NOMINEES ANNOUNCED FOR THE 2021 EE RISING STAR AWARD AHEAD OF THE EE BAFTA FILM AWARDS The only category at the EE BAFTAs voted for by the British public The all British line-up of EE Rising Star Award nominees for 2021 are: Bukky Bakray, Conrad Khan, Kingsley Ben-Adir, Morfydd Clark and Ṣọpẹ́ Dìrísù Nominees were selected by a group of industry jurors including Academy Award winner Alicia Vikander, actress and BAFTA Film Committee member Jo Hartley and BAFTA-winning actress Naomi Ackie The winner will be announced on Sunday 11th April 2021 at the EE BAFTA Film Awards ceremony on BBC One Today, the five nominees for the renowned EE Rising Star Award, now in its 16th year, were announced as part of a virtual event livestreamed from the elegant setting of The Savoy, London. Hosted by BAFTA Chief-Executive Amanda Berry OBE and film broadcaster Edith Bowman, 2014 EE Rising Star nominee George MacKay (1917) announced the highly anticipated nominee shortlist for 2021 via livestream for the first time in the Award’s sixteen-year history. The British line-up of five nominees have each demonstrated their phenomenal skills in film over the past year, allowing the public and film industry experts alike to escape the every day and explore the world of film. Public voting is now open at ee.co.uk/BAFTA and the winner will be revealed at the EE British Academy Film Awards on April 11th 2021. The EE Rising Star Award nominees for 2021 are: BUKKY BAKRAY is a multi-award-nominated actress who received critical acclaim for her debut lead performance in breakout hitRocks, directed by Sarah Gavron. As well as her nomination for the EE Rising Star Award, she has received nominations from the British Independent Film Awards (BIFA) and London Critics Circle, and has been longlisted in BAFTA’s ‘Leading Actress’ category for 2021. She is part of this year’s BAFTA Breakthrough programme and has been named as a rising star to watch by Time Out and Dazed 100. Bukky’s passion for acting continues to grow having completed a year-long course as part of RADA Youth Company. She is currently enrolled on Theatre Peckham’s Originate Acting Course, where young performers receive specialist actor training with top-tier drama schools, Guildhall School and RADA, and industry professionals. Bukky Bakray commenting on her nomination, said: “I honestly feel so blessed to be recognised so early on in my career. I still can’t believe this, I’m not sure I ever will either. All the warmth and love from BAFTA and EE is beautiful and I’m grateful. Thank you.” CONRAD KHAN is best known for his highly acclaimed role as Tyler, in Henry Blake’s 2020 feature film, County Lines. A performance that has earnt him a BIFA nomination for ‘Most Promising Newcomer’ as well as Screen International Star of Tomorrow. Conrad’s first role came in 2016 as a young Chris Hemsworth (Eric) in The Huntsman: Winter’s War, and he has most recently been cast as a lead in the final series of the BAFTA award-winning Peaky Blinders, opposite Cillian Murphy and Paul Anderson. Conrad Khan, commenting on his nomination, said: “‘A huge thank you to BAFTA for this nomination! I am so excited and proud to be in such great company – the EE Rising Star Award is something I never would have even dreamt of at the start of my career. I am really looking forward to being part of this year’s awards. It is an honour.” KINGSLEY BEN-ADIR is the breakout star of Regina’s King’s directorial debut film One Night in Miami and has been making headlines with his captivating portrayal of Malcolm X. The film has received three Golden Globe nominations, with Kingsley picking up the prestigious ‘Breakthrough Actor’ Award at the Gotham Independent Film Awards and the ‘Breakthrough Performer’ by the New York Film Critics (NYFCO). He has also been longlisted in BAFTA’s ‘Leading Actor’ category for 2021. Kingsley’s career started on the stage, in plays including Mark Rylance’s Much Ado About Nothing at The Old Vic. On screen, he most recently starred opposite Zoe Kravitz in the Hulu series High Fidelity; played a co-lead role in the third series of the Brit Marling Netflix series The OA; played Colonel Ben Younger in the BBC/Netflix drama Peaky Blinders; and starred in films The Commuter, King Arthur: Legend of the Sword and Trespass Against Us. Kingsley Ben-Adir, commenting on his nomination, said: “It’s an honour to be picked as a BAFTA EE Rising Star. I have always had great respect for this award and have admired the selection each year, so to be in this category, and to be recognised in this way, means a lot. Thank you.” MORFYDD CLARK has been singled out by critics for her breath-taking performance in Rose Glass’s award-winning debut Saint Maud. Hailed as the ‘Star of Tomorrow’ by Screen International, Morfydd was identified by The Guardian as the ‘Breakout Star’ of the 2019 festival circuit and has gone on to win the London Critic’s Circle Award for ‘British/Irish Actress of the Year’, be nominated for a BIFA award in the category of ‘Best Actress’ and has also been longlisted in BAFTA’s ‘Leading Actress’ category for 2021. Morfydd appeared as both ‘Dora Spenlow’ and ‘Clara Copperfield’ in Armando Iannucci’s The Personal History of David Copperfield, and as ‘young Jane’ in Craig Robert’s Eternal Beauty opposite Sally Hawkins in 2020. She is currently in New Zealand filming a lead role in Amazon’s The Lord of the Rings. Morfydd Clark, commenting on her nomination, said: “I’m delighted and disbelieving that I have been nominated for such a prestigious award by BAFTA and the EE Rising Star jury, thank you to all who compiled the list of nominees. I am honoured to be recognised amongst this group of talented, British actors. It has been a difficult year for many people and I hope the next few months will bring hope and a brighter future for the arts.” ṢỌPẸ́ DÌRÍSÙ is quickly establishing himself as an internationally renowned actor, showcasing a range of disciplines across film, television and theatre. Dìrísù can currently be seen on Netflix in Remi Weekes’ horror/thriller, His House, which earned him ‘Critic’s Choice Super’ and BIFA award nominations for ‘Best Actor’, and in the SKY/AMC series, Gangs of London. Previous film credits include war drama, Sand Castle, The Huntsman: Winter's War, as well as Ariel Vromen’s sci-fi thriller, Criminal. On television, most notably, Dìrísù was seen in AMC’s Humans and in Netflix’s series, Black Mirror, for which he received the ‘Rising Star Award’ for the Screen Nation Film and Television Awards. He has been selected as a Screen International ‘Star of Tomorrow’ and in 2017 received a Commendation at the Ian Charleson Awards for his performance as Coriolanus at the Royal Shakespeare Company. Ṣọpẹ́ is currently in Ireland shooting a lead role in Mr Malcolm's List. Upcoming releases include Mothering Sunday with Olivia Colman and Colin Firth, Tim Felhbaum’s Berlinale Special Tides and Silent Night with Kiera Knightley and Matthew Goode. Ṣọpẹ́ Dìrísù commenting on his nomination, said: “The history of the EE Rising Star Award is full of such exceptional and inspirational talents and I’m so grateful to both EE and BAFTA for considering me amongst them. I’m properly delighted for all my fellow nominees for being recognised in what can only be described as a difficult and challenging year for everyone across the world.” This year, the EE Rising Star Award jury panel was tasked with selecting the five nominees from a comprehensive list of up-and-coming talented actors and actresses. For the first time in the Award’s history, this took place virtually, where the jury passionately discussed which five longlisted nominees would go head-to-head in the public vote, ahead of the EE BAFTA Film Awards for 2021. The jury was chaired by BAFTA Chair and award-winning television producer, Krishnendu Majumdar, producer and director Anand Tucker, actors Naomi Ackie, Jo Hartley and Alicia Vikander, casting directors Leo Davis, Nina Gold and Lucy Bevan, Creative Director Gaylene Gould and other leading industry specialists and entertainment journalists. Edith Bowman, EE Rising Star Award broadcaster, said: “It is an honour to once again announce the nominees for the EE Rising Star Award, this year feels more special than ever. I am always astonished by the calibre of talent which are presented every year, and the five shortlisted nominees for 2021 are no exception, with their breath-taking ability to tell stories and transform into a character who the audience trust and believe in. As always, this is the only award which the British public can have their say and vote for their winner. I for one can’t wait to find out who film fans across the country are most invested in and want to see take home this incredible accolade.” Pete Jeavons, Marketing Communications Director at BT & EE, added: “Despite the changes the film industry has faced over the past 12 months, we are delighted to still be able to celebrate the talented actors and actresses who have graced our screens – who make up the shortlist for 2021. It’s a real honour for us to play a part in recognising emerging talent each year in partnership with BAFTA, and this year’s nominees are amongst those who have gripped the nation with their performances. I urge everyone to watch their films this year and can’t wait to discover who the public decides will win this incredible award for 2021.” Emma Baehr, Executive Director of Awards & Content at BAFTA, said: “Recognising and supporting creatives is at the heart of everything we do at BAFTA and it is particularly exciting to see talent shortlisted today who have been previously supported by our BAFTA Breakthrough programme, part of our year-round work to showcase emerging and under-represented talent. We’re so delighted to be working with EE once-again to present this fantastic shortlist of performers and proud to see new British talent flourishing across the industry.” Hosted from The Savoy, London, The EE Rising Star Award announcement continues the venue’s rich connections with the world of performing arts, and underlines its commitment to supporting film, theatre and television in the UK. EE has been a long-standing partner of BAFTA’s Film Awards, working with BAFTA to bring film fans closer to the awards through the magic of technology. Since the partnership began, EE has not only worked with BAFTA to introduce the EE Rising Star Award but also used its award-winning network to create new and exciting opportunities for film fans to be part of the action. Voting is now open at ee.co.uk/BAFTA and the winner will be announced at the EE BAFTA Film Awards on Sunday 11th April 2021 on BBC One.

★★★ Directed by #NatashaKermani Written by #BreaGrant Starring #BreaGrant Film Review by George Wolf Lucky takes a well-known horror trope – the masked killer whose “dead” body vanishes when you turn your back – and puts it in a freshly relevant light. A gaslight, if you will. May (Brea Grant, who also wrote the screenplay) is a self-help author living in the California suburbs with her husband Ted (Dhruv Uday Singh). They are working to get past a rough patch in their marriage when a strange, persistent threat presents himself. Every night, a masked man (Hunter C. Smith) tries to break in and kill May. She fights him off – sometimes spilling plenty of blood in the process – but he always seems to get away. The police are on the case, but they’re more interested in why Ted doesn’t appear to be around anymore. And they’d really like her to calm down. Grant’s script is often smart and timely, and director Natasha Kermani peels enough layers successfully to hit a number of societal bullseyes. But an extended metaphor such as this is tough to keep constantly afloat, and some gaps of logic in the narrative work against the film’s subtlety and in turn, its overall power. Grant and Kermani end up walking an entertaining line between subversive humor and metaphorical slasher. Lucky works best in that center, when May becomes a living example of that internet meme comparing what men and women do each day to avoid becoming a victim. This is the final girl in a modern world of gaslighting and victim-shaming, where women form common bonds overs fears too often dismissed. Just calm down, Honey, you’re lucky to be alive! #GeorgeWolf

Film Festival Feature by Lawrence Bennie We may only just be creeping into March, and treading with trepidation out of lockdown, but it’s certainly already been an action-packed opening to 2021 for the London Screenwriters' Festival. Successor to the former International Screenwriters Festival in Cheltenham, the London Screenwriters' Festival has traditionally been held at Regent’s University London since 2010. Led by the wonderfully affable Chris Jones, the London SWF team passionately deliver a year-round programme of workshops, events and initiatives for screenwriters and those eager to dive deeper into the world of story. And, in response to the inciting incident of Coronavirus, LondonSWF has expanded its universe. Over 24 days, LondonSWF365 has brought 1,000 screenwriters and industry professionals together for an inspiring online edition of “the world’s biggest professional screenwriting event”. “Of course, getting together online isn’t the same as in person”, explains Chris. “But those who have engaged have absolutely loved it, the hard-core LSWF attendees love it and people who can’t normally attend have been able to. The positives outweigh the negatives”. LondonSWF devotees evidently feel the same. The same number of tickets were sold for the month-long virtual event as the live festival! With more than 100 speakers delivering stunning sessions on story, character, structure and more, LondonSWF365 has proved a welcome portal of inspiration for its community of writers and filmmakers. Kicking off proceedings on the 5th, Scott Myers delivered a fascinating lesson on the history and development of screenwriting. Peter Craig, the mastermind writer behind The Hunger Games: Mockingjay Parts 1 and 2 and The Batman, followed to delve behind the scenes of the Hollywood blockbuster. Delegates were then served a nostalgia-inducing treat with a screening of Robin Hood: Prince of Thieves with live commentary from the film’s screenwriter, Pen Densham. The following week, star Thomas G.Waites called in to help dissect John Carpenter’s The Thing. Among the many other highlights included storytelling tips from Inside Out’s Meg LeFauve and Lorien McKenna, Jeff Deverett on producing for Netflix as well as sessions with legendary film editor Paul Hirsch and “Hollywood’s foremost story professional” Chris Lockhart. Elsewhere, the festival’s interactive Zoom sessions on Pitching have proved a hit whilst delegates have also been able to take some mindful time with Stretchersise for Screenwriters. And, with all live sessions available on demand for a year, the £60 ticket price is an absolute bargain for the quality and quantity of content on offer! Yet, just as a good story thrives on conflict, so does the writer and Chris is equally clear on the current challenges facing screenwriters in an unexpectedly changed and evolving world. “Every writer over the last year has been writing. There is a backlog so producers will cherry-pick from the best and overlook the newcomers. There’s gold in the hills. It’s just that everyone is scrambling for it”. Film, TV and literary agent Julian Friedmann also voiced this dilemma during a session. “It’s not a great time to be a screenwriter. But it’s a great time to be a storyteller”. Capitalising on its February slot, LondonSWF365 has ushered in a creative wave of possibility and positivity for a plethora of international writers and artists dedicated to transcend troubled times and bring great stories to the screen. Certainly, the community feeling of passionate storytellers brought together from all over the world has been simply extraordinary. “It’s a Festival with a capital F”, affirms Chris. “I never set out to create a screenwriting conference. If we are able to be a big success for the screenwriter, that’s fabulous. It’s a privilege to be part of their journey”. All sessions are available on-demand here… www.ScreenwritersFestival.Online #LawrenceBennie

★★★ Directed by: Ardit Sadiku Written by: Ardit Sadiku Starring: Herton Meta, Todi Kasemi, Auron Mimaj, Sebina Matlija, Sajmir Pepushaj Film Review by: Jason Knight A man is asked to assist a certain individual, by making a video about them and airing it on television. Blerim (Meta) is an unmarried man, who works as a broadcast technician for a TV station. One day, acquaintances get him in touch with Drin (Kasemi), a young man who wants to get into Sweden. He alleges that the Swedish authorities mistreated him, leaving him with a permanent disability. He requests that Blerim films him telling his story and then have the footage broadcasted on television in the hope that the Swedish government will grant him a visa. Blerim agrees and his involvement in the project ends up affecting his work and social life. This Albanian drama focuses on the life of a simple man and explores themes of compassion, willingness to help others and injustice. The plot spends a great deal of time concentrating on the relationship Blerim has with his nephew Gezim (Mimaj) and the rapport he builds with Drin. The film is well acted, with Meta as the lead and he delivers a convincing performance with his portrayal of an everyday man, who goes through significant changes after he decides to help Drin. Kasemi is impressive as troubled, but determined youth. Mimaj offers good support, as a carefree child, who enjoys playing with toys and having fun. Director Sadiku does a terrific job and creates many wonderful establishing shots of mountains and nature. He truly captures the beauty of the surrounding areas. Generally, this is a very well made film. The question is whether the narrative captures the viewer's attention, as before the final act the pace is rather slow. There isn't much going on that is likely to make one want to follow the story with enthusiasm. Other than that, this is a decent achievement. #JasonKnight

★★★ Directed by #DylanMcCormick Written by #DylanMcCormick Starring #KateWalsh #DonalLogue Film Review by Rachel Willis Opening on a man sprawled on the beach, a crashed motorcycle and a wallet floating into the ocean, Sometime Other Than Now is immediately intriguing. Written and directed by Dylan McCormick, this is a quickly-paced drama that will just as quickly hook you. The pacing of the film is the first thing that stands out. It’s faster than you might expect. Characters pop up and interact rapid fire. In the age of the slow-burn, it takes a minute to adjust. But it’s rewarding to watch as instant attractions pay off, as we come to know the characters and their situations. Not every question is answered immediately, but you’ll enjoy yourself as you wait for the solutions. The dialogue is the next element setting this film apart from similar stories. It’s realistic, funny, no bullshit talk that draws you in and makes you care for characters you haven’t known long. As the man on the beach, Sam, Donal Logue shows off his talent for drama. Both endearing and frustrating, you want to know where he’s been and to see where he’s going. Playing off Logue with near equal talent, Kate Walsh brings depth to her character, Kate. The rest of the cast isn’t given same level of attention. Characters pop up in the beginning that are given some weight, making you think they’ll come up again as a larger part of the story. While they do appear later on, they don’t receive the resolution you might expect. Everyone who plays a role in the film does a fine job, but when compared to the two main characters, they feel hollow. McCormick is also partly responsible for the film’s score, and it pales in comparison to his writing/directing talent. There’s nothing exactly wrong with the score; it’s just not the right music for the film. Although, there is a particularly lovely song that plays over the end credits that’s worth a listen. This is only McCormick’s second film (and his first came out 15 years ago), and it’s a bit rough around the edges – a lot like its main character. But that’s part of what gives it its charm. #RachelWillis

★★★ Directed by #ChadCrawfordKinkle Written by #ChadCrawfordKinkle Starring #KatieGroshong #StephanieKinkle #LarryFessenden Authenticity is certainly the main differentiator between Chad Crawford Kinkle’s latest horror and others of the genre. It’s been eight years since the filmmaker released his underseen backwoods gem Jug Face. He once again pits a tenacious female against the unrelenting pressure of an unholy presence, but Kinkle has a more personal kind of dread in store with Dementer. Katie (Katie Groshong), looking for a fresh start, applies for a job at a skills training facility that works with adults who have special needs. She’s hired, working with clients two days a week in the facility, then spending two nights in a group home with three of them. Katie is especially concerned with Stephanie (Stephanie Kinkle, the filmmaker’s sister). Kinkle’s sister is an adult with Down Syndrome, which not only elevates the reality of the situation but also the tenderness and anxiety around the character’s safety. You can almost feel the filmmaker’s own personal dread over his sister’s vulnerability in an untrustworthy world. Aside from Larry Fessenden, who appears briefly, Groshong is the only professional actor in the film. Kinkle, working with a skeleton crew, films in an actual skill center. The majority of the staff and clients represented in the film are, indeed, staff and clients. The approach gives the film a verité style often seen in horror films, rarely if ever seen in a horror film with a main character who has special needs. Dementer lacks any of the sheen or noble heroism you often find in films centered around a character with a disability. The realism adds a level of discomfort, a sense that vulnerable adults who need care could easily find themselves in a precarious situation. Dementer also offers an uncomfortably realistic look at working poverty. Kinkle mines these anxieties as Groshong begins to see and hear signs that suggest Stephanie may be in real danger. As she races against the clock to save her, Kinkle slyly upends plenty of horror tropes. It’s an often fascinating deconstruction of a particular subgenre of horror, an approach that usually benefits from the verité style. But too much of the loose narrative feels like filler. We watch Katie buckle her seat belt no fewer than five times. Unanswered questions can strengthen a film, but Dementer feels underwritten. Still, you get the sense that Kinkle made the best of what he had on hand and told a deeply personal story in the most authentic way he could. #HopeMadden

★★★★ Directed by: Rami Kodeih Written by: Nora Mariana Salim Starring: Alia Shawkat, William Mark McCullough Film Review by: Vikas Yadav From the word go, Rami Kodeih’s Alina thrusts you in the hell known as Warsaw Ghetto in 1942. As per the orders, the Nazis are in the process of separating Jewish children under the age of ten from their families. Among others, a group of women is affected by this decision, and Alina shows the horror through their lens. The objective is simple: The women must smuggle one of their friend’s three-month-old baby to safety. Easier said than done. Alina (a resolute Alia Shawkat) is assigned the task of carrying the baby out of the apartment. The gunshots raging in the distance threaten to approach nearer within every passing second. Outside, the Nazi soldiers are roaming on the streets. Truly, the night is dark and full of terrors. Will the operation be successful? Let’s get one fact out of the way: Alina has one of those stories that is well-suited for a short film. If converted into a feature, one might have to add unnecessary drama to pad the runtime and slide in backstories so that we “care for the people” in it. All those aspects are inessential as the period, and the motivation is enough to inspire regard for the main characters. As for the drama, Alina’s plot is already filled with sufficient thrill, and stretching it would only dilute its effect. I am so glad Alina was made into a 26-minute short film. Kodeih utilizes his minutes with utmost efficiency. He understands that a narrative like this should be propelled through tension, and so he crafts moments of tight suspense (with the help of a time-ticking sound and uneasy editing) that don’t allow you to breathe in fear of getting caught by the ruthless Nazis. A stupendous scene near a checkpoint is so taut you become restless. Alina keeps coming up with nerve-racking developments, driving you to wish for this nightmare to end. As Captain Drauz (an intimidating William Mark McCullough) interrogates Alina, the two are filmed with a handheld approach keeping the situation on the verge of sliding towards a malignant fate (cinematography by Matthew Plaxco). Alina takes a sturdy Captain like Drauz to expose the hollow masculinity of the Nazis. He is stern and strict but also a pea-brain. Drauz is so proud of himself and his superiority, he misses the baby even after coming dangerously close to her. He looks scary from the outside. Peek inside him, and you will find no acuity. He says he is on to Alina though he is not able to pick up the clues lying around him. Empty vessels make the most noise.

★ Directed by: #SamSeen Music by: #SamSeen, #4R3X Film review by William Hemingway Soooo...... it's a head on a table. No wait, hang on, that makes it sound far more interesting and exciting than it actually is. It's really just a clay bust of a Filipino guy's head sitting in the middle of a dirty old pool table. No, really - that's all there is. There's some endlessly repeating loop of a hip-hop beat going on in the background, not even edited together with the film but merely played through some speakers in the same room and recorded along with the footage, but that's really all there is. And there's a rhino. Yeah, that's there too, briefly, but again it's not as exciting as it sounds. It's a small toy rhino placed in shot at the beginning and end of the track, but in terms of what it's doing there, you'll have to figure that out for yourselves. That's it – for six and a half minutes. There's nothing to tell you what it all means or what it's all about, in fact I don't even know what this is. Is it a music video? Is it an art project showcase? Who knows? There is zero indication as to what is being presented here. It could be anything because in all honesty there's nothing to it. One thing I do know is that it's not a short film. Pointless. Avoid.

★★ Directed by: #VišnjaŠumonja Written by: #VišnjaŠumonja Film Review by: #DavidRichards “Being of Light” music video is branded by creators as an international collaborative effort between Serbian conceptual artist Višnja Šumonja and American composer Scott Mclaughlin. Overseas collaborations are always to be commended, as all artistic content whether it be through music, Film, art or literature should be surrounded by many artists communicating their own styles and ideas to amount to an end product. The title of “Being of Light” definitely contrasts the style displayed and yet is brought into meaning by the dancing figure and soundtrack. To label this film as a music video is a misconstrued concept. This is NOT a music video but an abstract form of expressionism. With Šumonja also manning most technical area’s such as editing, cinematography and visual effects, it would become easier to convey the message behind the imagery. Although the message behind this piece is not clear, the film is thought provoking and mysterious. The black and white cinematography is elegant and enticing, offering an enchanting gothic atmosphere when drifting through the fitting scenery of twisted trees and ruins. The superimposed shots of the woman spinning works well in most moments, but in some cases over used. The superimpositions as a whole are also over-used and often distracting from the cinematography. Although necessary to evoke the enchanting theme, in this case less may be more. In addition, it seems as though a distortion effect has been added to some shots which although suits the gothic theme, takes away from the value of production. An eerie soundscape that strikes a note of horror as you delve into its world of fantasy proves to be accomplished. The whispering female voices, however, add a step too far seeming borderline cheesy and outdated. Mclaughlin’s simplistic yet effective acoustic soundtrack compliments the cinematography in adding to the atmosphere. Essentially transforming the emotions of the footage from being melancholy and eerie to that of hope and compassion. This stimulating form of experimental film certainly conveys emotions, ticking at least one box of its purpose. Although my interpretation may not be that of the filmmaker’s intentions, the accomplishment of successfully creating an atmosphere to interpret is something to be seen as a win. The collaboration of Šumonja and Mclaughlin has achieved a respectively compelling piece and although I wouldn’t go as far to say I enjoyed their film, I definitely caught myself thinking about its purpose and message. I’m sure with a lot more work the creators could achieve a higher calibre of content.

★★★★★ Directed by: Benjamin Bowles Written by: Benjamin Bowles Starring: Charlie Morel, Jon Cassell, Heather Robbins, Philip Bedwell Film Review by: John McKeown Harold Wilson famously said that a week is a long time in politics, and eight minutes can be a long time in film, if you do it right. Writer/director/producer Benjamin Bowles definitely does in this catchily paced short, which, with just four actors and a minor domestic accident, offers a humorous abstract of everyday life in contemporary Britain. The accident is something we’ve all done, but in reverse: Mike (Charlie Morel) has locked himself inside the porch of his house, in his dressing gown, with a date with an on-line friend pending that evening. Of course, he has his mobile with him and is able to call his house-mate and the local locksmith for help. But - some - housemates being what they are, things aren’t so simple and Mike is in a real jamb (can’t resist this door-related pun). Though some relief is at hand in the form of Rebecca (Heather Robbins) a local girl who, on her way to work, is diverted into the role of rescue worker by the sound of Mike’s muffled, but unmistakable swearing. Gavin Hardy’s camera creates a fly-on-the-wall intimacy with this damoiseau-in-distress. We’re so close to him in the narrow porch of the terraced house, between the inner and street door with its frosted glass, that we can count the bristles on his unshaven cheeks. It’s a bright day, with plenty of light coming in, but the feel of confinement in the white woodchip wallpapered space is palpable. Also palpable is the thinly masked venom with which Jay (Jon Cassell), best friend and housemate, reacts to the initial news of Mike’s date, and, later, in the way he answers Mike’s mobile call for help. There’s often a streak of malevolence in male friendship, taking, in its British form, a cunning, aggressive playfulness which Bowls’ script and Cassell’s performance trenchantly amplifies. The chatty, bumbling local locksmith (Philip Bedwell) counterpoints Jay’s calculatedly juvenile behaviour, more concerned with getting Mike’s details down correctly on his ‘temperamental computer’ than actually getting him out of the porch as quickly as possible. He also helps make a point that perhaps can’t be made too often: how much our daily lives are held to ransom by technology. Mike only has seconds left before his phone battery fails, the afternoon is already well-advanced and his much-anticipated date is drawing closer. But at least Mike gets to exercise his charm on Rebecca in their interaction through the porch’s frosted glass and letter-box. Which leaves us in no doubt that this is a quintessentially nice guy, patient, polite and long-suffering, his entrapment in the porch symbolic of what might be the more serious entrapment in his relationship with Jay. Rebecca’s sympathetic, considerate response to Mike’s plight is a soothing contrast with Jay’s off-handedly obnoxious behaviour. If there’s a message in The Porch it’s a dual one: know who your friends are and, sometimes, a chance mishap can change things significantly. Things we all know, in theory, but Bowles’ film is a neat, nicely-balanced, very satisfying illustration of how they work in practise. #JohnMcKeown

★★★★★ Directed: #JiaWertz Starring: #JeffreyDeskovic Film Review: #AlexandraJames Conviction is a powerful short film about Jeffrey Deskovic, a man who was wrongfully convicted of the murder and rape of a young girl and sentenced to prison when he was just 16 years old. Jeffrey Deskovic shares his story and the effects of being incarceration for years and his fight to prove his innocence. Director Jia Wertz explores Jeffrey’s past and allows his voice to be heard after being silenced for so many years. Conviction reveals to the audience that Jeffrey has ultimately lost the greatest gift of all, his life. An extremely sad and tragic story, Conviction begins with Jeffrey describing the crime which led to his imprisonment. He was framed and duped into helping two men who were posing as officers of the law, however, they used him as a pawn in their own evil actions. Shortly after this encounter, Jeffrey was then accused of the murder and rape of classmate Angela Correa who was just 15 years old. At this point of the film, it may have been beneficial to understand the crime a bit more in depth as it felt as though this part was rushed. Understandably, this story is solely based on Jeffrey Deskovic’s experiences, his thoughts and his feelings, however, the audience need an outline and background information. It would have been great to have just a bit more detail of this for a more developed story and to have a clearer picture. After spending 16 years in prison, the real murderer steps forward and confesses to these crimes committed. Jeffrey was then able walk out as a free man and leave behind his past life. Conviction was visually pleasing, it was fitting to have images of everything Jeffrey described on screen, such as his life in prison, his school, images of Jeffrey as a young boy. The audience then had the ability to visualise and hang on every word he was saying. His story came alive, which in turn made it that much easier to follow and flowed well. As the film evolved, the audience learn that once Jeffrey was released from prison, he made it his mission in life to help others who have been falsely accused of a crime they did not commit. Jeffrey has managed to help seven wrongfully convicted people through his foundation and is wanting to bring change to the system of which he has now seen from the inside. One of Jeffrey’s highest achievements was graduating from Law School, his determination and enthusiasm to make a difference was captured throughout this short film and made for an extremely heart-warming moment as he received his qualifications. This short film was so moving, almost heart-breaking. We discover how Jeffrey is coping with the trauma now he is part of the outside world again. A lot of Jeffrey’s life has been spent behind bars and this film shows his readjustment into the real world and the setbacks he has endured. Conviction shines the light on others who have been wrongfully imprisoned and the struggles they have had to face both in and out of the system. The life experiences missed on the outside world, as well as the violence and dangers of being around criminals inside prison. Conviction portrays Jeffrey Deskovic as a strong man who has faced so much hardship. It was a great film and it enabled Jeffrey to share his story, allowing others to see him as an inspiration, with a desire to make a change and help those in need.

★★★ Directed by: #ElcidAsaei Written by: #ElcidAsaei Starring: #LynaDubarry #SandieVonBrockdorff Film Review by: Huw Buckley Lost for Words (2020), written and directed by short filmmaker Elcid Asaei, offers us a light-hearted take on the break-up process and is packed with amusing moments, though it never feels too churlish. Indeed, the film takes the topic seriously enough to make some insightful observations about the toxicity and power dynamics that can often plague our most intimate relationships. The film (clocking in swiftly at around the five-minute mark), charts the journey of its two lead characters Nadia and Victoria (played smartly by Lyna Dubarry and Sandie Von Brockdorff respectively), who are due to meet up for the first time since their break-up. The film mostly charts their separate journeys through an unnamed forest, to reach an agreed upon meeting point. Throughout, internal dialogue gives us some insight into each character’s state of mind and, most importantly, how they regard each other. The language deployed is deliberately pompous and overdramatic, Victoria even taking a pseudo-Shakespearean turn during one particularly amusing sequence. Asaei seems to be making a mockery of our absurd levels of self-importance, which are liable to elevate further as a result of those moments we deem to be life-altering. There is a shedload of self-denial and ego involved, and neither character seems aware of their own shortcomings. Instead, they pin their unhappiness and discontent on each other. There’s a savagery to the humour at times, especially on Victoria’s part, who compares Nadia to both a fish and a peacock. Each character seems to focus intensely on the shortcomings of the other, and such a negative attitude, funny or not, makes the characters somewhat difficult to like. They don’t present as nice people. But this is seemingly the point, we are getting an insight into how they view each other, which is to say, not in a positive light. The reason they appear petty, vindictive, spiteful, is because they are struggling; we’re seeing them at their lowest ebb. This works from both a dramatic perspective and a comedic one too, because there’s nothing funnier, nor more conducive to drama, than people that hopelessly fall short of expectations; feel out of their depth; or who find themselves racked with negative emotion. Towards the film’s conclusion, the laughs suddenly stop however, as a gut-wrenching window into the past highlights the unhappy nature of the former relationship. Snippets of conversations from the past showcase a distinct lack of empathy on the part of both characters, disputes rife with remonstrations and accusations. The darker side of the break-up process is highlighted in rather sobering fashion. The film then ends on a bittersweet note, which suits the wider feel of the film. At once it can be hilarious and moving. It’s an excellent exercise in short filmmaking and is sure to capture the imagination in its short run-time. There's a particularly nice touch in the costume design, with Nadia and Victoria both wearing yellow and sporting blue eye shadow; perhaps a metaphor for how they will have left an indelible mark on each other as a result of the relationship, for better and for worse. This attention to detail benefits other aspects of the production, such as the cinematography and editing and perhaps points to Asaei's extensive experience as a short filmmaker over the course of the past decade. This is yet another convincing effort from a writer-director who never fails to impress. #HuwBuckley