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  • Latest Film Reviews | UK Film Review

    Reviews from the latest movies, short films, indie features and more. Check out the UK Film Review Reviews section. Latest Film Reviews The latest movie reviews from UK film critics, this is the page to find the newest reviews from our team. The UK Film Review critics are assembled from around the globe, covering all types of movies. Whether these are movie reviews for films currently in UK cinemas (or even globally) or for films on streaming sites such as Netflix, Prime Video or Disney Plus, we cover them all. On this page you will also find the latest film reviews for indie and short films from the UK and around the world. Every month, UK Film Review receives a large selection of submissions from filmmakers requesting us to watch their independently made film and review it. We treat all movies the same and our reviews are never (ever) paid for! We do receive payment from PR companies and other filmmakers for services such as promoting their film, or skipping to queue, but this has nothing to do with the movie review itself. Whilst you will see our latest movie reviews here you should also follow UK Film Review on our social media profiles, as well as subscribe to our popular film podcast. This will help you stay up-to-date with the latest releases, as well as the goings-on from our community of film lovers and critics. average rating is 3 out of 5 Longing for Iran: The Tehran Diary Read Review average rating is 4 out of 5 White Crow Read Review average rating is 3 out of 5 Urban Vengeance Read Review average rating is 3 out of 5 Protanopia Read Review average rating is 4 out of 5 What No One Knows Read Review average rating is 2 out of 5 Whenever I'm Alone With You Read Review average rating is 3 out of 5 This Sucks Read Review average rating is 2 out of 5 A Party for Karl Marx Read Review average rating is 3 out of 5 1 Degré de Séparation Read Review average rating is 4 out of 5 The Seed of the Sacred Fig Read Review average rating is 4 out of 5 Companion Read Review average rating is 2 out of 5 The Company Called Glitch That Nobody and Everybody Wanted Read Review average rating is 4 out of 5 Reunion Read Review average rating is 3 out of 5 Lucia & Nicole Read Review average rating is 4 out of 5 A Ticket To Paradise Read Review average rating is 3 out of 5 Vigilant Read Review average rating is 4 out of 5 Marion Read Review average rating is 4 out of 5 It Feels Good Read Review average rating is 2 out of 5 An Unnerving Realisation Read Review average rating is 3 out of 5 Grafted Read Review average rating is 4 out of 5 Baggage Read Review average rating is 3 out of 5 Guide To Country Roads II New Crossings Read Review average rating is 4 out of 5 The Girl with the Needle Read Review average rating is 4 out of 5 The Sin-Eater Read Review average rating is 2 out of 5 Renters: The Holiday Special Read Review average rating is 4 out of 5 Arranged Love Read Review average rating is 3 out of 5 Wolf Man Read Review average rating is 4 out of 5 The Brutalist Read Review average rating is 3 out of 5 The Revolt of the Bovine Read Review average rating is 4 out of 5 Hard Truths Read Review average rating is 3 out of 5 The Room Next Door Read Review average rating is 3 out of 5 Learning Is Fun Read Review average rating is 4 out of 5 La Cocina Read Review average rating is 4 out of 5 Nickel Boys Read Review average rating is 4 out of 5 Blood for Dust Read Review average rating is 4 out of 5 Hobby Hustle Read Review average rating is 4 out of 5 Blood is Thicker Read Review average rating is 4 out of 5 Dead Cat Film Read Review average rating is 4 out of 5 Vermiglio Read Review average rating is 1 out of 5 The SnowRaven Chronicles: The Hive Read Review average rating is 4 out of 5 Baked Beans Read Review average rating is 3 out of 5 Birdeater Read Review average rating is 4 out of 5 The Last Showgirl Read Review average rating is 4 out of 5 X_X Read Review average rating is 3 out of 5 Street Trash Read Review average rating is 4 out of 5 Give Me Your Hand Read Review average rating is 4 out of 5 Off Grid Read Review average rating is 4 out of 5 The Count of Monte Cristo Read Review average rating is 4 out of 5 The Damned Read Review average rating is 5 out of 5 All My Life Read Review average rating is 3 out of 5 Rainsford University Read Review average rating is 3 out of 5 When Timothy Met Rooster Read Review average rating is 4 out of 5 The Fire Inside Read Review average rating is 4 out of 5 A Complete Unknown Read Review average rating is 4 out of 5 Babygirl Read Review average rating is 1 out of 5 Renters Read Review average rating is 3 out of 5 Guide to Country Roads: The Holiday Special Read Review average rating is 2 out of 5 Dion & Anto Go To A Gender Reveal Party Read Review average rating is 3 out of 5 Mufasa: The Lion King Read Review average rating is 3 out of 5 Wallace & Gromit: Vengeance Most Fowl Read Review average rating is 4 out of 5 Nocturnes Read Review average rating is 3 out of 5 Chasing Euphoria Read Review average rating is 4 out of 5 Ronnie California: The King of Artesia Read Review average rating is 3 out of 5 What I Think Of You Read Review average rating is 2 out of 5 Close Read Review average rating is 3 out of 5 Numbered Lives Read Review average rating is 3 out of 5 The End Read Review average rating is 4 out of 5 September 5 Read Review average rating is 4 out of 5 Scrap Read Review average rating is 5 out of 5 Rhino Man Read Review average rating is 2 out of 5 Kraven the Hunter Read Review average rating is 3 out of 5 Oh, Canada Read Review average rating is 5 out of 5 Largo Read Review average rating is 3 out of 5 Queer Read Review average rating is 4 out of 5 The Castle of Baron Finch Read Review average rating is 3 out of 5 I Could Dom Read Review average rating is 3 out of 5 The Man in the White Van Read Review average rating is 5 out of 5 Nosferatu Read Review average rating is 4 out of 5 The 21 Read Review average rating is 5 out of 5 Motel Room Read Review average rating is 3 out of 5 The Emerald Wasp Read Review average rating is 4 out of 5 Weightless Words Read Review average rating is 3 out of 5 Blurred Lines (2024) Read Review average rating is 3 out of 5 Nightbitch Read Review average rating is 4 out of 5 Flow Read Review average rating is 3 out of 5 Werewolves Read Review average rating is 4 out of 5 I'll Be Frank Read Review average rating is 3 out of 5 Get Away Read Review average rating is 5 out of 5 The Last Ranger Read Review average rating is 3 out of 5 Y2K Read Review average rating is 3 out of 5 Peace Process Read Review average rating is 3 out of 5 Bull Street Read Review average rating is 3 out of 5 That Christmas Read Review average rating is 4 out of 5 Perform Read Review average rating is 3 out of 5 Lost Love Read Review average rating is 3 out of 5 Walnuts Read Review average rating is 3 out of 5 Til Your Last Breath Read Review average rating is 3 out of 5 Maria Read Review average rating is 3 out of 5 Freelance Read Review average rating is 4 out of 5 Farewell Read Review

  • Music Video Reviews | UK Film Review

    Read music video reviews by film critics at UK Film Review. Submit your music video for review by clicking Get Reviewed at the top of the website. Music Video Reviews One of the most exciting sub-genres our critics review is music videos. They are often incredible pieces of storytelling, either in their own right or aligned with the song playing over them. On this page you will find a great selection of music video reviews from the team of critics at UK Film Review. If you are a filmmaker or artist who would like us to review your music video, submit your film here . When it comes to reviewing a music video, the process differs slightly from perhaps a narrative short film or documentary. The music has to be explored far more intimately than if it were a soundtrack because that's where the story originates from rather than being added further down the line. Music videos do conform to genres but these are often musical genres rather than film categories, for example pop, folk, rock, rap etc. So this will also influence the music video review our critics write because the target audience is going to be considered. Music videos may take a variety of forms or even combine different aspects to create a different effect on the viewer. For example, it is common for a music video to contain a small narrative, as well as live performance footage. Top filmmakers making music videos will be able to immerse you into the song and story without leaving you feeling like you have just watched a promo piece. Choreography is also a common trait in music videos, with dance sequences and flash mobs recurring - often in pop music videos. Editors of music videos will have their work cut out to ensure the choreography looks tight and engaging without it feeling staged or lifeless. Hopefully the array of music video reviews you see below will include some gems for you to peruse. Don't forget to scroll to the bottom of the article, as we often include the actual music video so you can watch it for yourself. It Feels Good Jason Knight All My Life Jason Knight Unspoken by LT Jason Knight A-Train: New Beginnings Jason Knight The Dragonborn Comes-Main Theme Jason Knight The Panharmonion Chronicles: Times of London Patrick Foley Lost All Care Joe Beck Everything Will Dissolve in the Void James Learoyd Rooftop Screamers Joe Beck alexjames96 Jun 6, 2024 2 min read Ain’t my Vibe Short Music Video Review alexjames96 Mar 17, 2024 2 min read Cinerama (Music Video) Short Film Review alexjames96 Dec 19, 2023 2 min read Homecoming (Music Video) Short Film Review alexjames96 Nov 16, 2023 2 min read Sheep F-cked In the Head Short Film Review Theo Aug 1, 2022 2 min read Service for The King short film review Chris Olson Sep 28, 2021 2 min read Stroke Code Music Video Review More Film Reviews

  • Latest Short Film Reviews | UK Film Review

    Read the latest short film reviews at UK Film Review. Our house critics give reviews to short films from across the world submitted by independent filmmakers. Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. 1 Degré de Séparation French short 1 Degré de Séparation packs an emotional punch. Set a little-known French law that permits posthumous marriage, it explores the complexity of emotions experienced by those who go through with such an arrangement. What may have otherwise been a straightforward tear-jerker actually considers more difficult and realistic journeys that partners go through following the loss of a lover. The film follows Victoria (Lauriane Gillieron) on her wedding day. Already dressed in white, she tries to navigate final preparations whilst kids and family members circumnavigate her. A strange tension in the air and fraught conversations suggest there is an underlying schism in her upcoming nuptials. But the reality of her marriage-to-be and the hesitancy that surrounds the event is revealed to be something all the more tragic. Undying love is at the heart of 1 Degré de Séparation, with a closing message dedicating the short to those who are left behind. The conclusion is a bittersweet but touching moment in which Victoria realises the importance of her decision and attains a sense of peach – movingly and powerfully captured by Lauriane Gillieron. In this sense the film is something of a tribute to the obscure and unusual law in France that permits posthumous unions – one that provides comfort and finality to the bereaved. There are moments of drama in the lead-up to the ceremony relating to family heirlooms, much of which however feel like more of a preamble in place to add a dramatic edge. Running at a crisp ten minutes, the film doesn’t really delve too far into the more ethical, moral or practical questions around the law. Granted this may not be the purpose, but given that the filmmakers are clearly happy to raise some questions around Victoria’s decision it feels like a missed opportunity to take on any critics who may stand in opposition to the legal function, or who have questions about how such marriages can work once the credits roll. Much of this is a result of wanting to maintain the surprise ending of the film – a dramatic conclusion for sure, but one that perhaps undermines the actual purpose of the short. 1 Degré de Séparation is surprisingly engaging and does avoid some of the soppier pitfalls that a film addressing spousal loss may have encountered. Some of its storytelling however is a little confusing and it elects not to tackle certain ethical aspects of its subject. VIEW REVIEW Reunion Atmospheric horror short Reunion is a twisted take on the fractured family dynamic, one in which a son out for inheritance ahead of reconciliation gets more than he bargains for. Sean (Patrick Thomas Kovacs) arranges a reunion with his father Robert (Brett Bickley). Already feeling the strain of a tumultuous relationship with his wife Lydia (Erika Herbert), Sean hopes to acquire his father’s inheritance money to enhance his own wealth. But his selfish nature blinds him to the consequences of his own actions. The transformation of their relationship becomes evident to Sean, but a literal transformation shocks him even more… Reunion is at its core an intense family drama, with a solid coat of werewolf paint to dial up the horror. Gothic and moody in its setting, Sean’s harsh and uncaring nature is matched by that of the world he inhabits. It is classic horror with a capital ‘c’, echoing the typical stylings of the genre. Director Mark Lakatos ability to implant the modern with gothic elements is impressive, and whilst the locations are not the most thrilling, a bubbling sinister undercurrent is what provides the horror with momentum. The visual effects that realise the wolf itself are a triumph considering the film’s smaller budget. Audiences will feel the rotten breath and saliva-spittle from the gruesome jaws as they approach Sean. Whilst the transformation itself is largely omitted, the filmmakers make full use of less being more, and the pre-built tension emerging in the pivotal scene means one’s imagination paints a vivid picture – as does Kovacs’ terrified response. A dynamic opening animated sequence further illuminates the short, linking the film into the occult and historical portrayals of wolves throughout history and the terror they pose for all humankind. Patrick Thomas Kovacs is a ruthless and uncaring Sean – a man with little in the way of redeeming qualities who finds himself at the mercy of the otherworldly transformation of his father. Kovacs brilliantly captures the nature of the manipulator, with viewers invited to ponder on the nature of his relationships with those around him. Brett Bickley as father Robert delivers some ominous soliloquies and aplomb, though the film does feel a little unimaginative at moments that linger with his character. The dialogue in some of these sequences leaves a little to be desired – and whilst scary-sounding doesn’t always progress the narrative in a way that feels necessary. Reunion is a film unafraid to hold the old faithful techniques of horror close to its heart. It as accomplishment to feel modern and classic simultaneously, and whilst there are occasional cracks in its dialogue or narrative that leads to confusion these are few and far between. This short is a frightful, intense and considered chiller, one that will leave a bite-sized mark. VIEW REVIEW Lucia & Nicole When Lucia (Suarez) discovers her childhood friend Nicole (Levis) living on the streets because her mother has forced her out of the house after Nicole’s coming out, Lucia’s mother Ximena (Nichols) allows Nicole to stay with them for the time being. However, Nicole’s re-appearance into their lives brings about questions and indeed realisations as to her own daughter’s identity and the truth behind her relationship with Nicole. Lucia and Nicole offers a welcome addition to queer cinema that focuses not primarily on the intricacies of a specific relationship, but rather on how those who orbit that relationship come to face truths that they had previously hidden from themselves, as well as the way they choose to move forward thereafter. So, while Lucia and Nicole may be the titular characters, and of course, the story does get across the depth of their relationship to a degree, here it’s Ximena as the heedful mother that pulls the narrative focus, as the film looks to explore the idea of acceptance, of choosing love over all else. There isn’t much of a deep dive into the backstory of everything going on here, but given that Lucia and Nicole ’s mission is to tell the story of the now and after rather than the before of these character’s lives, that’s completely fine. It’s quite a lean, subdued film, with not many bells and whistles or heavy drama going on here, but its directness means that its message and sentiment can cut through clear as day. It moves to show that despite perhaps evolving and growing acceptance of individuality, situations such as Nicole’s are still commonplace, and the repercussions of that lack of acceptance can destroy lives and relationships irreparably. We learn throughout the film’s ten minutes everything we need to to make the narrative take complete shape in our heads, having been granted a short window into these people’s lives which writer/director Marlene Emilia Rios makes sure is more than enough to connect, understand and at the end, hope nothing for the best for these characters going forward, an impressive achievement in such a short time frame. Was Ximena indeed so unaware of the true nature of Lucia and Nicole’s relationship, or is a certain sense of denial simply eroding away? The film leaves it unclear, but its real aim is to show that Ximena now in fact faces a pivotal moment in how to proceed. It’s a short filled with poignancy and message, brought to life through concise yet powerful storytelling and a dependable cast bringing it all home. A quite contained and minimal short, but nonetheless succinct and affecting as it achieves what it sets out to do, Lucia and Nicole is a wonderful addition to queer cinema. VIEW REVIEW A Ticket To Paradise In Pakistan a young man wins tickets to Medina on a gameshow, which he hopes to use to fulfil his parents’ lifelong dream of completing the pilgrimage of Umrah. Siraj has struck it lucky. He has entered a television gameshow and won two tickets to Medina as a result. Siraj thinks that he can finally give his parents what they have always wanted, a way to conduct the pilgrimage of Umrah, by giving them the tickets and sending them on their merry way without the crippling cost which would normally be involved. There’s only one problem – Siraj and his family are considered ‘illegal’, and as such have no identity cards or passports, nor do they have any way of obtaining them. In his hurry to provide for his parents, Siraj solicits advice from his best friend Saleem, who tells him of a forger that could help out with the document situation. This, however, will elicit an enormous cost in and of itself, and so Siraj must go cap in hand to his boss to ask for the money to pay for this service. His boss, a shrewd but not unkind man, offers to help, but in return he asks for Siraj’s ‘ancestral’ boat as collateral. The boat has sat in the harbour for a long time without being taken to sea, as it used to belong to his brother who was lost on the waves years before. Nobody in the family is happy about this idea, but Siraj sees it as the only way to give his parents what they want, and can’t see the point in letting the boat rot away without anyone to sail in her. As Siraj weighs up the cost of his parents’ spiritual salvation, and what the family may lose in return, he must search his own conscience and test his own faith to decide what he holds most dear. Director and co-writer Awais Hameed helps us through Siraj’s story, mixing between interior shots of the family home and open seascape down by the harbour. Siraj’s life certainly seems pulled in two directions, and Hameed shows us some good scenes with some quality photography in both sections. Getting into the story of Siraj’s situation is easy, and his continued motivation, even in the face of obvious tragedy, carries the engagement of the audience all the way to the end. At seventeen-minutes, A Ticket To Paradise takes the time to tell it’s story properly. There’s enough space for all the necessary relationships and conversations to have meaning, and there’s some nice cinematography along the way. On the surface, A Ticket To Paradise may seem to have some basic motivations and archetypal conflict, but underneath the simplistic narrative lies some powerful imagery as well as a deeper message which really comes through in how the story turns out. There’s a little more than meets the eye at first glance, and if you decide to buy A Ticket To Paradise , you’ll find a genuine film which tries to deliver on what it promises. VIEW REVIEW Vigilant Philip Brocklehurst seems to be a rather prolific creative voice in the world of both short films and literature; a director whose style – if his latest picture is anything to go by – is defined by its maximalist visuals. Despite its short runtime of four minutes Vigilant is not particularly watchable, nor is it pleasant. That’s fine. Clearly, we’re to view the film more as a piece of visual art over anything meant for ‘entertainment’. This immediate realisation on the part of the viewer gets to the heart of the filmmaker as a provocateur. However – even with artistic intent in mind – the audience may very well be left wondering what, if anything, we're meant to take away from the experience. It’s an angry-feeling movie, meant to disturb and provoke. But then again, one questions whether the loud noises and upsetting images are really worth it; and does this film have anything to say beyond the surface-level Taxi Driver pastiche? The movie depicts a series of criminals committing terrible acts within isolated vignettes, leading to our protagonist (portrayed by the film’s director) then committing the terrible act of murdering all of those people. It’s a lot of misery and chaos. Stylistically fragmentary, the film was shot during Covid lockdown – meaning that different actors shot their own scenes with the resources they had available. This is, in fact, one of the more endearing aspects of the movie. One enjoys the feeling that the collaborative aspect of the filmmaking process has been maintained, even despite the clear limitations. And then, additionally, the fact that Brocklehurst has edited it together to give the impression of an ensemble, lends the short a pleasing hand-made quality. Of course, the negative side of this is the filmic inconsistencies, yet I’m far more inclined to admire the ambition than to criticise the results. From an editorial standpoint, this is incredibly experimental work. To their credit, the filmmaker demonstrates a clear and aggressively expressive authorial voice through the formal techniques in play – with the quick, psychologically disruptive cutting being the primary example of the film expressing its ambition through the technical over the thematic. It’s really exciting to see someone use the fluidity, and inherent unpleasantness, of digital cinema to make a truly assaultive viewing experience. The camerawork, while sort of muddy and occasionally flat-looking, is dynamic enough in its movement and energy to impress the eye. And the digitalness of the cinematography also complements the icky, underground atmosphere which the film manages to manifest. The trouble comes with the intentionality of the work; many will find its messaging to be reductive, and not all that nuanced. While the filmmaking is delving into fabulously audacious territory, the narrative – that of a tortured, misguided man going out and murdering criminals – frankly doesn’t hold the same intrigue as it did in 1976. And if you’re trying to explore that sort of territory today, even discounting the distressing reminders of real-life crimes being committed in the world, I’d still like the movie to give me more of a reason as to why we’re witnessing this. It should be thematically thought-provoking; but instead, it remains only aesthetically stimulating – yet this is still in itself an achievement. VIEW REVIEW Marion Putting aside my bleeding-heart feelings towards bullfighting, the story of Marion, a female Matador navigating misogyny along with the bovines is a heart-filled and heart-pounding short with some stunning cinematography and direction from Joe Weiland and Finn Constantine. The titular Marion (Caroline Nogues-Larbere) is the sole woman in a French bull-jumping troupe. The recipient of disdain and discrimination from her teammates behind her back, she feels pressure to fit in and prove herself to those around her. Preparing herself for her performance in the face of this is difficult – and made more difficult by the appearance of her daughter Emilie (Chloe Bugard). Her moment in the spotlight comes around, but the inherent dangers of the bullring mean even the slightest distraction comes with immense risk... The toxic influence of sexism runs through Marion from its opening moments. Overhearing her supposed teammates dismissing her abilities and contemplating abandoning her in the ring infiltrates Marion’s preparation from the film’s opening. This isolation from the rest of the group ends up leading to a potentially reckless decision – but one she feels obliged to take. Despite playing by their rules and customs, and letting such comments wash over her, Marion’s presence alone seems enough to cause a problem for the others. It is a powerful representation of how such attitudes are rarely the fault of the victim, but often lead to consequences for them above those who inflict them. The arena sequences in the film are stunning (and violence free – if anyone was worried). The bull-jumping acrobatics display the incredible athleticism of the ecarteurs, and make clear the risks they take when stepping into the arena with a charging bull. The slow-motion conclusion involving Marion is the highlight of this, a genuinely brilliant piece of filmmaking to capture such a risky manoeuvre that maintains the artistry of the short. Audiences will feel their own vision slow to the pace of the film as the horns of the bull spell disaster. Caroline Nogues-Larbere draws on raw experiences of misogyny and judgement to deliver a powerful central performance. Stony-faced and unshaken in the locker room and determined in the ring, her emotions flow in scenes with daughter Emilie. With bravery already required for the sport, standing firm in the face of those around her is the real challenge. The small vulnerabilities we see make the overcoming of this all the more satisfying. Marion may not reinvent films that take on sexism and misogyny in male-dominated worlds, but set in an original world and built from an authentic floor on upwards mean this short is gripping, insightful and underlined with an unexpected visceral danger. VIEW REVIEW It Feels Good Time for singing, dancing and feeling good. An entertaining music video directed by Ca$hus Music, written by Ca$hus Music and Nov@ and starring Nov@. What is there to see in this video then? A young male singer sings a pop song and the film constantly alternates between three settings, with the singer constantly present. The three locations are a music stage, a darkened room and a car park. The singer signs the song in each location, accompanied by musicians and dancers. To be more specific, on the music stage, he is joined by a band whose members play a variety of instruments, including a keyboard, a guitar and drums, while in the darkened room and the car park, he is with two female dancers. This video looks good and sounds good. With creative editing, the film moves from one setting to the next, with the song accompanying all the way through. Wearing shades and either a red jacker (music stage) or a white T-shirt and camouflage trousers (car park, darkened room), he looks quite cool as he sings and so do the others, be it the dancers with their great moves or the band cheerfully performing. The filmmakers make the viewing experience more exciting by occasionally adding slow motion, fast motion and some special effects. What about the song? With lyrics that involve dancing and having a good time, it is a joy to the ears and when the rapping arrives, it gets even more groovy. Are there any ways in which this video could had been better? Visually and audibly the film is a pleasure to experience, therefore it would be fair to state that nothing more was required. Or maybe a negative aspect would be that the video ends. Focusing on the performers now, unsurprisingly, it is the singer who is the centre of the show, singing with excitement while looking into the camera and executing some cool dance moves. Then, there are the two dancers who show their nice dancing skills throughout and finally the band members who joyfully play music. Everyone in this video appears to be having a great time. Regading the themes, dancing is obviously a main one, whether it is through the song's lyrics or the actual dancing. The song and the video in general are about dancing and being content, about being entertained through dancing. A three-and-a-half-minute-long music video about feeling good and dancing. The song is enjoyable and the dancing is rather cool. A video that makes people feel good. VIEW REVIEW An Unnerving Realisation While looking back at photos of his younger self with his parents before dinner, Nicholas begins to question why these photos only show him from a certain age. Where are all the pictures from before, when he was born or his years as a baby? His parents reassure him as best they can with their explanations, but Nicholas soon discovers a darker and more sinister reason. A film that centers around the idea of a dark and long–kept family secret coming to light should be fertile ground for any compelling short, but An Unnerving Realisation unfortunately misses the mark in telling a meaningful story. Technically, the film has no real issues, and the direction really is the aspect that gives the film and its plot that bit more oomph. There are a couple of moments where the film flips from landscape to portrait and back again, which in context is an understandable creative choice to accentuate a POV perspective and there are some other interesting camera angles and tricks implemented too. But it’s not enough to redeem a lack of polish, depth, and context in the film’s story. While the secret at hand is eventually revealed, the context and burning questions behind it all remain frustratingly unclear, unanswered and the whole thing is left ultimately, unresolved. Who were these people before this shocking event, what drove it all to happen and who are they now? None of this is ever offered up by the film or even the characters themselves, not by their conversations, their actions, or even their expressions, resulting in a trio of one-dimensional characters it’s hard to get invested in and with too many lingering questions left unsettled. The performances themselves are hard to comment on, mostly because as mentioned, the actors themselves have very little to be working with to make any kind of impact. Kiely, who actually had the biggest potential to be the most interesting character of the three given the nature of the reveal, instead contributes the least due to his father character essentially being confined to almost exclusively sitting at the dinner table scrolling through his phone, occasionally glancing upwards to make sure the other two are still there. Lynch has a bit more to do, pulling off the worried yet loving mother look in her interactions with Nicholas, with a knowing exchange between the two at the end. Joseph gets the most to do understandably and performs the part well enough despite this role also being fairly limited, but manages to get the emotion across just right in the film's one key moment. It all ends without any real resolution or consequence meaning that while this realisation might be unnerving for Nicholas, for the viewer it’s more of an underwhelming one. VIEW REVIEW Baggage A short drama written and directed by Titus Upputuru and starring himself along with Raoul Amaar Abbas and Prashant Sugandha. The setting is a fancy restaurant and a young waiter (Sugandha) notices a man (Upputuru) sitting by himself at a table and looking upset. He asks his colleague (Abbas) if he knows what is going on. His colleague explains that years ago that man found himself standed on an island with his five-year-old son. One day, his child went missing and he could not find him. Eventually, he was rescued and returned home without his boy. A terrible realisation involving his time on the island caused him to come to that same restaurant every year, order a seagull sandwich and cry uncontrollably. A very dramatic and sad story about the aftermath of a devastating tragedy. Although the plot is distressing and unsettling, it certainly catches the viewer's attention and makes them understand why the man in the restaurant is so miserable. And the misery that he feels is expressed very vividly thanks to Upputuru's performance, which will be analysed later. Adding to the dramatic atmosphere is Hanif Shaikh's melancholic and beautiful music that includes poignant piano melodies and the gloomy cinematography by Abbas and Bhumanyu Nehra. It should be mentioned that the plot of this film evolves around an unspeakable occurrence involving a child and some viewers might find that quite upsetting. Upputuru's perfomance is essential in order for this short to be dramatic and he nails it. The story begins with him at the restaurant, feeling depressed and then the atmosphere changes, with him behaving awkwardly, revealing that he is developing mental disorders and Upputuru is very convincing as he, in some ways, portrays two different characters, one being a man who is torn apart by the loss of his child (and not just that) and the other a man who appears to have lost touch with reality. And Abbas and Sugandha play their part well in their supporting roles. Although this film has a duration of less than three minutes, it deals with very heavy themes. Initially, the story deals primarily with loss, the loss of an offspring and the effects that has on a person such as grief and sadness. These feelings are explored through Upputuru's character and so are feelings of guilt and trauma. As the story progresses and reveals another side of the protagonist's tormented mind, other subjects are brought to light that involve mental health, particularly disconnection from reality and finding joy in one's imagination. A sad story about a sad man. This short is a commentary about loss and mental health and it is strongly supported by Upputuru's performance and the remarkable score. VIEW REVIEW Guide To Country Roads II New Crossings Guide To Country Roads II New Crossings is the latest entry in the bizarre, occasionally amusing, but mostly infantile series. This one follows the character of Timothy (Dion Kelly), once again – but this time, he’s learning to drive. His driving instructor (Aaron Medd, also the narrator of the piece) poses some kind of abstract threat to the learner. The story takes its conventionally absurd twists and turns, leading to Timothy and his instructor getting drunk at a bar. Clocking in at only three minutes, this is a comedy sketch which leans into the low-budget aesthetic and vulgar approach which has defined previous entries. The most effective moment of comedy – and visual storytelling, for that matter – comes when the narrator starts talking about the Russian Revolution. We, as the audience, get a short lesson in political history, as relevant historic photographs flash on screen (as if in a documentary). The reason for this tangent is completely inexplicable, and that is the point. The humour comes from the dedication shown to this joke, but also from the dedication shown to the style. For a moment, Boland manages to authentically replicate the tone and pace of a doc – an adherence to form and structure which one would hope the rest of the movie reflected. On the other hand, arguably the worst characteristic of the film is the fact that the majority of shots are out of focus. This could easily have been prevented; but the fact that this flaw is so prevalent throughout the short runtime leads one to believe that it’s a purposeful creative choice. For instance, you could view it as a formal representation of the characters’ drunken state. But then again, this doesn’t account for the sober opening minute of the picture. A positive element of the cinematography, however, is the use of black and white as a consistent aesthetic – apt for a film containing narration with an almost ‘how to’ sound to it. It’s also slightly more interesting to the eye, and easier explained as a stylistic decision which suits the independent feel. This group of aspiring filmmakers demonstrate a clear drive to be producing comedy on a regular basis. It’s incredibly commendable to follow through with a creative idea, and put it out there for the world to see; however, more attention should be paid to the technical side of production. I would never suggest changing their style of humour, because – whilst it won’t be for everybody, or even most – it's certainly the group’s most unique asset. But no matter what, the shots should look a little nicer. It only takes a moment to put the camera in focus (although I am relieved to see them not using auto-focus as so many student filmmakers do). And, perhaps, if the filmmakers could consider the lighting in their scenes, and aspire to create further depth in their images, these videos could be entirely successful. To the talented people making these movies, I recommend they keep at it, study cinema, and maintain what’s special about their particular comic sensibility. VIEW REVIEW

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  • Filmmaker Interview with Will Hawkes

    Interview by Chris Olson Tell us a bit about your background, in particular some of the impressive acting credits you have. I had been acting for over a decade when, in 2015, I started to make the shift into writing/directing/producing. My family’s background is in public service and community development and although I was tremendously grateful for the acting roles I was able to play, I wanted a little more agency in what stories I was putting out into the world. I was also curious if I could use film to advocate for some of the ideas I thought were important. The short film The Last Ranger is your current project (which we love). Can you tell us your role in the movie and how it all came about? At the start of the pandemic, a fellow actor-turned-producer, Darwin Shaw, approached me about using the time during lockdown to work with other #filmmakers to tell stories about what was happening around the world at that time. We created an anthology series of 24 stories by 24 filmmakers around the world about systemic issues affecting their communities that were exacerbated by the social and cultural upheaval of the pandemic, called, When the World Stopped . We received over 100 scripts and have been developing stories with these amazing writers and it has turned into an incredible adventure around the world. Why did you want to be involved with this story? David Lee submitted a wonderful script from South Africa about game rangers protecting rhinos from poachers during lockdown. We thought it was essential for the series to have a story representing the point of view of one of the other non-human, sentient beings we share the planet with. We developed the story and were introduced to his sister Cindy Lee who happened to be a highly talented South African director. It all fell naturally into place. Also, how could we pass up the chance to shoot a film in a South African wildlife park with real rhinos, elephants, lions and other magnificent creatures roaming about? Getting to make a narrative, dramatic film with actors this up-close and intimate with these majestic animals was a once in a lifetime opportunity. What were the challenges getting it made? Obviously shooting with kids and animals is always a huge challenge, let alone when those animals weigh 3 tons. The wildlife vets and rangers at the Amakhala Game Reserve where we shot the film, did a superb job of keeping us safe and teaching us how to interact with the marvelous animals. We were also supremely fortunate to have our brave and talented actors, who delivered such astonishing performances in this challenging environment. Our young star, Liyabona Mroqoza, was 11 years old and had never acted before. The performances she and Avumile Qongqo (who plays her ranger mentor) delivered are so full of emotional depth and understanding of the human spirit, I am utterly in awe every time I watch the film. How are audiences responding to the film? We started submitting The Last Ranger  to festivals last year, and pretty quickly we were getting to travel and share the film with audiences around the world. It’s been pretty special seeing the powerful reactions of audiences witnessing a story this up-close and personal with wild rhinos. We were fortunate to get a win at the Oscar-qualifying Pan African Film Festival  and after submitting to the academy, we got shortlisted in December. We find out on the 23rd if we make the final 5 nominees. Feels kinda surreal. What will you do if you win the Oscar? It feels wild even answering this question, but it would actually give us the chance to share the film with more people and to motivate them to take action to protect wild rhinos and to advocate for broader wildlife conservation. What’s next for you? While we are continuing to produce the remaining stories in the When the World Stopped anthology, we have created a non-profit called, Kindred Films, where we collaborate with charities aligned with the theme of each film to allow them to use it to raise funds and awareness from their supporters, and with educators to inspire the next generation to advocate for causes they care about. Where and when can people watch The Last Ranger? It will be playing next month online at the Manhattan Short festival where we you can also donate directly to the game reserve. We are aiming for it to become available as part of the When the World Stopped  anthology on a major steamer.  In the meantime, you can go to kindredfilms.org  to find out more about our mission and to arrange to privately screen The Last Ranger  for a charity or student group you think would benefit from the message. #ChrisOlson #FilmmakerInterview

  • BAFTA EE Rising Star Nominations 2025 Announced

    BAFTA have now officially announced their nominees for their prestigious EE Rising Star award, the only #BAFTA award voted for by the public which honours an emerging actor or actress who has demonstrated exceptional talent and begun to capture the imagination of the British public. Past winners have included the likes of James McAvoy, John Boyega, Letita Wright, Lashana Lynch, Daniel Kaluuya, Jack O’Connell and more. Now as the award enters its 20th year, let’s take a look at the nominees for 2025: Marisa Abela – Marisa Abela has starred in the BBC smash-hit financial thriller Industry as well as having even appeared in Greta Gerwig’s phenomenal Barbie, but has now fully stepped into the spotlight with her portrayal of the late Amy Winehouse in Sam Taylor-Johnson's Back to Black and will soon be starring in Steven Soderbergh’s upcoming spy thriller Black Bag alongside the likes of Cate Blanchett, Michael Fassbender and Regé-Jean Page. Jharrel Jerome – Having made his film debut in the Oscar-winning Moonlight, Jharrel Jerome recently starred in sports biopic Unstoppable, having already gone from strength to strength by starring in Stephen King adaptations such as Mr. Mercedes, lending their voice to both Spider-Man: Across the Spider-Verse and Spider-Man: Beyond the Spider-Verse, and starring in the highly-acclaimed Ava DuVernay Netflix series When They See Us. David Jonsson – Also with a key role in the ensemble behind BBC’s Industry, David Jonsson has impressed further with his performance in British romantic-comedy film Rye Lane, but most recently undertook a co-leading role as android as Andy in Fede Álvarez’s Alien: Romulus. Jonsson will also join the Stephen King universe in the upcoming Francis Lawrence adaption of King’s The Long Walk. Mikey Madison – Mikey Madison is no stranger to big things, having already had roles in Quentin Tarantino’s Once Upon a Time in Hollywood as well as the fifth instalment in the Scream franchise, but is currently scooping up awards and nominations everywhere for her portrayal as Anora "Ani" Mikheeva in the Palme d'Or winning, Sean Baker directed Anora and will soon be starring in the limited series, Lady in the Lake. Nabhaan Rizwan – Starring in such series as Informer, Station Eleven, and the greatly under-appreciated Netflix mythological comedy Kaos, Nabhaan Rizwan and their latest film In Camera have been getting rave reviews since premiering at the Karlovy Vary International Film Festival, and will also be starring in the upcoming drama series Dope Girls. You can vote for BAFTA’s EE Rising Star Award here .

  • Filmmaker Interview with Hsi Cheng

    Filmmaker Interview by Chris Olson Hi Hsi, thanks for speaking with us. For those who don't know you, please can you tell us a bit about you as a filmmaker? I am a writer, director, producer specializing in social documentaries, currently based in New York City. Growing up in Taiwan, I was deeply influenced by the diverse cultures that surrounded me, igniting my passion for storytelling. My work often delves into themes of identity, community, and resilience, reflecting my commitment to amplifying underrepresented voices. My documentary “ Find Me ” tells the poignant story of a human trafficking victim returning to my home country to find my birth family and reconnect with my identity. The film has received recognition at various film festivals, including DOC NYC and the Big Apple Film Festival, earning accolades for its emotional depth and cultural insights. In addition to documentaries, I also like to explore human emotion through narrative storytelling. My horror romantic drama, “I Heard a Fly Buzz,” examines the unrequited love between two women in the Victorian era. The original script won first place at the Annual School of Visual Arts writing program contest and was published in Match Factory Magazine in 2023. It has also been selected for the New York International Short Film Festival and the Odyssey Film Festival in 2024. My short film "The Balloons" (10mins) in 2022, a drama about grief and friendship, was selected to screen at the SVA's 2022 student film festival. "What's Wrong With Eliza" (10mins) is a drama short about a sugar baby's encounter with a client who was not who she thought he was. It is currently under post production. My Sci-fi TV pilot, A Ship Leans on The Beach (20 pages) was awarded in VII Youth Film Festival Golden Frame, and LA Under the Stars Film Festival. “Bad Faith” (4 mins), my experimental short, was selected in Progeny Short Film Festival and Lift-Off Filmmaker Sessions. Using my voice as a female director, I am dedicated to telling unique stories that would otherwise remain unheard—whether through fictional historical dramas or the real-life journeys of those navigating complex social issues. Despite coming from a culture where women in directing is a recent phenomenon, I like to embrace my background, infusing it into my body of work. My perspective has been shaped by my multicultural experiences, and I aim to create compelling narratives that resonate deeply with audiences. "Find Me" sounds like a fascinating documentary. Why did you want to make this film? Growing up in Taiwan, I've always struggled with the idea of identity and belonging. Not being able to speak fluent Taiwanese, trapped in between the cultural and historical conflict, unable to be proud of my own heritage. I didn't feel that belong in the place that I was born in, even though I called it "home." However, since I started traveling , living in different parts of the world , the further I am to my "home ," the more I appreciate the influence it had on my life. Home never meant a room with four walls, it's a place where you can come back to, a place where you don't feel alone. Not everyone is born into their identity and where they belong, sometimes you just have to leave in order to find it. That sounds like a really personal film to make. What were the other challenges in making "Find Me"? One of my biggest challenges was the budget, particularly concerning transportation for the crew and our documentary subject. I was unsure how we would be able to send Kuo to Taiwan. I created a promotional video and reached out to news outlets while setting up a GoFundMe for her trip. Our efforts led to features on Spectrum News and Taiwanese news channel The Reporter. This helped us raise funds through crowdfunding, the Taiwanese government, and various NGOs. The financial support allowed us to fly Kuo to Taiwan and provide accommodations for her and her adoptive mother, Mary, for a week. It was an ambitious and challenging first documentary to make, but I was driven by my belief in the story. With meticulous planning, my amazing crew and I brought this vision to life. What stage is the film at currently? Can people see it? Find Me is now in Festival circuit, previously premiered at DOC NYC. Congratulations! Hopefully our readers will get to see it soon. A bit more of a personal question in what has already been a personal interview, but, why do you make movies? I’ve always been drawn to the magic of storytelling. Growing up in Taiwan, my family and I would visit the local Blockbuster every week. We'd rent two or three movies, and those trips became a cherished ritual. It wasn’t just about the films themselves, but about the worlds they opened up for me—the way they sparked my imagination, transported me to different places, and allowed me to experience emotions I’d never felt before. It was during these movie nights that my love for cinema took root. It became clear to me that #filmmaking wasn’t just something I enjoyed; it was something I had to pursue. That passion led me to the U.S. to follow my dream. It’s been a journey of trial and error, with moments of doubt, but every step has deepened my love for what I do. I’ve found something that challenges me, inspires me, and allows me to express my own unique voice. Cinema is where I feel most alive—it's more than a career; it's who I am. What advice would you give to someone just starting out in the film career you have pursued? I’ve always been a practical person, but what I learned from making Find Me is that you shouldn’t be afraid to dream big. Filmmaking often requires balancing ambition with the realities of the process, but if you truly believe in the story you want to tell, go for it. Your greatest resources will be your ability to manage time, your work ethic, and the people around you. The connections you build with talented, like-minded individuals are invaluable, and there are fewer opportunities to be surrounded by that energy once you've completed a project. My advice is simple: take that leap of faith in yourself. While the process will require hard work and perseverance, the support you receive from your team will make all the difference. I’m incredibly grateful for the people who supported me throughout Find Me . Without them, I wouldn’t have been able to bring my vision to life. Filmmaking is about collaboration—your story may be your own, but the process of telling it is always shared. Who would you love to work with and why? I met so many incredibly talented people at DOC NYC last November, and I’d love the opportunity to work with any of them. The experience was both inspiring and humbling, and it reminded me how much I still have to learn from others. Whether it’s collaborating with fellow filmmakers, editors, or producers, I value the opportunity to work alongside people who push boundaries and bring fresh perspectives to the table. The passion and creativity I encountered there made me even more excited to keep growing in my craft, and I’m eager to continue learning from those who are as dedicated to storytelling as I am. What's next for you in your filmmaking career? I’m excited about the possibility of expanding Find Me into a longer project. Looking ahead, I want to continue creating documentaries that have a meaningful impact—whether by telling stories that inspire others or by sparking important conversations around social issues. In a world that’s constantly evolving, I’m passionate about telling stories that reflect who we are as a community. I want to highlight both the extraordinary and the everyday people, showcasing the beauty and complexity of our lives. Ultimately, my goal is to create work that resonates deeply with audiences and helps us better understand the world we share. #ChrisOlson

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