debut in the spring of 2025 on a digital streaming platform. In the meantime, come along for the ride every Thursday night at 8pm on Youtube @Datgirl_Official, on Sex Tech Magic the Podcast …where we share the process, reveal behind-the-scenes antics, and introduce you to our topics, research and characters. What have been the challenges to get this made and out there? Once I found the right teammate, my collaborator and brilliant visual artist and all-around filmmaker Natalie Bible’, the process took off, in the sense that the cinematic colourful style of the show matches my personal brand and the writing and characters. It's all about finding the right team. The creative challenges now are more about choosing the elements we want to convey and narrowing down the focus….weed-whacking the content for clarity and dynamics. You also have a podcast right? What's the show about? Sex Tech Magic the Podcast is an intimate fun way to connect with people and share what we’re up to as we create the show. It has an immediate bio-feedback loop that allows friends and fans of the show to imprint their input on what they would like to see more of. It’s just fun to broadcast and play with the material in a casual creative environment. Some episode topics include: “Sex in the Metaverrse”, “Love in the time of AI”, and “Creativity in the 3rd Dimension”. Some episodes showcase how I create character, or reveal the tech behind my unique live synthesizer and drum machine music production. Some episodes feature special guests, and some are live straight from the set. Where can people access the podcast? Join us for “Sex Tech Magic the Podcast” every Thursday night at 8pm on Youtube @Datgirl_Official. What's next for you? I have a live theatrical series called “the Jewel Net”, about a dimension made of thoughts that is also a modern twist on the Hercules myth, told from a female-driven protagonist “Girlcules”. I hope to tour and perform it in Edinburgh, and then produce the fiction podcast and animated series. After film and tv, actors are always hungry for Live Performance, whether it’s performing my original plays, touring Variety Show, or producing a dream play like “Venus in Fur”. And also Pizza. #ChrisOlson #FilmmakerInterview

Filmmaker Interview by Amber Jackson Tell us about your work as a filmmaker. How would you describe your films? I would describe my films as a celebration—whether it’s through the joy and entertainment they  bring or the way they honour and uplift a particular community. I enjoy festivity- I like putting a smile on people’s faces. Even when addressing challenging subjects and themes, I always imbue a sense of levity and lightheartedness. I think there’s still joy and laughter to be had in tough times. To do so, I work to blend music, spectacle, and narrative to create an immersive experience. My goal is to craft stories that leave people feeling inspired and excited.   Which women and/or queer filmmakers have most influenced your work? I love filmmakers whose voices and visions are strong and bold. It can be a challenge in this industry to be unabashedly yourself and so filmmakers Jane Wu and Greta Gerwig are really inspirational. Jane Wu, a director-producer for the animated series Blue Eye Samurai, completely blew me away with her style and work. The show blends Western and Eastern sensibilities that completely elevate the final piece. Even though I don’t work in animation, Jane Wu's ability to blend those cultures has always been something that I try to work into in any of my films. More so I love Jane’s path in this industry. She’s worked for years as a storyboard artist, and just recently started producing and directed animated shows. And those years of experience really show. Filmmaking is such a craft, and her dedication to her craft has been influential in the way I approach my own craft. For Greta Gerwig, there’s no competition in my mind for a director who crafts genuine and authentic scenes about the female experience. I love exploring female relationships outside of just traditional romance, whether that’s the mother-daughter, the sister, or a woman’s relationship with herself, Greta Gerwig has always been a great source of inspiration.  You refer to diaspora plenty within your work. How has living in both Singapore and the  US influenced your storytelling on screen? I think one of the most visually obvious ways it’s influenced my storytelling is my visual sensibilities which are a mix of Western and Eastern media. However, the most profound impact has been on the themes I explore, particularly the concept of home and belonging—ideas I find myself constantly returning to in my work. To have separate lives and create homes in separate places, can be very scary and empowering at the same time. I’ve spent a lot of time having to think about and come to terms with what defines home to me. I’ve thought about why I feel so connected to a country that I haven’t lived in for over a decade. And I’ve thought about why I feel so connected to a country that I wasn’t born in. And I’ve felt alone in both of these spaces. I think that many people who have lived in different countries for significant periods of their lives can relate to the kind of cultural negotiation that you have within yourself. You pick the things that you like, and you leave behind those that you don’t. And wherever you go, those things can come into conflict with either side. You are forced to remain flexible in this flux. In that sense of feeling like you are constantly in between, having to find your place of belonging can be challenging. This perspective has influenced my storytelling in ways that I initially wasn’t even conscious of. But I do look back and find that most of the themes and characters I write about are in search of belonging. And often finding that sense of home transcends the traditional meanings of “home”  The imaginary boundaries and lines we’ve carved into our globe or family units don’t need to be our definitions of home, it certainly has not for me. And I enjoy exploring stories that challenge them.  With this in mind, tell us about your film  Dancing in a Forbidden World  . How do you  navigate those themes of race, diaspora and female liberation in 1940s America?   Dancing in a Forbidden World  is a personal project that merges my interests in history, identity and social liberation. The 1940s in America was a time of change, particularly for women and people of colour. The film is set in a nightclub called The Forbidden World. The space itself acts as both a refuge and stage for Asian women and Asian entertainers. The dancers that never had a stage, the singers that were never given mics.  Dancing in a Forbidden World  celebrates the performers who challenged the restrictive norms and dreamt bigger. The lead character is thrown into this world and at her core is on a quest for autonomy. And her narrative is about identity and freedom.   Why is it important for you to represent the underrepresented?  It’s about reaffirming someone’s existence. That’s the core of it. I think anyone who doesn’t  understand why someone’s existence requires affirmation has never needed it.  More broadly, how do you navigate Asian identity in your films? What key considerations do you make when conveying Asian stories? In a weird juxtaposition, I’m consciously not thinking about it. The stories I write and the worlds I create are inspired by my childhood and my experiences. That naturally equates to stories centered around the Asian female identity. I’m not consciously debating whether or not my lead actress should be an Asian female, they tend to just naturally are. I found that when I was in school, the notes I often received on my writing was that it needed to showcase my Asian culture more or my “asianness” or my struggles as a female. And that was actually a detriment to my writing, because it made me increasingly boxed into this corner of trying and having to represent all of my culture and all of my gender identity. Now I try to just write from the heart, and from what I feel is important. The key consideration I make when conveying any story is that is this authentic and genuine to me? And if it is, that naturally leads to a story that talks about Asian identity, but more importantly it leads to a story that I care about. How do you hope your films impact your audience? I hope that people can walk away from my films feeling energized and inspired. There’s a lot of joy to be had in this world, and I try to capture even the smallest amount of it. I write and make a lot of stories that are inspired by historical events. And I want people to walk away being curious and with a desire to learn more. What’s next for you as a filmmaker? I’m continually excited to explore stories that challenge and inspire. Currently, I’ve been working heavily in directing commercials. I enjoy being able to constantly practice my craft, and improve those skill sets. The fast-paced nature of commercial work pushes me to be more creative and precise with every project. I find a lot of satisfaction in the challenge of distilling a powerful message into a short, impactful piece, and I'm eager to see how these experiences will influence my future narrative and documentary projects. #AmberJackson #FilmmakerInterview

Grimmfest, Manchester’s International Festival of Fantastic Film, will be returning to its regular venue, Manchester’s Odeon Great Northern, on the 3 – 6 October for four ferociously full-on days of the best in genre cinema. Following on from the recent announcement of the features line-up, the Grimmfest Team are delighted to reveal the rest of this year’s festival programme.  As part of this year’s Preview Night on October 3rd, Grimmfest are thrilled to announce an exclusive European Premiere screening of three episodes of  TALES FROM THE VOID . Inspired by the most viral and haunting stories from the r/NoSleep community, a Reddit forum, where independent authors share short form horror stories, the series mixes pointed contemporary social commentary with classic genre tropes and knowing homages to much loved cult film and TV favourites, and features some of the hottest talents in the field: The arrival of a mysterious floating black square on a rundown housing estate stokes buried resentments and tensions to boiling point in  INTO THE UNKNOWN , directed by  Joe Lynch  ( SUITABLE FLESH ).  A teenage prank leads to an unforeseen threat that William Castle would be proud of, in  FIXED FREQUENCY , directed by  Francesco Loschiavo .  A young woman confronts terrifying repressed memories, following the death of her drug addict mother, in  PLASTIC SMILE , directed by  John Adams and Toby Poser  ( HELLBENDER ). Grimmfest’s Shorts Programmes this year features four World Premieres, one International Premiere, three European Premieres, six UK Premieres, one English Premiere, four Regional Premieres, one North West Premiere, and two Greater Manchester Premieres: METAMORPHOSES  offers tales of transformation and deformation, evolution and devolution, mutation and mutability, anxiety and alienation given physical form, and all of the horrors and pleasures of the all-too-fragile flesh… A telephone call brings unexpected terrors, in  James Longman’s quietly unsettling  SUFFOCATE (Greater Manchester Premiere). A young father starts to feel increasingly displaced by his newborn baby, in  Aaron Murtagh ‘s  MAN BABY (North West Premiere) .  Kafka plays out on a Parisian housing estate, in  COLEOPTERE ,  Martin Gouzou ‘s social (sur)realist spin on  METAMORPHOSIS (English Premiere) . A gender-flipped Dorian Gray for the age of social media, in  Giulio Manicardi’ s unexpectedly poignant  SELFIE (UK Premiere) .  A neglected woman turns to her favourite house plant for the connection she desires, in  Rebecca Thomson ‘s macabre and mordantly funny  A GREEN AFFAIR (European Premiere) .  Two sisters forced to care for their catatonic grandma start to realise that she’s not quite herself any more…  Gigi Zumbado  ( THE PRICE WE PAY ), and her sister  Carmela  star in  CARNIVORA ,  Felipe Vargas ‘ queasy study of familial obligation and loss of self  (European Premiere) .  An actress’s opening night nerves take on terrifying physical form in Jano Pita’s nightmarish study of social anxiety and self-harm,  APOTEMNOFILIA (UK Premiere) . And a sensation-seeking man’s midlife crisis leads to fatal temptation in   Simret Cheema-Innis ‘s polymorphously perverse cyberpunk body horror,  FROM ME TO YOU (UK Premiere) . Sometimes, it all just gets too much: family, peer groups, work, unemployment, relationships, sexual performance, imminent parenthood, bereavement, environment, your own late night paranoia. So much pressure… in the  TENSIONS  programme: A young woman is awoken by something going bump in the night, in  Mikel Iriarte  and  Jack Downs ‘  DEAD OF NIGHT (Regional Premiere) .  A bucket holds unexpected mysteries in  Axel Zeltser ‘s mischievous  EMBRACE (Regional Premiere) .  A young woman battles for her life, and the future of her relationship against a relentless masked killer, in  David Yorke ‘s blackly comic  SAFE (Regional Premiere) . A young cleaning lady working in a deserted office complex experiences an unexpected threat while working in  Jasper ten Hoor  and  Ivan Hidayat ‘s  PASPOCALYPSE (World Premiere) .  A flustered young man running late for a job interview finds himself faced with an unexpected obstacle in  Daniel Noblom ‘s claustrophobic  PARASOMNIA (World Premiere) .  An underpaid office worker discovers that sometimes a moment’s break is hard earned, in Sebastian Ganschow’s visually stunning THE INFINITE BREAK ROOM  (World Premiere) .  An ambient sleeping aid app holds unexpected dangers in   Ethan Evans ‘ nightmarish  OUTSIDE NOISE (Greater Manchester Premiere) .   There’s a uniquely… colourful antidote to toxic masculinity in  Yfke van Berckelaer ‘s uproarious  IZZY (UK Premiere) .  Two Grimmfest alumni make a welcome return, as  Jeremiah Kipp  ( SLAPFACE ) offers an uncomfortable illustration of that old maxim, “be careful what you wish for”, in the enigmatic and unsettling  DARK ROADS (European Premiere) , while  Nicholas Payne Santos  ( IT CUTS DEEP ) explores the nature of grief and the unwillingness to let go of our loved ones, in the eerie and mournful  STRANGE CREATURES (UK Premiere) .  Simón Bucher, Claudia Saldivia and Amanda Rivera  present a viscerally uncomfortable study of self-destructive greed in  THE FEAST (Regional Premiere) .  A young woman’s conviction that her husband has been replaced by an alien doppelganger leads to savage violence, in  Shane Day ‘s troubling take on the classic Bodysnatchers trope,  THE NEIGHBOURHOOD AT THE END OF THE WORLD (International Premiere) .  And a father-to-be’s fears prove all-too-terrifyingly justified, in  Robert Franz ‘s gleefully gory study of misogynous male paranoia,  AMBROSIA (World Premiere) .  There are also a couple of short films this year screening alongside feature films.  Sam Fox  ( FCK’N NUTS ) makes a welcome return to Grimmfest with  THE BLUE DIAMOND , a high-camp retro-80s take on toxic mother-daughter relationships, self-help therapy groups, and apres-ski, starring a deadpan  Desiree Staples  and the incomparable  Barbara Crampton . The film will screen with  DEAD MAIL  and is a  UK Premiere . And screening with Robyn August’s  KILLHER  will be the first of August’s  NIGHT WALKS, EDITH AND THE EMPTY (UK Premiere , a droll and deftly observed homage to such much-loved 60s supernatural shows as THE TWILIGHT ZONE, in which an enthusiastic cook meets her match at last in an insatiable entity. Full and day passes and individual tickets are available at  https://www.grimmfest.com/festival/

Filmmaker Interview by Chris Olson Great to speak with you Cal. Where in the world are you right now? The pleasure is all mine! I’m currently based in London, my favorite city in the world. I’ve lived here for so many years that it feels like my permanent home. London is truly a special hub for creatives—whether it’s filmmakers, actors, musicians, or artists. The city offers incredible networking opportunities and has a unique vibe that constantly inspires me. You have a new short film in the festival circuit, SOMN. What's the film about? 'SOMN' is about a boy trapped in a horrific, cyclical dream-like state with no hope of escape. It’s my most ambitious short yet, combining everything I’ve learned and studied over the years. The project was designed from the ground up to work specifically as a short film, making full use of the format. My hope is that viewers find 'SOMN' immersive, unsettling, and a compelling horror experience. It’s unconventional in its approach, but I believe it’s highly engaging. Could you elaborate further on what you mean by ‘unconventional but still highly compelling?’ Absolutely. Without giving too much away, since 'SOMN' is meant to be open to interpretation, the film has a unique tempo and editing style that aims to emulate the disjointed nature of a dream. When we shot the film, we only had a one-page outline—a rough story that left room for improvisation. As a matter of fact, many of the scenes we initially planned either weren’t filmed or were cut in the editing process. The final version of 'SOMN' is just over 4 minutes, including credits. Early cuts were closer to 7 minutes and included additional scenes that provided more context and backstory. However, I decided to trim anything that didn’t heighten the tension or felt too expository. Much like real dreams, 'SOMN' jumps between scenes with little logic connecting them, yet it was crucial to maintain some sense of coherence to keep the audience engaged. The editing process was all about finding that balance. Sound design played a huge role in shaping the final edit, often sparking new ideas and directions for the film. We also did extensive test screenings to gather feedback and refine what worked. Even in its brief runtime, 'SOMN' packs a lot in, and not everything is entirely clear by design. My hope is that it leaves viewers intrigued, making them ponder what they’ve just witnessed in the best possible way. Why did you decide the make SOMN? There were two main reasons. First, I believe horror is one of the best genres for a short film to stand out. Horror movies naturally draw an audience because we love the thrill of being scared, knowing we're safe. Additionally, horror is budget-friendly and encourages creative problem-solving. I saw this as an opportunity to apply all the filmmaking techniques I’ve learned over the years and from my previous shorts to create a lean, intense horror film that keeps viewers engaged from start to finish. The second reason is my frustration with modern horror, particularly horror shorts. To me, modern horror sacrifices so much atmosphere to exposition and cheap scares. A good horror premise can be ruined as everything is given a clear explanation and one final jump-scare or shocking reveal. ’SOMN’ draws heavily from 90s Japanese horror and the work of David Lynch. There’s a certain magic in how those films created an immersive, intoxicating atmosphere without relying on excessive exposition, jump scares, or gore. They focused on immersing the audience in a world that was bizarre and unsettling, which made the horror all the more effective. Often times, audiences would leave uncertain of what just occurred and they had to fill the intentional gaps with their own theories, which I think makes it all the more scary. I wanted to pay homage to that style, which is why 'SOMN' has a very specific visual aesthetic—a dirty, grainy look rather than the polished, clean imagery of modern films. Our colorist, Alexander Reinholdsson, did an incredible job capturing that atmosphere. I’d also like to add that when it comes to more modern horror, David Robert Mitchell’s ‘It Follows’, released in 2014, really what I love in a horror film. A perfectly immersive, terrifying film that left you with more questions than answers by the end. What challenges were there in getting this made and out there? Without a doubt, the editing phase was the most challenging. The shooting and pre-production were so freeform that when I first looked at all the footage, especially in the initial edit, I thought, ‘I don’t know what any of this is supposed to mean or be.’ But that was part of the plan all along. Working on a super indie, low-budget project meant I had all these fantastic, disjointed pieces of a puzzle that needed to be put together. The storyline went through several iterations, from a cursed protagonist to a more traditional haunted house narrative. Eventually, however, this experiment evolved into the current narrative—a kind of mundane cosmic horror. We don’t know why these events are happening to the main character, we don’t even fully understand what’s happening, or what the eponymous ‘SOMN’ is. In fact, we never really get to know who the main character is, as, small spoiler alert, they themselves don’t know who they are anymore, since it is revealed their whole identity was erased in the dream. This puts the audience in the same position as the protagonist: trapped in a repeating nightmare, unaware of how they got there or why it’s happening. My hope is that, despite the ambiguity, the fear is palpable. Our lead actor, Karn Na Tarlang, did a tremendous job portraying a character who is vulnerable and terrified, which I believe will help audiences connect with his plight. I’m aware this approach might be controversial, but I stand by my decision to focus less on the bigger picture and more on the moment-to-moment experience. I’m confident that audiences will engage with the film and, hopefully, come up with their own theories about what’s really happening in 'SOMN'. The few spoken lines are also in Thai and the incomprehensible voice of the SOMN, which for a production made in England could perhaps prove divisive, but it is all subtitled of course in a style that compliments the short. How have you evolved as a filmmaker since your previous film, Neon Heart? The most significant evolution for me has been my focus on sound. In your fantastic review of Neon Heart, I appreciated the compliments on the visuals and acting—those are areas I’m passionate about, especially working with actors and helping them showcase their talents. However, the sound quality, particularly the poorly recorded dialogue, was a major downfall. That experience taught me that sound is just as crucial as the visuals and performances, if not more so. This focus on sound was a driving force behind SOMN. We shot the film on an iPhone 14, partly out of convenience but also as a challenge to myself. I wanted to see how we could use framing, sound design, and editing to create a cinematic and gripping picture, even with the most minimal equipment. Another key lesson has been the value of a talented crew and the importance of collaboration. Bringing skilled individuals onto a project is one of the most magical aspects of filmmaking, especially when they are given the freedom to contribute their own ideas and perspectives. As a director, my role is to ensure consistency so that the final product isn’t disjointed, but beyond that, I trust my crew completely. When everyone is connected to the material, the best ideas flow naturally, and I’m committed to fostering this creative environment in all my future projects. You mentioned earlier all spoken lines are in Thai, why is that? Well the main actor himself is Thai, so I wanted his lines to be in his home language as it was very important to feel authentic. This also works thematically, as I want what he goes through in the short to feel universal, plus my ethos as a filmmaker is to show diverse and underrepresented voices in all of my projects, to give a fresh perspective to audiences. How can people get to see SOMN? I'm currently planning the distribution strategy, as I want to ensure SOMN finds the right platform and audience. Rather than simply releasing it on YouTube, where it might get lost in the crowd, I'm focusing on entering the festival circuit first. My goal is to connect with short film distributors who can help bring SOMN to a wider audience. Online channels like 'Alter' could also be a great fit for the film. We’ve put together a brief trailer to generate interest, and I’m hopeful that word of mouth will play a key role in building awareness for SOMN. Why do you make movies? I truly believe at this point it is what I am meant to do. I’ve always had such a passion for cinema and filmmaking, the creative process, collaborating on a set with like-minded individuals and how satisfying the challenges are. And more importantly , the fact that with movies, we can reach out to people. Like any art form, film can make us look within ourselves and help us develop as humans. I aim to do that as well, whichever the genre I work in, that those who watch will leave with something they didn’t have before seeing my films. What's next for you after this movie? I’m currently working hard on ensuring SOMN is the best quality possible and we can show it at festivals so me and the team can create new experiences as soon as possible. Filmmaking is quite expensive, but I have enough interesting ideas that I hope will get financed so we can show them to the world. #ChrisOlson #FilmmakerInterview

Film Feature by Jason Knight #6 - Line of Sight ★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown Starring: Bertie Taylor Smith, Holly Ashman A lonely man is obsessed with a young woman. Francis (Smith) is a socially awkward young man who appears to fancy Erica (Ashman), a friendly girl who works at a cinema. He follows her around and takes pictures of her without her knowing. Finally, he decides to approach her, however, things will take a dramatic turn. This short is kind of a stalker thriller that is seen from the perspective of an unusual individual. Initially, it is not clear whether he is a good or a bad person. He secretly follows and photographs a person, yet his intentions appear to be harmless, as he seems to want to be in a relationship with her. Smith delivers a convincing performance as an isolated individual who has difficulties socialising. His love for photography appears to be a way for him to view and experience the world. Ashman is great in her role as a cheerful cinema worker. The filmmakers make effective use of slow motion and the dramatic music helps create the appropriate atmosphere. This is a dramatic story and one that explores themes of obsession and loneliness. It raises awareness of autism and presents challenges that people with social difficulties have to face. #5 - April ★★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown, Spencer Anderson Starring: Ruby Rae, Oscar King, Cara Kealy In a hostile, post-apocalyptic world, a man escorts his daughter to a place called 'The Vale'. This short science fiction drama introduces the viewer to a world where danger seems to be constant. The story is told from the perspective of a family, whose members are forced to try to survive in that place. These people are Jordan, the father (King), Natalie, the mother (Kealy) and April, the daughter (Rae), who possesses extraordinary abilities. The three of them live in a hidden location in the wilderness and one day, Jordan and April set off to locate a group of people, who will hopefully be able to help April control her powers. Although the screenplay does a decent job in terms of setting up a post-apocalyptic world, it does not explain how it happened, which is not a bad thing, however, it would have helped if there was some form of explanation. The main focus is the relationship between the father and his daughter. The two of them have their differences, however, it becomes obvious that they care deeply for each other. The performances are great, and the three protagonists are convincing in their roles as good-hearted individuals attempting to survive in a harsh world. The film benefits from a beautiful and sentimental score and a special mention goes to Renato Solca for the visual effects. This short is a post-apocalyptic sci-fi that is a story about a journey that is filled with emotion and explores themes of parenting, survival and self-discovery. #4 - Super-Being ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson, Dale Dandridge, Jamie B-Brown, Moyo Taylor Starring: Zachary Coleman, Juke Hardy, Nate Barker, Issie Caird An individual who has supernatural powers is being pursued by sinister people. This science-fiction thriller explores the life of a person with otherworldly abilities. The nonlinear narrative travels through time between scenes that show the protagonist as a young man and scenes that show him as a child. The audience sees the passing of his mother, his attempts to live a normal life and the efforts he makes in order to deal with the people who are after him. There is drama, shooting, life-threatening situations and the sense of an individual who is lost, who seems to be unable to find peace. Much of the story is accompanied by narration by the main character, as he talks about his life and his words are emotional and sound philosophical. Jermaine Wills and Filipas Proskurinas do an amazing job with the cinematography and the atmospheric score is a big plus. Although this is interesting viewing, it might have benefited if the hero's powers were explained more effectively. Nevertheless, this short is an emotional and tense ride about loss and self-discovery. #3 - Satellites ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Tamzin Murray An astronaut is by herself, on another planet. This beautiful and emotional short focuses on a young woman (Murray), who has found herself on an uncharted planet and attempts to navigate through it on foot. The mise-en-scene in this drama effectively brings the viewer into the science fiction genre. The protagonist wears a spacesuit, there is a spaceship and she is on a distant, unknown planet. Regarding the narrative, there is not much of that and it is the images and narration that keep the audience engaged. The viewer observes the woman as she walks through the planet, wearing her spacesuit. She is the only person in the film and there is a strong feeling of isolation. Her voice-over refers to issues about life and the meaning of existence and listening to her is quite thought-provoking. Ben Hardy worked on the cinematography and editing and does a great job. The decision to utilise the track Surrender It by Delectatio was excellent as it is a wonderful and very calming peace that creates a peaceful atmosphere. This is a story that focuses on one person's philosophical perspective regarding life. On the surface it is a sci-fi, however it is more than that and explores themes of isolation and self-discovery. #2 - Rock-a-Bye ★★★★ Directed by: Spencer Anderson Written by: Jamie Bhagwat-Brown, Spencer Anderson Starring: Yazzmin Newell, Samuel Lawrence A young woman makes a crucial decision on the day she and her partner are about to commit a crime. An intriguing short film that works as a crime thriller and also as a story about self-reflection. As a crime film, it has a plot that revolves around the idea of a couple being outlaws. According to director Anderson, this short was made with Western-era influences that involve films such as Blood Simple and Badlands and that is evident considering the storyline and atmosphere. Plus, part of the filming was done at the Burnout BBQ Diner in Summertown, Oxford, giving the film a sort of Americanised look. What is going on is not clear from the beginning, making the viewer to put the pieces together as the story unfolds and what is discovered is that the couple are about to do something very vile. As a film about self-reflection, that theme is explored through Carla (a great performance by Newell), who makes a vital last-minute discovery and makes a crucial decision. Newell is terrific in her role; however Lawrence is arguably the one who steals the show as Clay, Carla's partner, an aggressive and controlling man. With his sixth short, Anderson creates an expertly directed film that contains a great deal of suspense and with terrific performances by the two leads, a dramatic and tense score by Reg Length and beautiful cinematography by Jermaine Wills, this is an achievement that deserves recognition. #1 - Fallen ★★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Zachary Coleman, Michael Watts This short drama was inspired by the reminiscences of Gilbert Bradley, who was a British soldier who exchanged letters with his male partner while he was fighting World War II. Through a nonlinear narrative, this emotional war film tells the story of a forbidden romantic relationship and how these two people tried to keep in touch during the war. Approximately the first half consists of the reading of a letter that was written by one man and addressed to the other and the second half is the opposite. Both contents of the letters are told through a voice-over that comes from the one who wrote it. Their words are passionate and full of emotion, clearly indicating the love that they feel for each other. The narration is accompanied by many brief scenes that depict the lives of the two partners, including one man in a library, reading a letter, scenes of combat, a bonfire and the two men together. The scenes and the voice-over make it all a rather moving watch. With its narrative structure, the film almost feels like a ten-minute-long trailer, which is not a negative element but a rather interesting storytelling technique. Jermaine Will provides wonderful cinematography and the emotional score goes very well with the scenes and voice-over. The mise-en-scene also deserves a lot of praise as it effectively creates a Second World War atmosphere. This is an emotional ride that is very heavy on emotions and explores a romance that is being torn apart by war. It is a beautiful story about love, separation and war and it deserves recognition. #JasonKnight

Grimmfest, Manchester's International Festival of Fantastic Film is delighted to announce the full feature film line-up for 2024.   The festival will be returning to the Odeon Great Northern in Manchester, 3rd-6th October, to showcase the very best in new genre cinema. Four fear-filled days that include an array of feature film premieres, including three World premieres, six International premieres, one European premiere, seven UK premieres, one English premiere, and four Northern UK premieres (Short films premieres all be announced soon).   Festival directors Simeon Halligan and Rachel Richardson-Jones are back at the wheel once more, after a one-year sabbatical, ready to floor the accelerator for a white-knuckle ride into the dark. Indeed, nightmarish journeys are on the menu this year, as Grimmfest celebrates its love of vehicle-based cinema, with the FEAR ON FOUR WHEELS strand.    Launching the strand, and opening this year's festival, the World Premiere of Shudder’s  BLACK CAB ,  a slippery mix of claustrophobic psycho-thriller with a touch of supernatural directed by  Bruce Goodison.  Dark secrets are revealed when a bickering couple make the mistake of accepting a ride with Nick Frost's unnervingly over-friendly taxi driver .  It's man versus machine, as a debt-ridden and desperate delivery driver finds himself in a life-or-death confrontation with a deranged Snow Plow driver, in DELIVERY RUN , Joey Palmroos ' inventive Winter-based riff on a much-loved genre classic, another Grimmfest World Premiere.  A cash-strapped cabbie finds himself out of his depth when he downloads a mysterious App, promising high-paying, but increasingly dangerous driving jobs, in  Michael Pierro 's Fantasia festival-winning gritty neo-noir, SELF DRIVER , which has its European Premiere.  A sleep-deprived taxi driver, plagued by terrifying nightmarish visions is forced by a maverick psychiatrist to confront repressed memories and long-buried guilt, in writer-director-star Nick Cheung 's dazzling and disorientating surrealist psychodrama  PEG O' MY HEART, a UK Premiere. And to complete our FEAR ON FOUR WHEELS strand, A young Latina petty thief driving cross country finds herself the target of a devious, psychopathic, redneck sheriff, who views his badge as a licence to prey on vulnerable young women, in  Lawrence Jacomelli's  gritty and gruelling desert noir road movie,  BLOOD STAR , a Grimmfest UK Premiere.   Meanwhile, the woods are eerie, dark, and deep, in our TERROR IN THE TREES strand.    Oppressive patriarchal puritanism collides with a far older faith in Didier Konings' ferocious period set feminist Folk Horror fable, HERESY . Recalling Bergman at his most unflinching, but with a wild psychedelic edge all its own, the film is a UK premiere.   A weekend camping trip goes badly and bloodily wrong, as tensions are exposed, friendships betrayed, and psychopathologies unleashed, in Robyn August 's satiric slasher, KILLHER, a crowd-pleasing call back to old school 80s slashers, and another international premiere.    A young boy is forced to leave the safety of his forest home, and cross a desolate, plague-riddled landscape in search of what remains of civilisation, in  Vardan Tozija's heart breaking, emotionally brutal post-apocalyptic fairy tale , M, a UK Premiere.    Guilt and emotional damage collide with local legend and a treacherous forest landscape in  Philip W. de Silva 's FROM DARKNESS , a visually stunning fusion of Scandi-noir, Swedish mythology, and the supernatural, receiving its Northern UK premiere.   The camera, they say, never lies. But it doesn't always tell the whole truth in our IN CAMERA Strand.   STRANGE HARVEST , the latest film from Stuart Ortiz (GRAVE ENCOUNTERS) sees “The Call of Cthulhu” recast as a True Crime documentary, chronicling the hunt for a terrifying serial killer with a uniquely bizarre agenda. This brilliantly realised pastiche receives its UK Premiere.   A frustrated new father is catfished by a camgirl with a secret far deadlier than he could ever imagine, in R.J. Daniel Hanna 's outrageous, genre-smashing shocker, SUCCUBUS . With an all-star cast that includes Rosanna Arquette and Ron Perlman , the film has its International Premiere at Grimmfest.    Aaron Fradkin (VAL) makes a welcome return with the international premiere of BEEZEL , a terrifying chronicle of a New England house over a fifty year period, and the influence of an ancient evil upon several generations of the same family; an unreliable narrative, captured on a series of equally unreliable recording formats.    Pierre Tsigaridis (TWO WITCHES) makes a welcome return, with TRAUMATIKA ; a wild tale of demonic possession, incestuous abuse, and an unstoppable killer. Combining elements of “found footage”, slasher, giallo, and Satanic Panic,  it's a love letter to horror cinema, and  a Northern UK premiere.   Other Grimmfest World premieres....   Andrew Bell  offers an extraordinary contemporary spin on vampirism, in BLEEDING . A stark, grim, utterly unsentimental exploration of the nature of addiction and teenage desperation, it's harrowing, horrifying, and emotionally brutal.   Other Grimmfest International Premieres include…   A newly-wed couple find their relationship under strain when their honeymoon is hijacked by a manic inventor and his cynical wife in search of funding for their improbable project, in Chris Skotchdopole 's CRUMB CATCHER ; a pitch-black comedy of social discomfort that turns into a violent life or death conflict.   A city is faced with the thirty-minute countdown to a nuclear strike, and the instinct for survival overrides every other consideration, in Loïs Dols de Jong 's suffocatingly tense AMSTERDAM ALERT. A masterclass of white-knuckle cinema verité storytelling.   Having their UK Premiere at Grimmfest...   Can Evrenol (BASKIN) pulls no punches with SAYARA , a brutal exploration of the nature of revenge, which also hammers home some sharply observed points about racism, misogyny and corruption in Turkish society. This is not a film for the faint-hearted.   EARLY BIRDS , Michael Steiner 's stylish and kinetic neo-noir chase movie, about two mismatched and desperate women on the run from a brutal drug gang is both a heart-rending thriller, and a gripping tale of female friendship and self-determination.    An egotistical scientist meets his match in  Stimson Snead 's high-concept time-bending head-spinning sci-fi comedy,  TIM TRAVERS & THE TIME TRAVELER'S PARADOX. Featuring a brilliant central performance, by Samuel Dunning , and scene-stealing support from such cult film icons as Keith David , Danny Trejo, Felica Day and Joel McHale .   TERRIFIER's Lauren Lavera stars as an ambitious art restorer, enlisted by a sinister baroness to salvage a damaged family portrait, only to discover demonic activities down below in THE WELL , Frederico Zampaglione 's (SHADOW) homage to classic italian horror has it's English premiere at Grimmfest.   And having their Northern UK Premieres...   DEAD MAIL , A twisted, darkly funny tale of a hapless synthesizer developer held hostage by his increasingly deranged sponsor, and the efforts of a dead letter investigator to find him in Joe DeBoer and Kyle McConaghy’s  wonderful thriller.    THE CHILDREN OF THE WICKER MAN , Justin and Dominic Hardy’s poignant documentary which combines fascinating new details about the production of the classic film, with an unflinching and moving study of two grieving sons coming to terms with the legacy of their father. The full screening schedule, along with day passes and individual film tickets will be released on Monday 19th Aug.   Full festival passes are available now at  https://www.grimmfest.com/festival

★★★ Written & Directed by # RichardJMoir Starring # JamesSobolKelly # JohnSmeathers # SarahGordon Film Review  by: Lawrence Bennie Prolific, award-winning filmmaker Richard J Moir is the real artist behind the lens of In The Moonlight , a familiar yet atmospheric and spooky short film which is a virtual one-man show.   The equally versatile James Sobol Kelly is ideally cast and, along with cinematographer Nicholas Peel, the trio execute an unsurprising but overall effective supernatural drama with some genuinely unsettling moments.   In a vast, ornate countryside manor, an artist named Arthur (Kelly) works on the portrait of an indistinct, faceless woman.   Slowly, he soon finds himself stalked by supernatural forces within and around his home, seemingly triggered by his discovery of a gold bracelet in a nearby field.   Returning to his craft, Arthur becomes increasingly sabotaged by the sinister intrusions, pushing him to breaking point. In The Moonlight certainly has a striking beginning.   A section of Schubert’s setting of the Stabat Mater heralds out imposingly during the opening credits, played out against a jet-black screen.   We cut to a long shot of a large, opulent living room.   On an easel, stands the featureless image of a grey-haired woman; clearly a work in progress.   To the left, a ghostly veil of penetrating blue-tinted light and a gleam of sunlight streak across the floor to illuminate the darkness.   It’s an intriguing, mysterious and wonderfully ominous opening.   As the film continues, we follow the solitary figure of Arthur through his day-to-day life during and in-between his time spent painting.   Gradually, odd occurrences begin.   A peculiar bump from upstairs, which Arthur initially attributes to his cat.   An obscure, dark figure appearing in the near distance.   An inexplicable crash from somewhere inside the home and eerie, unearthly whispers of his name.   Moir’s contiguity of the habitual setting of Arthur’s daily life with the increasing extramundane intrusions clearly echo Jonathan Miller’s classic 1968 version of Whistle and I’ll Come to You - most notably with Arthur’s retrieval of the bracelet and the appearance of the strange watching figure which is an almost direct retread of the plot of the latter.   There’s even a dream sequence akin to Miller’s film, pinpointing the character’s descent into psychological turmoil.   Indeed, Moir seems to be consciously, at points, evoking both Miller’s original and its 2005 remake with John Hurt (particularly at the film’s climax).   The parallels are certainly interesting and, as a homage to the two BBC adaptations of M.R. James' ghost story, In The Moonlight certainly works.   However, it does mean that we can - perhaps once too often - see (or, at least, get a sense of) what’s coming and one wishes for perhaps some more originality and freshness in the piece as a whole. Another similarity between Moir's film and its predecessors (which is a strength, however) is its restraint.   The inevitable jump shocks are few and far between and, when they do come, they’re deservedly effective.   For the most part, Moir - like Miller - is more interested in the suggestion of a supernatural world disrupting his character’s familiarity with his own world, rather than bombarding the viewer with an overload of sensory scares.   In fact, Moir departs from a stock clichéd horror-shock ending altogether and, whilst something of an abrupt departure, it at least brings in an unexpected turn before the story’s closure. #LawrenceBennie

★★★★ Directed by # TaraAghdashloo Written by # GemmaBarnett Starring # GemmaBarnett, # BiancaBeckles, # PaulineTomlin Film Review by: Lawrence Bennie Booking a doctor’s appointment, or simply just being able to get through to speak to a doctor, has tragically become an all-too familiar obstacle across the country and beyond, pre- and post-pandemic.  In Bridge , the debut short film from writer and star Gemma Barnett, the audience are placed in the middle of such a situation; only for things to take a surprising turn. A co-production from BBC Films and Kusini Productions, Bridge is also the second short from Iran-born filmmaker Tara Aghdashloo.  Interestingly, Aghdashloo’s film has its origins in Gemma Barnett’s own award-winning poem which later formed the springboard for the script written by both Aghdashloo and Barnett herself.   Working through the daily barrage of surgery calls, Greenfield Gardens receptionist Bridget (Barnett) takes a call from Kirsty Taylor (Bianca Beckles).  Struggling to breath normally at home, and endlessly stuck in a queue on the phone, Kirsty eagerly wants to speak to a doctor.  Unexpectedly, Bridget becomes confidant to Kirsty when the pair recall they went to the same school and, against the endless tide of cold, clinical calls, they gradually establish a connection.   The talented team of writer and director begin their story with the striking shot of an elderly-looking couple gracefully dancing through a swirling mist, only for it to be shattered by the sudden appearance of a somewhat ominous figure and the irritating clanging of a phone’s alarm clock.  Here, we find Bridget – disinterested and disconnected from the world around her.  Kudos here to Director of Photography Kia Fern Little who creates a marvellous image of light blue brightly beaming through Bridget’s bedroom window as she lies demotivated before slowly rising to begin another day of monotony and despondency.  The world outside is far from dark, but Bridget is lost in an unhappy realm of her own, only underlined further when an abrasive cyclist (Charlie Atkins) snaps at her over a near-collision.  Arriving at work, Bridget is pounced on before the clock even strikes 8am.  Her only form of connection appears to with her colleague Jenny (Pauline Tomlin) who nonetheless forebodes that the day is going to be “a busy one”.  Bridget then mans the torrent of demanding phone calls, whilst Jenny deals with the stream of walk-ups.   The strength of Bridge  film lies in its realism and Aghdashloo lends these scenes a real sense of credibility and marked understatement.  Even when things are abruptly disrupted by Kirsty’s call, the script doesn’t slip into melodramatics.  Instead, Aghdashloo keeps it simple and real throughout and it really is here where the performances of Barnett and Beckles bring the piece to life as their relationship unfolds.  Notably, Aghdashloo and Barnett choose to integrate Kirsty directly into the story.  She remains not just a disembodied voice over the telephone but becomes a secondary character as we cut away to see her anxiously struggling but, somehow, holding it all together at home.  By contrast, we are then also brought closer into Bridget’s own psychological world through a series of flashbacks depicting the failed relationship between Bridget and her disappointed boyfriend (Sam Landon).  Again, Aghdashloo retains the admirable simplicity throughout and it’s convincingly effective.   By the story’s end, Bridget has begun to reconnect with her life and the world around her thanks to her chance encounter with Kirsty.  Of course, it is not an unfamiliar narrative, but Barnett’s story is told with subtlety and sincerity by her director and the performances of each of the cast bring a believability to its beats.  # LawrenceBennie

★★★★ Directed by # BrianFollmer Written by # BrianFollmer Starring # KerriRomeo # AdamLeotta # BrianFollmer Film Review  by: Lawrence Bennie Writer-director Brian Follmer brings a unique, atmospheric erotic drama to the screen with Little Deaths.  A winner at 2023’s Canadian Cinematography Awards and MiraBanART Music and Design Festival, Follmer’s daring film boasts two outstanding performances from Kerri Romeo and Adam Leotta.   Admist the outbreak of a catastrophic pandemic and political revolution, young American couple Emily (Romeo) and David (Leotta) flee their homes to enjoy solace, companionship and ecstasy whilst the outside world is torn apart by violence and disease.  When the inevitable becomes clear to them, Emily and David make the ultimate decision that will give them control of their own fates and happiness.   With its familiar story of near-apocalyptic survival, Little Deaths  could easily fall into cliché and a run of standard generic troupes.  However, much like Emily and David’s choice and pursuit of pleasure, Follmer takes us down a very different and often very surprising route.  The result is a piece which will incite some controversey, but at the very least is compellingly fresh and original.  Here, we have very much a story about different worlds.  There is the world of the relationship between Emily and David, where an instant spark quickly leads to a deeply intense physical connection between the couple.  Then, there is the physical world itself which they look to escape from them but ultimately, and perhaps paradoxically, brings them closer together than ever before.  Finally, there is the sensual world between Emily and David.  It is here where the couple yearn to lose themselves and stay, escaping from the grim realities slowly ravaging society and which threaten to come between them.    The result is an absorbing romantic drama built around a series of intensely erotic love scenes.  These surely will prove controversial for some, but one can’t overlook the courageousness of Romeo and Leotta’s performances; all their scenes together, intimately and not, are extremely authentic and the various worlds of the story crafted by Follmer are always believable and compelling.  It’s also a credit to the skills of Romeo and Leotta that we completely buy into their relationship and that we’re drawn into their world with them.   Yet, for all Little Deaths’ highly charged   eroticism, it is the scenes away from the bedroom which are the most effective.  Most notably, there is a harrowing moment where Emily and David witness a friend perilously ill in a church, later followed up with the powerful scene where David discovers his own fate.  Here, Leotta is heart-breaking.  It is the film’s best scene.   As Emily, Romeo’s performance is equally impressive.  As David is slowly eroded by his illness, Emily remains committed to their vow to seek ultimate pleasure.  Rather than succumbing to the disease, she instigates the idyllic alternative of the couple dying whilst making love.  Consequently, the film’s final sex scene cannot fail but to be underlined by an air of irony as Emily almost ruthlessly demands her desires at the expense of the ailing David – is this an act of pure love or selfish lust?  It makes for sensual yet, at the same time, uncomfortable viewing as Emily’s morality (intentional or not) sharply comes into question at this point.  It is a testament to the talents of Follmer, Romeo and Leotta that Little Deaths offers more than a string of meaningless sex scenes; there is a depth, ironic, and even haunting, quality to them.  And, indeed, to Follmer’s film as a whole. # LawrenceBennie