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

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

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

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

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

HOME | FILMS | REVIEWS Rocky Climbed a Mountain Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Mar 9, 2024 Directed by: James Rolfe Written by: James Rolfe Starring: James Rolfe, Derek Wayne Johnson The writer-director and Youtuber James Rolfe (video game and film reviewer) along with Derek Wayne Johnson talk to the audience about the detailed analysis of various film projects Rocky Iv to be specific. This gives film enthusiasts plenty of opportunities to learn from the various videos on his Youtube channel. The plot of the short film revolves around James Rolfe who attempts to find and climb the same mountain that Rocky Balboa (Sylvester Stallone) climbed and bravely conquers his quest to become strong enough to defeat the human monster Ivan Drago in Rocky IV in 1985. Rocky Climbed a Mountain begins with Rolfe showcasing the footage from an old video of all the Rocky films the most famous of all being the art museum steps and later talks about Rocky IV in which the protagonist climbs the mountain maintaining the interest of the audience in the narrative from the very start and tries to hold on to the audience engagement all through the running time of the film. The set design, colour palette, lighting, sound, dialogues, costume, hair, makeup, and props have been kept natural to give a sense of realism, relatability, and depth to the storyline to appreciate the amount of detailing James Rolfe wants to work with so that the viewers also share the same emotion with regards to Rocky IV and Sylvester Stallone after watching the documentary. James Rolfe in addition to direction and writing features in the documentary. The dedication and love for what he does is visible as he embarks on a trip which is elusive and dangerous in many ways. The voice modulation, body language, facial expressions, and eyes tell us about the ever-increasing intensity as we move forward with each twist and turn with the unfolding of the storyline. Derek Wayne Johnson is an editor by profession and a close friend of Rolfe who accompanies him in his mission of looking for real-life locations that match the shots taken in the movie Rocky IV. Johnson provides the desired emotional support and motivation to complete the trip successfully and achieve most of the predetermined goals. Rocky Climbed a Mountain talks about the ability to express the passion one has for a certain area of interest and to showcase the same with the work they do providing a certain degree of satisfaction and peace within. The documentary reiterates the importance of loved ones especially when combating a risky life-threatening situation in life. It highlights the emotional responsibility of a parent and a spouse one has to fullfil by coming back home safely every time. The cinematic piece teaches its audience that every human being is allowed to be emotionally vulnerable at times irrespective of gender. The creative piece also restates the value of time well spent with people who are important to us when we consider the temporary nature of life. To conclude I would like to say the documentary aptly works as a tribute to the senior actor Sylvester Stallone from James Rolfe and Derek Wayne Johnson with valuable life lessons incorporated in it. About the Film Critic Swati Verma Documentary < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Profiler Film Review average rating is 2 out of 5 Critic: Alasdair MacRae | Posted on: Jan 25, 2022 Directed by: Kundan Sad Written by: Chris Ossman Starring: Dr Sanjay Raghatate, Dr Piyush Wankhede Adapted from Chris Ossman’s short story, The Profiler concerns an out of control psychologist/executioner, or psychutioner, who enacts old-testament style torture upon a convicted serial killer. Drawn as a high concept horror-thriller, we find ourselves in the not too distant future, trapped in a dank room, with Dr Phillip McCleod (Dr Sanjay Raghatate) and his patient, serial killer Thomas Edwards (Dr Piyush Wankhede). Quickly the doctor succumbs to madness, (a trope horror still fondly embraces) and readily sets about re-enacting the serial killer’s murders, using the killer himself as the victim. He justifies like-for-like torture upon the death-row inmate as a practice that allows him to both understand his patient and to prepare him to “meet his maker”. This polished, monochromatic work readily draws comparisons to the Saw franchise, which also deals with irredeemable characters paying the price for their misdeeds by suffering cruel and ironic punishments. The arch voiceover instead relates more to the cult TV series 1000 Ways to Die, which again dispatches immoral people but with more overt humour. However, The Profiler has an agenda. It tries to articulate the crossing of the line between schadenfreude and sadism to convey the barbarism of capital punishment. Existing as a collaboration between a screenwriter in the US and a filmmaking team in India, this short spans two of the most populous countries in the world that still enforce capital punishment. Therefore creating a work of art that condemns the practice is a noble cause, but it isn’t hard to expose the hypocrisy of something so medieval. It takes either a unique or fully realised concept to capture an audience, and The Profiler falls flat in this department as it fails to deliver enough intrigue or substance in its ten-minute run-time. It would be hard to believe that this film makes a convincing enough argument to those that still agree with capital punishment, that they should instead condemn it. And for those of us who are already on-side, the text lacks a hook, there is no unique metaphor or well-crafted idea that troubles the mind after the credits have rolled. Fans of the sub-genre ill-fittingly labelled as torture porn may find something in this short, but it does little to differentiate itself in terms of concept. As an international film that condemns capital punishment, The Profiler should be commended, though it may have little to offer other than sentiment. About the Film Critic Alasdair MacRae World Cinema, Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Frederick Von Scholar's How-to Series Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 27, 2022 Directed by: Jim Allison Written by: Jim Allison Starring: Jason McCoy, Juan Carlos Hernandez, Ron Ogden A video that offers advice on how to make friends and also shows how these recommendations can go terribly wrong. This is basically a short animated comedy film that contains a list of ways in which people can be sociable and suggests how each can go downhill if they are utilised in the wrong situation. The film is narrated and each sociable approach is called a 'step', which is numbered and introduced with title cards, along with a text that reveals the actions that the viewer needs to take. Every title card is followed by a scene in which the same male animated character performs the adviced actions from the previous title card and unfortunately, he does so while in the wrong situations. For instance, one step is about wearing clothing that stands out when going to a social event and the character is seen wearing a wacky costume, while attending a funeral. The dark and adult humour focuses on how trying to be friendly can lead to negative results if it is done at the wrong place at the wrong time. The film is presented in a way that feels like it is been watched through an old film projector, with the image appearing damaged and scratched. This creative technique makes the viewing experience more interesting. Allison also worked on the animation and it looks great. Although most of the film operates as a structure that goes through a series of recommended actions for friendship, things change quite significantly towards the end. The two voice actors who provide the narration do a wonderful job as they describe each form of advice and there is even a part where one gets upset, leading to an awkward situation. As image is made to look like it is coming from an old film projector, there are sound effects that add to this idea, by making noises here and there and making the voices sound poorly at certain points. The music that was developed by Martinet A. Sunshi is amusing and accompanies the images appropriately. This short offers approximately four minutes of entertainment. The most amusing parts are the ones with the characters, however, the film never loses its ability to have the viewer's attention and for those looking for a good laugh, they will probably be satisfied with this. About the Film Critic Jason Knight Short Film, Animation < All Reviews Next Film Review >

HOME | FILMS | REVIEWS I Don't Know Where, but Together Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Sep 28, 2021 Directed by: Luca Finotti Written by: Luca Finotti Starring: Federico Cesari, Francesco Cicconetti, Naomi Oke Fashion, colour and vibrancy are the themes that summarise I Don’t Know Where, But Together (Non So Dove, Ma Insieme) , an Italian production from the fashion viral-video director Luca Finotti in a collaboration with Italian label MSGM. The short commercial film is filled with enthusiasm and optimism, and very much a product of its time following a brutal and difficult year. The youthful cast venture around the sunny streets of Milan making the most of their freedom, whilst of course decked out in the latest outfits curated by the fashion brand funding the whole venture. Relationships are established and teased throughout, as the 6 friends converge on a late-night outdoor party. Whilst I Don’t Know Where, But Together is clearly a commercial film designed to advertise the products of the MSGM fashion label, it at least features a creative storyline and striking cinematography that makes it a succulent, sugar-rush of a watch. Perhaps vivacious production was to be expected given the purpose of the film, and it being a creation of fashion-video specialist Luca Finotti – but it makes a welcome shift from the overly pretentious melodramatic style the genre is known for. Rather than present an unobtainable standard that works to entice viewers through desire to be a part of something exclusionary, the diverse and carefree group presented will remind audiences of their own loves and friendships – eliciting positivity and enthusiasm. The film imitates pop music videos – to such a degree viewers would be forgiven for wondering whether this was the pieces’ actual purpose. The synchronisation of music and imagery works in the film’s favour, effectively amplifying the sense of fun and excitement the film exudes. No dialogue is featured in the piece, with Finotti instead allowing his cast to tell their story through emotions and actions alone – a wise choice considering his casting call went out over Instagram and intentionally focused on non-actors. Ultimately the film is limited in that it is primarily an advert for a brand, and whilst clearly creative and original, is ultimately designed to sell clothes. The values it presents are progressive, inclusive and positive – but you can’t shake the feeling that they would be cast aside in a second for MSGM to add a zero onto their bank balance. You can’t blame Finotti, the cast, or the label to be fair to them, for commercialism. But not matter how enthusiastic or hopeful the film, there’ll always be a hint of cynicism where big money is involved. About the Film Critic Patrick Foley Short Film, Digital / DVD Release, LGBTQ+, 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 The Andes: 50 years Later Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Feb 25, 2022 Directed by: Chris McNaughton Written by: Chris McNaughton Starring: Eduardo Strauch The backdrop and title of the short film chosen by the director Chris Mcnaughton get the film to right away appeal to the emotions of the masses. The opening sequence of the documentary has a message about the importance of love. In the very first shot, the camera tracks the museum to flush the audience with memories of the 1972 real-life incident. The use of the projector to showcase the old photos of the people who were present at the time transports the viewers to the same timeline. The musical track by Simon Daum and Yo Yo Ma complements the theme of the short film and assists the makers to bring out the range of emotions all of the people involved are feeling. The storyline of the cinematic piece is based on a true event. The plane carrying a rugby team from Montevideo Uruguay crashed into the high Andes Mountain. The film tells the extra- ordinary tale of the 16 survivors beating all the natural hurdles for straight 72 days. These people who battled through all the terrifying circumstances and miraculous events deserved to be remembered and document their struggles so that the audience gets to know about their bravery. The short film/documentary takes the form of a firsthand narration from one of 16 survivors- Eduardo Strauch. The use of a real survivor in the buildup of the narrative and the natural lighting in each frame of the movie and newspaper article in the museum provides a sense of realism to the documentary. The introduction and voice modulation of Eduardo Strauch highlights the pain, struggle, conflict and, misery. It is very difficult to relive the tormenting experience again and again. Eduardo is brave to do so and share his experience with us through this beautiful film. The camera-man manages to capture the magnificent landscape of the sight of the crash. The beautiful location chosen for the shooting of the movie by the cast and crew is a great choice so that they enjoy the picturesque view while absorbing the moving storyline of the cinematic piece. The makers also showcase the model of the planes used in 1972 with the help of the old clips available to them. This was done so that the topic of the movie becomes relatable to the audience and they don’t get bored with the historical event the film sheds light on. The documentary reminds us of a few very important life lessons that we tend to forget/ take for granted. It tells how crucial it is to be adaptive to the given situation. The film also reiterates the importance of nature, the presence of love in one's life, and the power of the human mind. Both love and the mind become critical factors for pushing oneself towards survival. It also teaches us that looking for happiness in consumerism rather than within oneself is the wrong way and then blaming the world for the mindset isn’t right. The short film gives out even the minute details of the real life plane crash giving importance to continuity in the creative piece so that the audience knows all about heroic tale of the event. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

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