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

HOME | FILMS | REVIEWS Sticky Situations Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Feb 6, 2024 Directed by: Damien Brewer Written by: Damien Brewer Starring: Damien Brewer, Sophie Chittenden, Lordsika Thoughtful and often moving, Sticky Situations (2022) tells a harrowing story. It’s vicious, unwavering and confrontational in its outlook on criminal life, but manages to be watchable - giving us a brief glimpse into a world of constant threat. Centering around two drug dealers and the high-pressure interactions that arise for them – climaxing with a tragic act of aggression – we see their friendship evolve. The characters also demonstrate how conflict affects moral decision-making; the way bravery can lead to a show of mercy and restraint. Realism is omnipresent when it comes to shorts – our focus being a prime example. Some would argue that the ‘Realist’ and the ‘political’ are inseparable within art; that a Realist work is defined by its offering prescient ideas and narratives. Damien Brewer’s work certainly displays these elements, yet arguably does not appear trite or repetitive: instead, it uses characteristics of the form to present the story in a thought-provoking manner. A lot of this is down to the unique perspective it’s being told from. Set entirely in an urban environment, the surroundings present as simultaneously nuanced and oppressive. The world is so fully lived in that you get a real sense of authenticity both in terms of the characters’ domestic lives as well as the portrayal of their activities. Some of this is due to the natural style of writing and convincing interior setups, but it’s also a result of shooting on location; utilising practical lights in the city to motivate cinematic technique. And when it comes to camerawork, there are some well-considered and dynamic shots on show. Even though handheld is implemented throughout, it feels tonally suitable; of a piece with the story it’s attempting to get across. The only issue comes with the colour grade which would have benefited from further contrast and depth: some will be able to tell that the video -- having been shot in log (presumably) -- is intended for the shadows and highlights to be pushed slightly, thus illuminating richer detail (which the footage clearly possesses). Another brief, technical complaint: one cannot help but feeling that this film would be far superior were the editing more restrained. There are emotionally intense dialogue sequences that consist of frequent, distracting cutting. The script is strong, as are the performances, therefore it does not require rapid editorial pace to compensate. Scenes would hold far more strength and resonance for an audience if the piece simply took a breath and allowed the drama to do the work. Sticky Situations is a well-directed short: there’s a clear understanding of staging, the visual construction of back-and-forth interactions; however, the film would be genuinely impeccable if the editing was as well-considered as the content... That content being as dark and relevant as it is, it’s important to clarify that there is valid reasoning behind the violence in the piece: it’s there to provide commentary, something reflective to contextualise the very real and disturbing scenarios depicted. Overall, Sticky Situations proves to be incredibly engaging. While inconsistent in places, this crime drama is intelligent and certainly has something potent to say to its audience. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

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

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

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

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

HOME | FILMS | REVIEWS 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 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