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HOME | FILMS | REVIEWS Naughties Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Nov 30, 2023 Directed by: Olivia D'Lima Written by: Olivia D'Lima Starring: Olivia D'Lima, Nalân Burgess, Conor Tahir Humans have a tendency to look back at the past with hazy eyes that remember it as a far better time than it actually was. This is because it is a safe place, no matter the hardships, one which has passed and in which we can revel in the memories of a supposedly glorious yesterday. Each generation tends to have their own nostalgic lens through which they view the age in which they were adolescents, and this in turn permeates the cultural zeitgeist, bringing ideas thought to be lost to the bowels of time back to the forefront of popular culture. ‘Naughties’, is, as the title suggest, a nostalgic view of the 2000s, though in truth, it falls flat in depicting the period, let down by an overall lack of focus in its writing. In recent years, jettisoned by the seismic impact of ‘Stranger Things’, nostalgic romanticism has largely focused on the 1980s, with films such as ‘It’, ‘Everybody Wants Some’, and ‘Top Gun: Maverick’, following suit and taking us back in time. To a lesser, but nonetheless growing extent, both the 90s and the 00s have enjoyed similar revivals in popular culture, as those who grew up and matured in those decades have come to an age in which they can significantly alter what is popular in wider society. The revival of flip phones (albeit at a much higher level of technology), pleated skirts and cargo pants point to the comeback of 2000s trends, and ‘Naughties’, a web series - itself an extremely 2000s concept - reflects that. ‘Naughties’ follow teenage girl Olivia (Olivia D’Lima) across six mini episodes that depict her fairly exciting life growing up in the 2000s. Nothing, extraordinary happens during these six episodes, but for a school age teenager, these are definitely some of the cherry picked memorable best moments. Throughout these six episodes, Olivia goes through something of a journey of self discovery around herself and her body, with episode one beginning with her engaged in a web chat with a man on the Internet, who wants to webcam and see her naked. There’s also insecurities over the size of her breasts, questions over the legitimacy of female masturbation, and mixed feelings over what she’s attracted too. All this with plenty of shouting at her mother, normally over her barging into her room, as parents are bound to do. Whilst such a narrative through line across the six episodes is good and helps the viewer associate to a greater extent with Olivia as a character, it only has an impact on three episodes of the narrative - the first, last, and an episode in the middle - and thus the other episodes feel like filler, which you should not have in a six episode web series in which episodes are three minutes, and are irrelevant towards Olivia’s overall arc. Nevertheless, Olivia D’Lima’s directing shows moments of creativity that outstrip the ability of her writing and makes a scene in which she is pretending to drink and smoke, just about tolerable enough to get through. ‘Naughties’ is a glimpse into the past through rose-tinted glasses, a nostalgia burst which shows promise in some areas, but is otherwise let down by both its format, which was left in the era in which it is set for a reason, and by inconsistent writing. About the Film Critic Joe Beck Web Series < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Decrypted Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 4, 2021 Directed by: Tom Sands Written by: Mick Sands Starring: Sophia Myles, David Hoflin, Don Gilet, Akie Kotabe, Talisa Garcia, Clive Francis, Amanda Abbington, Kevin McNally Members of the National Security Agency kidnap the creator of Bitcoin and bring him to an apartment for interrogation. However, things do not go according to plan, leading to outrageous consequences. Due to the issues it might cause in the financial world, the Trump administration categorizes its developer as a terrorist and the NSA takes action. Special officer Beth Barnes (Myles) and captain Buck Johnson (Hoflin) have been assigned to capture Satoshi Nakamoto (Kotabe), the man who created Bitcoin and extract valuable information from him that will eliminate cryptocurrencies. In London, Nakamoto and his associate Sofia (Garcia) are taken by Barnes and Johnson and brought to an apartment, where they plan to make them cooperate. Unbeknown to them, they are being spied on by two members of the MI5, who are staying in the building opposite them. The two NSA members report their progress to Colonel Pike (McNally), who is in the United States. The mission swiftly goes downhill as Johnson finds himself unable to resist Sofia and loses his patience with Nakamoto. Eventually, the people in the apartment are injected with a substance that makes them tell the truth, leading to all sorts of shenanigans. Most of the story in this adult dark comedy takes place inside the London apartment, following the situation as it spirals out of control. The operation begins OK, then Johnson's behaviour turns things around, as he becomes sexually involved with Sofia and viciously beats Nakamoto and repeatedly waterboards him. The administration of the truth serum drugs is what leads the story to its catastrophic conclusion. It should be mentioned that this movie is not for sensitive viewers. There is often very strong language, a very strong sex scene and a great deal of sex talk. The part where Nakamoto is assaulted and tortured might be quite upsetting to some. The protagonists deliver entertaining performances as mostly awkward individuals. Hoflin's character is the one who steals the show with his over-the-top performance as a person who ignores his mission and is more interested in pursuing his sexual desires and goes berserk as he attempts to make Nakamoto talk. Myles is the one who is focused on her duty and tries to keep it together. McNally also has an interesting role as a nervous military man who is constantly sitting at his desk, trying to put together a miniature battleship. Recognition also goes to Francis who plays a resident of the building where the interrogation is taking place and finds himself getting caught in the middle of it. Haydn West develops wonderful cinematography that works particularly well during the flashbacks. Richard Morson makes a great contribution with the music that is dramatic, atmospheric, tense, mesmerising and entertaining. Decrypted is not for everyone. It contains a lot of profanity and a great deal of dialogue about sex. One could also argue that the film is a bit overlong. Nevertheless, those who enjoy dark and adult humour will probably not be disappointed. About the Film Critic Jason Knight Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Phantom of the Open Film Review average rating is 3 out of 5 Critic: Brian Penn | Posted on: Mar 19, 2022 Directed by: Craig Roberts Written by: Simon Farnaby, Scott Murray Starring: Mark Rylance, Sally Hawkins, Rhys Ifans Mark Twain once called it a good walk spoilt; Roger Daltrey thought it was an old boy's game. An unknown wag once explained the rules 'You hit the ball as far as you can, and if you find it the same day you've won'. However you define that dark world inhabited by loud trousers and scary jumpers, golf has a never ending fascination for those who see it as much more than a game. True stories about British eccentrics are arriving by the shed load on the big screen; but where Phantom of the Open fits on the quality scale is open to debate. It tells the true story of Maurice Flitcroft (Mark Rylance), a soon to be unemployed crane driver who decides not only to take up golf but enter for the British Open. His enthusiastic wife Jean (Sally Hawkins) completes the entry form and inadvertently ticks 'professional'. Through a series administrative errors he ends up in the qualifying rounds of the Open in 1976. Course official Keith Mackenzie (Rhys Ifans) is far from convinced and keeps a close eye on him. It was the year golf found its first rock star in Severiano Ballesteros who would finish 2nd that year. But it was a different story for Flitcroft who shot the worst round in Open history. He quickly attained cult status and would inveigle his way into subsequent championships. For a film badged as a comedy drama it has few laugh out loud moments. It feels like an extended sketch from Little Britain as a befuddled Flitcroft explains his philosophy of life. This often backfires as he looks like a simpleton and Flitcroft in real life was anything but. The closing titles feature real clips and show him as more assertive than the character portrayed in the film. The pseudo Forrest Gump routine comes undone far too easily as he slips into caricature. With balls and clubs flying in multiple directions there is a level of slapstick that defeats the narrative. However, the film is saved by the charming performances of Rylance and Hawkins. A banging 70s soundtrack pins down the era and brings back a flood of happy memories. The portrayal of Maurice Flitcroft invites the audience to laugh at him too frequently for my liking, but this remains a highly likeable and watchable film. About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Dhulo (The Scapegoat) Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Jan 3, 2023 Directed by: Tathagata Ghosh Written by: Tathagata Ghosh Starring: Payel Rakshit, Shimli Basu, Bimal Giri, Ali Akram The India we see in ‘Dhulo (The Scapegoat)’ may appear distant and unrecognisable to our western eyes, which, for the most part, thankfully see a world of religious and racial unity, where people are treated equally irrespective of gender or sexuality. As we progress towards that heady idealised society we, unforgivably, tend to ignore the fractured and prejudiced religious situation in countries such as India. ‘Dhulo (The Scapegoat)’ is a painful film to watch, but only because it does such a remarkably good job of highlighting the current climate of hostility and persecution towards Muslims in India. The film begins with a shot of a decapitated goat’s head on the ground - highlighting the central plot device in the opening frame ensures that the viewer is instantly hooked to the outcome of the story, filled with questions as to how, and why, the goat’s head lies on the ground. Perhaps even more decisively the first person we see isn’t a persecuted Muslim, rather it is Neeta Dutta (Payel Rakshit), wife to the villain of the film. Most of the film follows Neeta, as she seeks to reconcile the religious divisions with a local Muslim family, leading to boiling tensions with her abusive husband (Bimal Giri). Neeta is a likeable protagonist, good-hearted yet repressed by her husband, she nonetheless tries to help a Muslim couple, of which the woman, Topu (Shimli Basu) is pregnant. Indeed, it is Neeta who alerts the couple to the fate of their goat, and comforts Topu, offering food and support. Of course, we quickly realise that Neeta is in serious need of support herself, as her husband violently abuses her. In a country where the patriarchy is still very much upheld this is a plight that many women undoubtedly continue to find themselves in. On the radio, there is a broadcast from the Indian prime minister in which he adamantly defends the Citizenship Amendment Bill (which was passed in 2019 and has been labelled a ‘clear violation’ of ‘international human rights law’ by Amnesty International India). The PM says that the bill isn’t discriminatory and that there are no detention centres, declaring that any accusations otherwise are all a manufactured lie against his governance. That is the state of religious tensions in India, with the Hindu nationalist party in power, and enforcing ever more stringent measures against Muslims. In early 2022 the founder of the Genocide Watch group warned of an impending genocide of Muslims in India. As a rallying call for unity in the face of ever-growing tension, ‘Dhulo’ is provocative, raw, and, at times, heartfelt. Writer-director Tathagata Ghosh passionately addresses the issue, but doesn’t rely purely on the audience’s morals to create a moving picture. Ghosh’s direction is wonderfully effective, from close-ups of tear-stricken faces, to wider shots of the landscape. He perhaps best demonstrates his technical ability when using a handheld POV shot, though not the most significant to the plot, it exhilarates the viewer. Ghosh’s script is muscular, blending a critique of religious persecutions with an equally damning critique of the patriarchy. It is the women, repressed by their husbands in different ways, who are ultimately the central figures to the plot and the driving forces of unity. ‘Dhulo (The Scapegoat) is an illuminating film, highlighting the growing issues in India today with a technical prowess befitting a more experienced filmmaker. It is an important film, yes for its performances and direction, but more so because of the context in which it is released. As we begin a new year full of hope, we should consider that not all are afforded that same luxury. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS 2 Truths & a Lie Film Review average rating is 5 out of 5 Critic: Chris Buick | Posted on: Oct 2, 2023 Directed by: Brandon Haynes Written by: Brandon Haynes Starring: Shawn Mathis Gooden, Jelani Pitcher, Arielle Siler, Chris Rothbauer Finding themselves unable to tell even the simplest of lies, which in turn is starting to affect their day-to-day lives, Courtney (Siler), Jonathan (Pitcher) and Frank (Rothbauer) are all seeking help from Melissa (Gooden), a therapist specialising in helping her patients learn how to be a bit more fast and loose with the truth, starting first and foremost with the titular game where one must tell two truths and one lie about themselves. Simple. But while Melissa has a reputation for getting results, the means in which she achieves these breakthroughs is a little unorthodox to say the least. Surreal comedy short 2 Truths & a Lie from writer/director Brandon Haynes explores an interesting hypothesis, is there such a thing as being too honest? The proposition of one being unable to lie is not new to film, but Haynes, along with a knack for comedic writing and a very capable cast delivering it manage to make the idea feel fresh, unique and most of all, very fun. In all honesty, 2 Truths & a Lie is a film that really scores high marks right across the board. The film looks slick and clean and precise, its well-lit, well-scored and well-shot, paced brilliantly to settle us all in nicely at the start before taking the film towards a brilliant crescendo after sixteen minutes that will leave you reeling and as if that wasn’t enough, it’s a script that’s incredibly tight to boot, filled with plenty of moments to laugh, wince and gasp all the way through. But while Haynes has certainly got the script bang on in terms of comedy, it’s the films distinct and enjoyable characters that make it sing, and they come alive all the more thanks to a cast that is absolutely spot on embolden all that hard work. Siler's bullish lawyer Courtney, Rothbauer’s neurotic and submissive poker player Frank and Pitcher’s endearing influencer are all given their moments to shine and seize it with both hands. However, it’s the wonderfully over-the-top Shawn Mathis Gooden as mad therapist Melissa who steals the show with impeccable comedic timing and expression and much like the film itself, is disarmingly funny, dark and simply brilliant to watch. With a couple of deserved awards to prove it, 2 Truths & a Lie is a silly yet truly funny, real good time. Dark humour seems to be right in Haynes’ wheelhouse. If there is more to come, I want to be there. Believe me. About the Film Critic Chris Buick Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Inheritance, Italian Style Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Dec 23, 2021 Directed by: Doug Bremner Written by: Doug Bremner Starring: Zoe Myers, Dawn Campion, Caroline Granger, Concetta DeLuco, Tori Montgomery, Maggie Henry A family get-together in Sicily leads to all sorts of unexpected consequences. Five sisters, Seconda (Myers), Natascia (Granger), Duplecia (DeLuco), Tristana (Montgomery) and Fulvia (Henry) travel from abroad to their mother's villa in Catania, Sicily, in order to divide between them the furniture that is inside, that primarily consists of expensive paintings and fine furnishings. The sisters who are married have brought their husbands and children along. However, what starts off as a more or less straightforward family event turns into much more as it is revealed that some people have been unfaithful to their partners and other secrets are brought to light. This comedy drama features an ensemble cast that play characters who each have their own issues and after they meet in Catania, their lives become involved with each other, creating a series of events that has its own impact on each character. The script does a good in introducing the characters and their situations and although the pace is a bit slow for a while, things start to pick up when actions regarding infidelity are revealed, creating quite a lot of drama for the family. As more and more complications take place, the dividing of the belongings is pushed aside as members of the family try to deal with the revelations that they are faced with. The narrative explores family values, being a responsible parent, infidelity, depression and self-discovery. There are funny moments, awkward conversations and situations, dark humour, adult humour and there are also emotional scenes. When it comes to the characters, there are plenty of them, some of which are interesting, others less so. Campion is amusing as the mother of the sisters, friendly, welcoming but also naive. Rob Maniscalco has good role as Natascia's husband, a psychiatrist who does not know how to help himself. Arguably, Montgomery plays the most dramatic character, which is the depressed and suicidal Tristana. Composer James Stone does a great contribution with the score. The music that is heard throughout the movie is lighthearted and entertaining and it goes well with the environment that the story is set in. Bremner creates wonderful establishing shots that show the beauty of Sicily. This feature may not be outstanding and sometimes the acting gives the impression that it could had been better. Nevertheless, it does provide an experience that is entertaining enough. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

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

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

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

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

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

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