★★★★ Directed by: #IshtiyakAhmadZihad Written by: #IshtiyakAhmadZihad Starring: #AkibaRahmanZiniya Short Film Review by: Emily Davison A young Bangladeshi garments worker bares the responsibility of caring and providing for her family, but when Coronavirus hits it tragically affects more than just her job salary in this bleak short drama. Run Away (2020) is directed by Ishtiyak Ahmad Zihad, a film and media studies student in Bangladesh, and with only a very short running time of three minutes, the film still manages to pack a punch with a weighty, relevant subject as its core focus. The movie has been screened and chosen for Official Selections in many film festivals in India, most of which are in response to the pandemic, with the Lockdown Short Film Contest 2020 and NDUB Lockdown Fest 2020 just naming a couple. The film has a great sense of pacing to its short length, immediately introducing the setting through some well framed establishing shots of the village the unnamed protagonist lives and works in. The movie presents excellent cinematography throughout, with Zihad choosing to implement a black and white aesthetic, which enhances the realism and grounded style of the narrative and context. There is a harrowing and devastatingly authentic quality to the film as Zihad reflects on the impact the pandemic has had on ordinary Bangladeshi people. We are invited to share in the three day experience of an isolated young girl as we lead up to the coronavirus impacting on her job and no longer being able to provide for her father, mother and little sister. The despair and helplessness of the lead is sincerely captured by Akiba Rahman Ziniya, who must endure endless calls from her family waiting for her to come home with a salary she will never receive to support them. The young woman’s hope eventually dissolves when she loses her job and this decline in morale is framed elegantly by Zihad, as well as performed passionately by Ziniya. The film is beautifully tragic and honest in its presentation and is impressive in vision due to being filmed during the beginning of the pandemic. As the opening quote reads: “in today’s world, money is like oxygen” and the message is thoughtfully contemplated on by the filmmakers, especially in regard to the heavy emotional ending. Run Away is a dramatic, compelling short with a reflective contemporary subject matter on the effects of the Coronavirus pandemic on Bangladeshi workers and bolstering refined cinematography as well as a humane performance from its lead, this film certainly makes for an absorbing watch. #EmilyDavison Run Away (2020) Short Film Trailer:

★ Directed by: Sam Seen Written by: Sam Seen Starring: Martin Lee Film Review by: Vikas Yadav If there is a Great Art somewhere in Sam Seen’s 1 minute and 26 seconds short film, then it has totally escaped my grasp. Titled The End Has No End, this 240p resolution video that I watched on YouTube shows a man (Martin Lee) climbing the stairs two times in a row (there is a cut after the first climb, indicating the passage of time, but the two shots are edited in a way that makes them consecutive). The set features three stairs connected in parallel to each other against the backdrop of a big white circle (is it the moon? Can’t say for sure. The video quality is not so good). In an attempt to make sense of it, I went through the video 6-7 times. What did I find? Nothing. Nada. Nowt. What is it about? Or is it about anything at all? I googled the title and found lyrics to a song of the same name by A. G. Cook. Over the next few minutes, I went through the lyrics and tried connecting them to the short film. What did I find? Nothing. Nada. Nowt. Well, to be honest, it was a giant leap anyway. Still, I was not ready to give up just yet. Maybe The End Has No End was inspired by a famous painting? It could be possible because the Facebook page of Sam Seen is filled with some pretty cool images. There is one captioned “Vocal Poetry Masked Cover” in which a couple is kissing with their masks on while their heads are inserted in two different circles. So it might be possible then that The End Has No End could have been derived from a greater, obscure art. To find the “inspiration,” I took the screenshot of the film and ran it in Google Images. The results consisted of a set of black and white architectural images. All of them were displayed under the term “language.” What language is The End Has No End speaking? Is it about our mundane life that is passing by every second while we are busy with our actions? Or does it intend to convey us to engage in exciting activities and not waste our precious time like the man in the short for whom the only change that takes place is that in his second climb, he gets to go on the upper staircase? Does the presence of the big white circle (or the moon?) indicate something surreal? Or does #timeTraveller in the description of the video means that the man is a time traveler who may have possibly manipulated time to occupy the position in the upper level of whatever this place is? I don’t know. Only Sam Seen can give an answer. If there is one.

★★★ Directed by: Danny Cannon Written by: Starring: Freddie Prinze Jr, Jennifer Love Hewitt, Brandy Norwood, Muse Walton and Mekhi Phifer Film Review by: Rachel Pullen I Still Know What You Did Last Summer Movie Review It’s 1998, you are using the internet via the landline, taking photographs on a camera with film, making mixtapes for your Walkman off the radio, someone has a Bop-It, and maybe it’s summer and you are reeling from the murder you committed last summer. I Still Know What You Did Last Summer follows Julie, our survivor from the first instalment as she lives a watered-down life in college, dressing like a librarian and being all uppity because she did the murder 365 days ago. But like all good things they come to end and with summer looming, her favourite season, she must return to her home town….or win a holiday to a tropical island with her housemate and run away from her problems…looks like we are going on holiday. That trauma from the first film has left her once again unable to move on, and even though her surroundings have changed and she seems a little more at ease, we can sense her incompleteness regarding her misdeeds, and because of this her housemate drags her, her boyfriend and their pal Will, to a sunny island to maybe turn that frown…upside down. So Julie, her housemate and their two boy toys set off for the island but are quick to find out it’s storm season and they are pretty much the only ones there, washed out and bored…why oh why would a competition send them to a resort during the storm season? Oh because nepotism is a thing in this film, and boy toy number 2 is actually the son of the killer from the first film, not unlike a lot of slasher film sequels of the ’90s, why is that a thing? Why are the families always getting involved? I do not think I would do a bunch of revenge killings if someone went after my family, I’m busy…tanning and going bowling. So here we are, angry daddy’s boy chasing them through the rain and palm trees in the exact same set up as the first film, in essence, we have been brought to this island just to isolate the kids and have a few new victims to slash out the way as we build up to the final scenes. It may sound like I hate the slasher formula we have placed upon us here, but in a way no…and if it were not for the first film I would be, for you see I Know What You Did Last Summer set up time and time again the red herring idea, we suspected every single one of the teens the first time around, only for a curveball to be thrown in and it ends up being someone new, and yet here we are ready to not fall for that set up again and boom…they flip the switch. And it’s not just the son who is out there wearing a hook and killing teens, his daddy is still alive and they have a standoff in the rain with Julie in a graveyard because that’s how you set up a sense of foreboding, I guess…why is there a graveyard so close to a holiday resort? Like within walking distance? Anyway…Julie wins, they go home…the end. I Still Know What You Did Last Summer is simply a profitable slasher film of the 90s, and why not? That was the trend at the time, it brings nothing in the way of stunning scenes, mind-blowing acting, but it does provide a young Jack Black playing a stoner with dreads getting cut up… good times. It does what it says on the tin, and while many die-hard horror fans turn their noses up to these kinds of flicks I say: no. Do not get me wrong, I love an excellent horror, professionally written with perfect suspense and scares, but sometimes I think we all fall in love with the joy of watching stupid sexy teens, do stupid shit and then get killed, and is that not a solid part of the genre’s backbone? Of course, it is, however much certain movie snobs do not want to admit it. So I found out there was a straight to DVD third instalment that apparently involves ghosts or something…I’m in! Let’s hope someone has a hook otherwise I’m turning it off. I wonder how the ghost hook will work? Won’t it just go through your body and do nothing? Is this going to be like an episode of Scooby-doo?…ah man I’m so excited. So, kids what did we learn this week? Summer is Julie’s favourite time of year. Holiday resorts have their own graveyards. If Jack Black is wearing a Hawaiian shirt, kill him for his own good. #RachelPullen

★★★ Directed by: #EnyaBelak Starring: #ElifKnight #CliveSaunders #OliviaAnastasiades #DavidBettega Film Review by Nathanial Eker Very Well Mind, a medically reviewed mental health awareness website says of the effects of heroin: 'People who use heroin describe sensations of warmth and safety while they are high. This may be despite the fact that, in reality, they are anything but safe or warm.' Why bring this up? Because it's an apt metaphor for the two halves of Luminary, a short that blends experimental, dream-like scenes with more traditional sequences in a dull-yet-safe suburban setting. Zoe is a heroin addict with a young daughter. Over the course of twelve minutes, we watch her spiral and see how her party-heavy lifestyle and addiction strains the relationships with her father, sister, and daughter. Luminary provides an engaging and visceral look at the struggles of drug addiction. The surreal scenes in the nightclub are undoubtedly the short's greatest, as the barren walls and cold palette give an otherwise normal setting an underlying air of sinisterness. Indeed, the character known only as S/He (David Bettega) personifies this spooky atmosphere as they skulk around the club like a glittery ghoul, tempting our protagonist. Credit must go to director Enya Belak and their cinematographer for producing a haunting mise-en-scene that is immediately atmospheric. Belak takes more than a handful of cues from the horror genre, but when dealing with a topic as challenging as heroin addiction, horrific imagery is entirely appropriate. The experimental angles, other-worldly visuals, and disregard for traditional narrative structures culminate in an artistic expression of freedom and regret that is undeniably powerful. Regrettably then, the scenes that take place in the "real world" are unable to live up to the pantheon of experimental excellence presented during the opening. When thrust into the mundane world of modern London, the film's edge immediately blunts. Its message ultimately boils down to 'drugs ruin lives', and while it's not unsubtle, it is, unfortunately, quite dull. All the actors give reasonably solid turns, with stand out performances from Elif Knight as lead Zoe and little Olivia Anastasiades as Chloe. The two have a brief yet excellent chemistry, and their strained bond is believable, despite only sharing seconds of screen time. The minimal dialogue also works well here, as a sloppier film would've given the actors layers of irritating exposition. Belak lets the scenes breathe, and the film is better for it. It's unfortunate then that as Luminary leans into its more traditional narrative structure, it fails to inform the audience of much of anything. One only learns the relationships between the characters by visiting the IMDb page. Additionally, while Zoe's substance abuse is obvious, it isn't clear which drug she's taking, how frequently she's taking it, and, most crucially of all: why she's taking it. These questions could've been addressed via the same wordless storytelling as the rest of the film, or even in its most expository scene, where Zoe chats with her sister. As is, the plot is remarkably confusing for such a short and simple film. Luminary is let down by an incoherent script and mundane thematic overtones. Fortunately, it's visually stunning and a case study in creating a fantastic mise-en-scene on a minimal budget. You're probably unlikely to get addicted to Luminary, but it's worth a watch nonetheless. #NathanialEker

★★★★ Directed by: #RokasMakutunovicius Written by: #RokasMakutunovicius Starring: #AnetaMakaviciute #AntanasSurgailis Film review by William Hemingway Živile (Makaviciute) is ready to party. She's got on her best faux fur, applied her deepest red lipstick and has got her dad to give her a lift. She's a bit of a Hothead; strong willed, determined and able to get what she wants; but sometimes that can lead her into trouble. Outside the party her dad (Surgailis) gives her the option to blow it all off and head back with him for a safe, quiet night but Živile isn't interested in that, so she heads inside and sets in motion a series of events that could change her life forever. Cut to early the next day and Živile, still in her bright red fur and party clothes, is waiting to get into a clinic where she can get some blood tests done. She relates the previous night's events to the young man behind the desk and we follow her movements in flashback as she reveals what went on behind closed doors. It seems that Živile was out to have more than just a simple good time and in the end got snared by someone who wanted to get his own back on her. What follows is then a desperate attempt by Živile to bypass procedures, right any wrongs she may have committed, rub out her mistakes, and in any sense possible turn back time on the whole affair; if only she had stopped to think about what she was doing in the first place. Rokas Makutunovicius would like us to stop and think too, as we watch his short film, Hothead. He has deliberately chopped up the narrative and placed sequences out of order so that we have to piece together Živile's story ourselves. Bit by bit we get a better understanding of who Živile is and what has befallen her, not just in this timeline, but in previous ones too, though not everything is revealed explicitly. After the first viewing not everything may be clear to the audience, perhaps not even after the second or the third, but gradually the story pieces together and we find that Makutunovicius has taken us on a journey to the heart of his main character. Živile herself is embodied emphatically by Aneta Makaviciute, whose screen presence demands your attention and admiration. In her performance there are more than shades of Joanna Kulig in Pawel Pawlikowski's Cold War, where despite the leading lady's flaws you can't help but always want the best for her. The rest of the production, too, also owes a lot to Polish cinema, especially that of Krzysztof Kieslowski, where the direction and cinematography expertly lay out the details of individual lives and roles as they all become intimately connected with one another, and shows it off with a colour palette straight out of Three Colours: Red. The post-industrialist electrosynth soundtrack also broods with deep meaning as the narrative plays out, keeping the viewer ensconced in a post-Soviet era feel. Makutunovicius, being a student of the Skalvija Film Academy in Vilnius, Lithuania, presented Hothead as his end of year submission. The prompt for this particular year's submissions was on the theme of “Changed My Mind”, which may help explain some of what's going on to the viewer, especially in the final scene. Regardless of how easily accessible you find Hothead to be, it is obvious that Makutunovicius has a keen eye for direction and a real talent for narrative structure. If this is the kind of film he is able to make during his time in film academy, he will surely be one to watch out for in the years to come.

Around International Film Awards is a network-based film collective built around the ideas of community, creativity, and support for independent cinema which is celebrating its 8th anniversary in 2021, and has just wrapped up its 2020 edition. The festival, which started off online and has continued with in-person events for a few years, has decided to go “back to its roots”, rediscovering its potential due to the ongoing pandemic. Director of the Festival Onno Mara mentions that “Just as the rising new era came along with the “Grand Conjunction’’ in the sky, we will continue our journey on planet Earth as ARFF International & WSXA by taking charge of the network gatherings in each city together with WScreenShowCase. In 2020, through the platform Filmocracy, the festival was available for streaming from all over the world with participation from over 110 countries, in its four major events.” This past year’s edition featured all four international events in subsequent days: ARFF Barcelona on December 26th, ARFF Paris December 27th, ARFF Amsterdam December 28th, ARFF Berlin December 29th and closing up with the Winners Announcement which happened on the 30th through the online festival and ARFF’s blog, Fest Regards. The 8th edition of Around International Film Awards 2021 - Barcelona, coming up at the end of March through the platform Filmocracy, will be sided by the 5th edition of WSXA International Awards, a partner festival of the Around Films Collective, whose nominations were announced this last Wednesday. As this anticipated moment comes to completion through the work of the whole team, let’s take a look at the highlights of ARFF International 2020. The United Kingdom did not miss this incredible opportunity to shine through its independent cinema, presenting quality material which stood out among the finalists, gaining attention and winning several of the categories. Among these, End Point from director Rafael Cortes was entirely produced and shot in the UK. A short film, set in a futuristic world where humans and AIs are intertwined in the same society, in which a young man is stuck between a time loop and a star-crossed love. On a completely different note there is Appetite, from directors Xuemeng Li and Katrin Larissa Kasper. Funny and intriguing, the short film tells the story of a serial dine-and-dasher, a mysterious woman who wears intricate disguises, orders every element on the menu, and takes off hoping that no one will ever find out her secret. Last, but definitely not ending the impressive presence of English independent films at ARFF International, among the finalists, two British filmmakers participated in the entertaining Q&A evenings. On the big screen but also on the small, participating in the interviews from their homes were Howard Perry, presenting Skye Steele – Rise of Nefertiti, a mystery-drama set in the 1930’s, and Monika Koeck with M’Hamid Oasis Morocco, a documentary about the intervention to restore the endangered Moroccan oasis. The festival overall presented thousands of film submissions and an incredibly wide range of genres and formats, for everyone’s taste: from feature films to shorts, documentaries to music videos, from student films to experimental creations. Filmmakers of any background and experience were welcome, from all over the world, and of any age as well, 18-72. The festival’s staff picks and the exclusive mentions, as well as the signature Globe Award, really value exceptional talent that could come from anywhere, and were assigned to filmmakers (and films) who really outdid themselves. The already mentioned Q&As, featuring moderators Henriett Tunyogi and Bastiaan Rook, were a success among audience and filmmakers, and brought to great moments of participation and exchange between artists sharing the same love for cinema. A small regression on the festival’s structure brings out its truly unique approach. Due to its four-in-one composition, the platform has a lot going on and it may seem confusing at first, but the structure is actually quite simple. The festival accepts film submissions year round, and every month presents its set of winners. Aside from this, the jury selects what are considered the “Best Of The Best”, truly outstanding filmmakers who get to shine on at one of the four mentioned yearly events in either Spain, France, Netherlands or Germany. So it is always a good time to jump on this festival, since even if a fest just wrapped up, one is just Around the corner, for an engagement that lasts all year. The event promoted community building and networking, and allowed a true appreciation of amazing content. But who got to decide what really classified as the “best of the best”? This year’s A-list jury was composed of talented professionals from all over the world: Katherine Castro, Harley Wallen, Sonalii Castillo, Michael B. Katz, Libby Munro, Billie Rae Bigsby, Iliona Blanc, Summa Cilem, Federico Alotto, Andrea Zirio and Yuri + Ana. Full biographies are available on the festival’s official blog, Fest Regards. The winners come from any corner of the world, from Norway to Japan, from Israel to New Zealand. The variety among the winners shows there is not only one way to make a winning piece, since each one made first-class films their own original way. From all of the Around Films Staff, our congratulations go to the winners of the 2020 editions. Here are the winning films: For ARFF International Barcelona: BEST FEATURE FILM Father For A Day - The story of an artist who suddenly finds out he’s a father, through his difficult relationships with his father and his wife. BEST DIRECTOR End Point - A cursed love story in a future in which humans and their AIs can travel through time. BEST CINEMATOGRAPHY Shibil - This is a story of impossible love, seen through the eyes of an unexpected character - the incarnated soul of the main character - his horse. BEST DOCUMENTARY FILM The Happy Accident - A documentary about a filmmaker who finds her way thanks to an eccentric septuagenarian artist. BEST SHORT FILM Lovers - A reconstruction of Romeo and Juliette through different generations, ages, ethnicities. The goal? Show that love is really timeless and universal. BEST EXPERIMENTAL FILM ENOXAIAR - In this oniric journey, a woman must learn to free herself through self love and empowerment. It makes us wonder why something like loving ourselves seems to be so hard to achieve. BEST MUSIC VIDEO Phoet - Symmetry Breaking - The immigration crisis Italy is living, depicted in all of its tragedy, with the hope for a better future. BEST STUDENT FILM Happy Ending - A series of thoughts about human communication and interaction spark inside a man’s mind after receiving a notification on his phone. A commentary on how what we consider “inappropriate” limits our relationships with each other. BEST ANIMATED FILM Aripi - In order to solve his problems, an astronaut must look back to the child who still lives inside him. GLOBE AWARD Wormhole - A sci-fi journey through the mind of a woman who has discovered her husband’s betrayal. Reality and fiction continuously switch places and blur their edges as she writes a novel. AUDIENCE AWARD BoyMom - The story of a mom of two who struggles with mental health. A film which brings awareness to the amount of responsibilities mothers have to deal with, mostly alone. STAFF PICK Cold Cuts - When the family dog dies, Pancho - the only child - tries to arrange a proper burial, only to realise that all his efforts won't make anyone happy, but his mother. For ARFF International Paris: BEST FEATURE FILM Horatio - A satiric and fantastical commentary on the materialistic society we live in, told through the lens of a dysfunctional family led by the tyrannical Horatio. BEST DIRECTOR Miss Chazelles - An unexpected plot in the framing of a society which constantly turns women against one another. BEST CINEMATOGRAPHY Return To Sender - A postman starts to follow a series of mysterious letters, in this sweet short film set in the American desert. BEST DOCUMENTARY FILM The Last Oil - Through three parallel stories, this film presents a reflection on how and why oil has become so important for our economies and modern lifestyles, but also why continuing to use oil as much as we do may jeopardise all of that: it harms our environment and climate. BEST SHORT FILM Mantis - An intriguing story involving a serial killer who targets men in Los Angeles. BEST EXPERIMENTAL FILM Incredible Machine GlassBody - A reflection upon the role technology has in our lives and its attempt to dehumanize society. BEST MUSIC VIDEO Laisse Lucifer - Women really steal the show in this pink-tinted video for the song by Faire. BEST STUDENT FILM Fata Morgana - Kiev, 2014. A young couple struggles to find closure on their last day together before the man goes to war. A dry depiction of the destruction war brings not only in the battlefield, but also in human relationships. BEST ANIMATED FILM Hesar (Gate) - This animation music video for the song Hesar in the debut album by Farnaz Ohadi's Persian Flamenco shows the painful journey of a woman from Iran to Canada. It shows the pain of immigration, but also the courage and strength needed to set roots in a new country and start again from scratch. GLOBE AWARD Born Balearic: Jon Sa Trinxa and the Spirit of Ibiza - Adjacent to Ibiza’s party capital, a documentary about DJ Jon Sa Trinxa, who has spent a quarter of a century on the beach spinning an eclectic mix of musical styles that stir the hearts of the Balearic artist community. AUDIENCE AWARD Ô - A desperate cry for help in a commentary on the world we live in, depicting the insecurity which lies in today’s young minds. STAFF PICK Diary of a beginner - The compelling story of a young woman who discovers herself in a potential career as a porn actress. For ARFF International Amsterdam: BEST FEATURE FILM Alice and the Land that Wonders - A reasoning on the concept of normality, through the mirror of magical realism, inspired by the famous character of Alice, a young woman who is not ready to grow up. BEST FEATURE DOCUMENTARY The Last Tribes - A documentary which focuses on San tribes' ingenous daily life with all their excitement, fears and happiness in their natural habitat. One of the very few peoples today who are still able to live in communion with nature, without feeling the need for destruction. BEST DIRECTOR VORTEX - A desperate killer leaves the city behind and meets, on his way, a mysterious witch who’s connected to nature. Thus begins a strange organic relationship, between life and death. BEST SHORT DOCUMENTARY Voiceless - The incredible journey of two film students to South Africa, to work with an organization that aims at overcoming prejudice towards disabilities. BEST CINEMATOGRAPHY The Macro World - A reality more colorful and surreal than any movie we can think of is brought to us through this magnifying lens on the underwater world. BEST SHORT FILM Rag Doll - In a nearly dystopian Los Angeles, a young woman feels lost and reflects on the authenticity of her own life. A deep story that questions the lives we live and the fame we worship. BEST EXPERIMENTAL FILM On My Mind - An abstract, Afro-cosmic reflection on love is performed - both in music and in dance - by a group of artists in the Bronx, to call us back to a wisdom which existed way before we did. BEST STUDENT FILM Fishbowl - An unsettling short film about an artist who is mistaken as cheating on her boyfriend, only to realize a truth which is hard to swallow. GLOBE AWARD Talk For Life: English as an Additional Language - This inspiring and heartwarming documentary film takes us on a journey into the world of language and the crucial role it plays in the lives of newly arrived refugees in Australia. AUDIENCE AWARD Other - A documentary about gender, kindness, equality and humanity. Being one’s true self is an act that must be understood and appreciated by everyone in order to build a better world for future generations. STAFF PICK Wives Of The Skies - A funny and bizarre comedy about a filmmaker in 1965 who decides to make a documentary about two stewardesses. A witty commentary about the sexualizing gaze of men towards women. For ARFF International Berlin: BEST FEATURE FILM Windows, Windows - A poetic story, set in an abstract background, telling a universal tale of yearnings, hounding memories and quest for love. BEST FEATURE DOCUMENTARY BEAR-LIKE - Bears are the true protagonists of this documentary, in which two adventurists get to live their dream of knowing from up close these fascinating creatures. BEST DIRECTOR Appetite - An intriguing short film about a mysterious woman who goes on several dates under many disguises, orders the whole menu, and insists on paying. BEST SHORT DOCUMENTARY ROLLER GIRLS BEIRUT - A documentary about a woman who spends six months in Lebanon to start a female roller skating team. A reflection on what it means to be a woman and why it’s wrong for society to decide what is “feminine”. BEST CINEMATOGRAPHY Paul Keller - Stille im Schrei - Can we trust a story without trusting its protagonist? This uncontrollable feature reflects on the effects of destruction on the sanity of post-war Germany. BEST SHORT FILM SIGNS - Two disillusioned sign-spinners create a friendship, and maybe more, in a very unusual meet-cute in alienating Los Angeles. EQUILIBRIST (Bauhaus Edition) - Art takes life in this dialogue with the lithograph “Der Seiltänzer” by Paul Klee, a teacher at Bauhaus who was fascinated by the concept of balance. BEST STUDENT FILM The West Kerry Cowboy - A comedy drama about a young man with a secret who struggles in the search for acceptance from his own father, after his mother dies. GLOBE AWARD Beer-tastic! The Series - The eccentric sommelier and author Conrad Seidl sets out on a tasty journey around the globe to discover famous beer styles and experience new flavors. AUDIENCE AWARD Him and Her - A story about love and hate, adoration and loathe, in a marriage between a singer and her producer. STAFF PICK We are all on the same bus - A reflexion on the elasticity of time and the multitude of universes in an urban setting which invites us to practice awareness. Around International Film Awards would also like to thank all the precious collaborators from Fest Regards and the Astrall Story Filmmakers via IMDb, who are ready to finalize a one-of-a-kind Collab-Film, coming in 2021 to make a new history altogether. Heiner Mühlenbrock - Consultant & The Awards Presenter Margaret Duggan - Content Manager & Online Coordinator Gaisha Madanova - Content Manager Emre Küçükosman – P.Production Supervisor Göksel Hizlikul - Web & IT Manager Eda Kaymaz – Graphic & Illustration One last thing: The event featured screenings, networking events and Q&As with the filmmakers, so the online event presented all the features of an in-person festival, also adding the fact that one could participate from any corner of the world, and enjoy the festival with friends and family from home. To discover more about the filmmakers who were involved, the Q&A sessions, and the festival winners, take a look at Fest Regards, an ARFF International Blog. Supporting independent cinema and appreciating such breathtaking films has never been more important! As they always like to say, ''See you Around.''

★★★★ Directed by: #EzequielYanco Written by: #EzequielYanco Starring: #UrielAlcaraz #IsaíasBarroso #AngelBaigorria #BrianLlambia #BrianAlcaraz #RodrigoAmitrano #MabelBaigorria #JeremíasBarroso #CatalinaPerez #LuanaBaigorria Review by: Joyce Cowan La Vida en Común is a hypnotic, magical blend of documentary and fiction. One of the marks of a great documentary is posing as many questions as it answers, and La Vida en Común does exactly that. Written by Argentine documentary film maker Ezequiel Yanco, it follows a group of teenagers from the midland province of La Pampa, descendants of the Ranquel People (Native Americans), who want to hunt a puma as an initiation rite into adulthood. The youngest of the boys, Uriel, narrates in the rhythmical, understated tones of the Ranquel People’s Spanish. His curious, mysterious and questioning tone make this a story you cannot stop listening to. ‘A puma doesn’t kill for food’, he begins, ‘It kills because it can’. The centrality of the phrase and the question of its truth holds the documentary together, and the viewer’s attention. What or who does the puma symbolise? This question is the tool with which we can peel the many layers of this brilliant film. The first layer is culture, for the Ranquel People were hunters, and this is on lost on the boys: hunting, or the practice of hunting, is a main pastime for them. The second layer is freedom and the experience of it. The boys are definitely free living in the prairies of La Pampa, but is this enough for them? The third layer is the relation between people and nature. The puma is today a threatened species, and an icon of Argentina’s conservation work, so it is no coincidence that the writer has chosen it as key character in the documentary narrative. The cinematography is wonderful. Yanco makes the most of the endless plains of the Argentinian midlands by employing breathtaking extreme wide shots, including one of thunderstorm in the distance- a visual representation of the power of nature. These are landscapes into which the characters blend seamlessly but forcefully at the same time (the definition of youth?) which is a feat. The building which Yanco chose to film, and film in, at some points in the documentary is also eye catching and evocative. La Vida en Común is a many-layered, powerfully conceptual and observational work of art- anyone expecting straightforward social commentary will be disappointed. It is not historical and does not consist of data. Argentina has a strong tradition of documentary filmmaking and this particular piece does it justice beautifully. La Vida en Común is screening as part of the Visability Film Festival 2021.

★★★ Directed by: #DavidTryhorn & #BenNicholas Starring: #Pelé Netflix Documentary Review by Taryll Baker Looks back at the extraordinary 12-year period in which Pelé, the only man to win three World Cup titles, went from young superstar in 1958 to national hero in 1970; a radical yet turbulent era in Brazil’s history. There’s something quite affecting about an older, frail Pelé walking up to his interview seat with the assistance of a walker. His prime now behind him, his legs not so strong as they once were. It’s now a time of reflection and catharsis. Netflix’s documentary takes us right back to the beginnings of a football legend and hero, then, a tour through his eventful life, scraping through his later years which proved a struggle. It always amazes me how well some filmmakers utilise archival footage. Though in its rough look, the way in which it’s edited with great sound addition and music makes it hit harder. The old footage of football games are cut together with a good sense of storytelling — the loss of 1950 is a small moment in the film but nevertheless a great example of this. It’s also impressive just how much coverage there is of not only these events, but of Pelé himself. Like they were aware that someday, something like this would be made. The late 50s and early 60s are shown as a very energetic and vibrant time in Brazil’s history, with the victory of two World Cup’s, the heightened idolisation of Pelé and a country filled with pride. But, like most documentaries, there must come a downfall; “A different Brazil had arrived.” Of course, the film focuses on Pelé thus never delving headfirst into the political heights surrounding this time, rather spending time on his eventual marriage with his wife, Rose, and the challenges that came with his newfound fame. While insightful, it’s at this point in the documentary where things begin to drag, feeling a little too strenuous with similar materials prior. I would have liked to see more of the affect Pelé had on the people, and the country’s evolving atmosphere during these times.That said, if it were the other way around and it focused too much on politics, there would be complaints that it isn’t about football, which, let’s be honest, is the focal point of Pelé. It’s to be said that if you lack interest in the scene of football and the World Cup, it will make this documentary a slog, even with its shining moments. Nicholas and Tryhorn’s portrait of Pelé is a portrait to be sure, but even with the many strokes of painted history, it feels a little underwhelming. Perhaps it really comes down to a general interest, that I simply don’t fit into the criteria set by this film. But that’s not to say that Pelé doesn’t have some likeable charm. There’s plenty of solid imagery from the archival vaults — The way in which the story is structured is brilliant, and the 12-year journey is presented well within its nearly 2 hour run-time. It certainly feels as if you’re watching it for that long, take that as both a pro and a con. The experience of watching Pelé is difficult to put into words, so it’s best to let the film do the talking. To add, even with my lack of interest in the game, the final 20 minutes or so are quite enjoyable. You can sense Pelé’s feeling of accomplishment, he’s feeling of relief, and the music that accompanies his triumphant third World Cup win drives those feelings home. This documentary shows the rise, fall, and rebirth of not only a player’s spirit, but a country’s. Pelé is now streaming on Netflix. #TaryllBaker

★★★ Directed by: Tony Ogunyinka Written by: Tony Ogunyinka Starring: Jd Roth-round, Jonny Hall, Patrice Naiambana Film Review by: Jason Knight The year is 2024 and things have changed. England is now being ruled by a cruel and dominative government that enforces brutal policing and strict laws. Anyone who opposes them is severely punished, however there is a secret organization working against them There is also a drug called 'UDH', that has been legalized and causing chaos on the streets, as it makes users loose motivation. Ethan Cole (Roth-round) has returned to London, after having spent ten years in the army. He is oblivious to the changes his country has gone through and finds that his wife is missing. He visits his acquaintance Collin (Hall), hoping that he might know where she is. Collin believes that she has been taken by bad people. Not long after, government enforcers catch up with them. This thriller has a plot that resembles 1984 and is rather intruiging. A merciless government utilizes extreme methods in order to keep the public under control. The brutality of the enforcers is shown through beatings and ruthless interrogation. The film begins with a well-constructed montage made out of fictional news reports announcing the legalization of UDH and informing viewers regarding the government's actions on various matters. There are numerous great aerial shots of London and wonderful shots of clouds moving in fast motion over buildings. The dynamic score signifies action and adventure. There is also a brief but awesome sequence, that involves special effects in an eyeball. Roth-round makes an interesting protagonist, as the hardened former soldier, determined to locate his wife. Naiambana delivers a menacing portrayal as the one in charge of suppressing violent incidents. 2024 provides an amusing experience. It paints a picture of a society living in fear by its own government. The characters are engaging, the story gripping and it is definitely worthy of attention. #JasonKnight

★★★★ Directed by #KeithThomas Written by #KeithThomas Starring #DaveDavis #LynnCohen Film Review by Hope Madden For the garden variety movie viewer (myself included), it can be hard to get comfortable with the idea of spending a bunch of time alone in a room with a corpse, even if that’s your job. We always expect to see a figure sit up under that drawn sheet. When done well, movies that pick that particular scab can be incredibly effective. Keith Thomas’s The Vigil is one such movie. He leaves us alone in a house with the late Mr. Litvak. But we’re not really alone, are we? An endlessly tender Dave Davis plays Yakov, who has recently left the Hasidic Jewish community in Brooklyn. It’s so recent, in fact, that he goes to a support group of others like himself, all of them in need of some kind of training to figure out how to live a “normal” life. And as much as Yakov really does want to distance himself, when his former rabbi approaches him about Mr. Litvak, well, Yakov just needs the money. Yakov will serve as Mr. Litvak’s shomer, sitting with the body for the night to protect Mr. Litvak’s soul until his body can be interred in the morning. Mrs. Litvak (Lynn Cohen, remarkable as always) doesn’t want him there. It’s a straightforward enough premise, something Thomas executes with plenty of spectral dread. What the basic outline and many of the jump scares lack in originality, The Vigil makes up for with the under-explored folklore and customs specific to Orthodox Judaism. The general ideas are common to the genre, but the specific acts and images are precise and certainly new to horror cinema. As Yakov’s night wares dangerously forward, he faces a Mazzik. But, as is usually the case in films such as these, the real demons Yakov faces are his own. Thomas’s screenplay may present that metaphor more bluntly than necessary, and certain scenes are just so obvious (old footage projecting on a wall near a diorama of newspaper clippings and photos). But the compassion the filmmaker has for both Yakov and Mrs. Litvak, combined with the impressive performances from both actors, gives the film a soft spot that heightens the dread and terror. It’s a solid effort, one that reframes a story you’re used to in a way that gives it more depth and emotional power. #HopeMadden

★★★ Directed by #AnthonyRusso #JoeRusso Written by #AngelaRussoOtstot #JessicaGoldberg #NicoWalker Starring #TomHolland Film Review by Hope Madden Ohio is trying to kill Tom Holland. Last year we lured this sweety pie to Knockemstiff with the sole purpose of, well, knocking him stiff in Antonio Campos’s big screen adaptation of Donald Pollack’s novel The Devil All the Time. And now Cleveland. Filmmakers and brothers Joe and Anthony Russo—both fans of The Land, having filmed many of their Marvel films there—bring Nico Walker’s Cleveland-based semi-autobiographical novel to the screen. Cherry sees a young man, nameless through most of the film, make a bad decision and then pay for it dearly for the rest of his life. That young man is played with as much humanity and tenderness as you’ve come to expect from Holland. You cannot root against this kid. Walker himself, whose novel was adapted for the screen by Angela Russo-Otstot and Jessica Goldberg, apparently wrote what he knew. The Russos take his tale and, in their best moments, inject a cynical visual commentary to offset Holland’s earnest good nature. The star draws support from some impressive ensemble work. Forrest Goodluck (The Revenant) and Jack Raynor (Midsommar) deliver an excellent mix of tragedy and comedy, while Ciara Bravo gives love interest Emily a believably bruised soul. The combination, when it works, generates a knowing story about a screwup who paid too high a price for one mistake but never loses his humanity. It doesn’t always work, though. Cherry clocks in at a hefty 2:20 and it feels for all the world like the Russos and their writers simply didn’t know how or where to cut Walker’s story down. The movie lacks focus. And while there are clever stylistic choices made—the names of the banks as written on walls and other nods toward a subversive side commentary—the structure is far, far too standard. This should feel like no other movie you’ve ever seen because Walker’s story is really unusual. Instead, Cherry seems too much like a string of broken person meets terrible consequences before facing personal demons thrillers. #HopeMadden

★★★ Directed by #GregNaughton Written by #GregNaughton Starring #RichPrice #GregNaughton #BrianChartrand Film Review by George Wolf Is it karma? Kismet? Dumb luck? Whatever it is, New York neighbors Richard (Rich Price) and Greg (writer/director Greg Naughton) are brought together by the fate of a fallen tree limb. Both are musicians, and after an eye-opening impromptu jam session they decide to throw caution to the wind. Rich, a teacher and grad student, will blow off working on his dissertation, and the guys will take to the road. They’ll stop in Ohio to pick up Greg’s estranged girlfriend, then hit the Eagle Rock folk festival to play original tunes on one of the side stages. So what are the odds weird hitchhiker Brian (Brain Chartrand) also plays guitar and can provide the missing voice for perfect three part harmony? The guys sound great together, and they should, because they’re an actual group called the Sweet Remains. Taking inspiration from his real life, Naughton filmed his directorial debut over several years, scheduling around the band’s touring schedule. The result is a sweetly earnest and often funny ode to the simple joy of making music, and the value in even the most unlikely dreams. So yeah, a fast-talking record exec (Richard Kind) hears the guys play and sets up an L.A. showcase, but give Naughton credit for adding plenty of unexpected, sometimes pretty clever speed bumps on the road to overnight success. As actors, the three leads are all talented musicians, with just enough easygoing charm to get us rooting for their characters almost immediately. That’s a big help when those brand new songs sound polished on the first take, or when someone conveniently has an uncle who can get them out of the latest jam. How much of Naughton’s art is imitating his life? Hard to say, but it hardly matters. In both cases, it took the guys some time to arrive, but now that they’re here, what remains is pretty sweet. #GeorgeWolf