★★★★★ Directed by: Lanie Zipoy Written by: Chisa Hutchinson Starring: Jason Biggs, Aunjanue Ellis, Caleb Eberhardt, Richarda Abrams Film Review by: Aiysha Jebali | film-forums.com The Subject (2020) – Film Review I’ll be honest, before watching The Subject (2020), I had never heard of its writer, Chisa Hutchinson, nor its director, Lanie Zipoy. Well, I certainly know them now and so should every film fanatic. This film follows award-winning documentary filmmaker Phil Waterhouse (played by Jason Biggs) as he battles with a torturous inner turmoil – haunted by his own indecisions. Phil’s mind is running in circles, questioning his whole existence due to the moment that changed his life forever: seeing a young black boy die in his arms due to gang violence – the very thing Phil was documenting as “art”. It is certainly a drama – though I would say it is even more so a psychological thriller as Chisa, Lanie and the phenomenal cast force us to look deep inside at our shameful biases and beg the question: what would we do and why? Is there even beauty or much less, entertainment, in such horrific situations that so many young people of colour or of low-income face every day all over the world? What’s beautiful in not having food, access to healthcare or a good education? What is entertaining about seeing a teenage boy being beaten to death simply because he wants those things? Oscar-worthy Screenwriting & A Directorial Cinematic Masterpiece from Chisa Hutchison & Lanie Zipoy Aside from the magnificent storytelling by Chisa Hutchison and the reality of the events depicted - the thing that I love the most about The Subject (2020), as a filmmaker, is that every technical decision was meticulously planned out and executed to perfection. Analysing it, I can hardly believe this is a directorial and screenwriting debut from both of these fantastically gifted women. I could write a thesis on this movie because there’s just so much to unpack. Firstly, let’s talk about the stunning production design by Chantal Demorial and the resonating colour grade choices by Oliver Ojeil, as they just mirror each other so well. You’ll notice the sometimes heavy but wise use of complementary opposing colours throughout The Subject (2020). The film has mainly been graded with teal and orange, to communicate the depth of each character’s inner conflict visually. In addition, desaturation subtly but effectively delivers Phil’s depressive episodes that are most apparent in the first third of the film. Couple those with the cinematography of Darren Joe and the intelligent directorial decisions by Lanie Zipoy, with a score that will haunt you in all the best ways and you’ll see that The Subject (2020) really is a cinematic masterpiece. Zipoy uses extreme close-ups on such talented actors that we can almost see their character’s every thought and fear in real-time. She perfectly places horror-esque tracking shots, has a clever use of handheld moments, static splashes of strength, classic downwards/upwards angles between characters signalling the power struggles at play and so much more which culminate in building an inexplicable tension for the audience. This is a film that tells the story so well visually that you could almost press mute and still pick up on every meaningful detail. From American Pie to Golden Globe-Demanding Performances As for performances... I can honestly say that I could never think of Jason Biggs as “just a comedy actor” ever again as he and Aunjanue Ellis are quite literally breath-taking as their characters. Another actor that really stood out for me was Caleb Eberhardt as Kwame. Caleb’s performance was genuine, raw and aptly painful. That being said, the entire film has been well cast and everyone convinced me in their role, which is rare – particularly in lower budget indie films. As a final note, I am well-known as being somewhat of an ice-queen when watching “sad movies”. Well, Aunjanue Ellis, you did it honey, you made me full-on ugly cry – hard. With this film, you simply cannot avoid being sucked in and having your heart absolutely broken. Don’t say I didn’t warn you. The Subject in a Wider Lens... Should the Innocence of Childhood be such a Luxury if Black Lives Matter? This film is more than just something to watch – it is something to learn from. As you watch it, let’s keep in mind that Nile Bullock’s character is just a boy at 15, not the man that society has predetermined him to be. Surely, he should get to be just a boy that goes to school and grows up blissfully unaware of the divide – just like his counterparts? Do boys like Malcolm not deserve that same privilege? Yet, such gruesome tapes of their brutal end go viral every day and we often can’t explain why… Then some say naively insensitive things like “All lives matter…” – completely missing the point that right now, they don’t. What they mean is all lives should matter but the data suggests otherwise. In fact, this has been the case in some form or another for many generations in both the U.K and U.S, due to the systems put in place. Are we Guilty of Subconscious Filibuster over Civil & Political Rights? Any step forward in the civil rights movement or the more recent Black Lives Matter movement has been accompanied by a portion of judgement, violence and victim-blaming. As a society, we often try to deflect by talking about “crime statistics” in “urban areas”, for example, as if that somehow lets everyone off the hook for the circumstances that have been carefully created for our fellow humans to navigate, regardless of colour or income. In fact, this blame-game attitude is partly why tragedies like the one in this poignant film still happen every day. We didn’t personally create the situations that children like Malcolm Barnes (Bullock) grow up in, but we often refuse to acknowledge the difference those circumstances make to the final outcome of whom those kids become and how that could be influenced. Obliviousness, turning a blind-eye like Phil Waterhouse (Biggs) or an inability to truly empathise is exactly how racism and racial inequality continue to thrive today. It’s not only about the racist fanatics that bellow the N-word at people of colour. It’s the quiet onlookers that “agree” by their silence or document it without intervening, who can do just as much damage to our civilisation. Yes, we’ve taken steps forward, sure. However, if people in my generation still don’t have access to the basics despite working two jobs like Leslie Barnes in The Subject (2020) (Aunjanue Ellis) and having a side-hustle, then we are nowhere near as progressive as we’d like to proclaim. If people in my lifetime can recall being directly and systemically racially abused, discriminated against or profiled then we are really NOT where our politicians say we are – Republican or Democrat, conservative Tory or liberal Labour, U.S.A or UK… We’re just not there yet, sadly. Moreover, the strength of black people for raising their voices about these issues and telling stories like this one, inspires other people of colour as well as open-minded white people to stand together and be the change that we all want to see – the antiracism that will bring about genuine racial justice, as well as socio-economic equality among us all. Why is that so terrifying for some of our society, the media or seemingly – our leaders? A daunting and painful question, indeed. This review was provided in collaboration with – film-forums.com Find out what our writer thought of The Subject on the Film Forums website: https://film-forums.com/the-subject-2020-directed-by-lanie-zipoy-feature-film-review/

Location: Online Event Duration: Saturday, February 13 2021 7:00 AM-Sunday, February 28 2021 9:30 PM. Admission fee: £5 Event Review by: Jason Knight The Visability Film Festival 2021 has now opened its doors to the public. For just £5, visitors have access to all the wonderful contents on offer, which consist of a rich collection of short films, one feature film and recorded interviews with people who work in the film industry. In addition to the videos, scripts of several films and many Q&A's with directors are available to read through. People do need to go through everything in one go, as during the two-week duration of the festival, they are free to log back in whenever they please and continue their experience. Once a person logs in, they are brought to the festival's main page, which has a poster promoting the event at the top and welcomes them and provides a brief description of what they are going to find there. Everything is rather straightforward and easy to access. Regarding the short films, there are a total of fifteen of them, separated into two programs, each with its own name: Side A: 'Tooth' and Side B: 'Claw'. One program contains six and the other nine. Each program consists of a video, containing the selected films, which are played one after the other. There are two lists for each program and they contain the titles of the films and in the order they are shown. There is also a poster for each program, that is made out of images from the films that shown. Some films are less than five minutes long, while others surpass half an hour. The selection includes domestic and international productions and contains live action films, animation and documentaries. Both programs can be accessed by simply clicking on the relevant video. Viewers can pause, skip and watch the videos as many times as they please. The selected feature film is La Vida En Comun (Argentina), which is also the festival's winner of the 'Best Feature' award. Just like the short films, it can be viewed by clicking on the relevant video. The two recorded interviews are with Paul Conway and Steve Toussaint. Conway is a sound editor, winner of a Primetime Emmy and two BAFTA awards and has worked and has worked on a variety of films such as Full Metal Jacket, The Pianist and Les Misérables. Toussaint is an actor, who had roles in major films, including Prince of Persia: The Sands of Time and has worked on television, with credits including Doctor Who and Line of Duty. Each interview has its own video, in which they are interviewed online, the image shown in split screen. The interviewers are Co-Directors of the Visability Film Festival. Both interviewees share their knowledge and experiences about working in the film industry. The Q&A's people have the pleasure of reading through are from eleven directors whose films are taking part in the festival and there are also four scripts to read through. All these are presented in two lists, which can be accessed by clicking on the relevant link. The Visability Film Festival 2021 is an online event that is easy to access and navigate through. It has a great selection of films that are worth experiencing. The interviews, Q&A's and screenplays are a must for every film fan and provide an insight into life in the film and television industries. This festival rewards the audience with entertainment and knowledge and it should not be missed. #JasonKnight

★★★★ Directed by #ShataraMichelleFord Written by #ShataraMichelleFord Starring #BrittanySHall #WillBrill Film Review by Brandon Thomas The debut feature from writer/director Shatara Michelle Ford, Test Pattern, is a compelling look at date rape, its confusing aftermath, and the ways in which the medical field and law enforcement can fail victims with their chaotic bureaucracy. After an opening that delivers one of the sweetest, most awkward “meet-cutes” in recent memory, Test Pattern digs into the burgeoning relationship between Renesha (Brittany S. Hall of TV’s Ballers) and Evan (Will Brill of The Eyes of My Mother). Their life together is put to the test after Renesha is drugged and sexually assaulted after an evening out with her girlfriend. Test Pattern offers a matter-of-fact approach that makes it hard to look away. The audience is with Renesha every step of the way as she traverses the confusing hours after her assault. It’s an honest, but tough, journey we take with her as she runs the gamut of emotions and, at times, humiliating experiences. Nothing in Test Pattern would work if the strength of the cast wasn’t there. Hall is jaw-droppingly good as Renesha. She easily conveys strength, vulnerability, and poise in her early scenes. At one point on their first official date, Evan comments, “I feel like you always know what you’re talking about.” There’s no greater summation of the Renesha we meet early on. Brill is equally good as the doting, supportive Evan. Evan’s almost “too nice” persona is in contrast to the man we see later in the film. His focused, almost fanatical need to get Renesha in front of a doctor and the police starts to feel like a salve for his wounded pride, not her well-being. Together, these two actors have the type of natural chemistry that isn’t often seen. They deliver lines from Ford’s already expertly written script with ease and purpose. You can almost feel the history of this relationship pour off the screen. The genuine love and respect shared between Renesha and Evan make it hurt all the more as things start unraveling. Ford’s slow-burn approach to the story, and especially the aftermath of the assault, offers an incredibly riveting, and honest approach to this serious subject matter. The tension that begins to build as Renesha and Evan drive from hospital to hospital sometimes feels akin to some of the more emotionally disturbing horror films from recent years. The result is a direct focus on the painful process this couple is forced to endure. Test Pattern presents no easy answers. Renesha and Evan’s story isn’t wrapped up in a nice bow for us to feel good about. We don’t get the happy ending; we get the honest one. #BrandonThomas

★★★ Directed by #RyanBliss Written by #RyanBliss Starring #AshleyShelton #WilliamSadler Film Review by Rachel Willis Watching Alice Fades Away is akin to stepping into a Flannery O’Connor short story (without the overt religiosity). The film crackles with ominous energy as a larger-than-life villain haunts the rural, isolated landscape. As a horror/thriller blend, this one hits the mark. In his first feature, writer/director Ryan Bliss crafts a film that seamlessly blends genres: horror, drama, mystery. Set in the early 1950’s, the film is reminiscent not only of O’Connor, but films such as The Night of the Hunter. The tradition of the Southern gothic lends itself well to Bliss’s vision. Seeking refuge on her uncle Bishop’s farm, Alice (Ashley Shelton) is on the run. She is accepted by a group of people suffering from their own terrible pasts, all taken under the wing of her generous uncle. We’re not quite sure of Alice’s story, but we’re given disturbing glimpses as past and present merge on screen. As Alice’s past catches up with her, we’re held hostage to the increasing dread the situation conjures. The cinematography works wonders at turning the idyllic setting of Bishop’s farm into one of dreadful isolation. Its setup as the ideal hideaway melts beautifully into a desolate trap. All of the actors in the movie are well cast, but the one to watch is Timothy Sekk as Holden. His performance, along with Bliss’s writing, adds depth to a character that could have easily been a lifeless stereotype. Sekk’s energy adds to the mounting horror of what has followed Alice. With so many great scenes, the film’s blunders are even more obvious. It performs best when it has minimal dialogue, some lines are melodramatic while others are poorly delivered. Many themes are broached, but only a few are explored. A character disappears, leaving us scratching our heads. And what’s with the rabbits? However, the few moments that don’t land can’t wholly detract from the film’s overall effect. Bliss knows how to invoke dread, and the moments that take us out of the film are easily ignored considering what works. You’ll care less about some of the details and more about what’s ahead. Same goes for the filmmaker, as Alice Fades Away is a debut that will make you curious to see what Bliss does next. #RachelWillis

★★★ Directed by #RakeshJaitly Starring: #hZA Film Review by Matthew Sawyer Shadows is a song by musician hZA. The music video is directed by Rakesh Jaitly. The video was released on YouTube in June 2019. Jaitly who has had other music videos reviewed by UK Film review. Very positively as well, delivers again with this one. This video was clearly made for a very small budget. However, it does show a lot of signs of creativity. The opening shots accompanied by the music really get you into the mood of the song. They are simple shots of various sunsets from a car window but it’s very effective, but after only fourteen seconds we see where the video excels. That is random animated shots of whatever we’ve just been looking at. For example, after the last sunset shot, the film changes for a second or so into an animated shot of the sunset. It’s these little creative touches that set this video apart from the others. On the other hand, we do get some slightly rough-looking shots. These are clearly shot with a phone or low-quality camera. After these sunset shots, we begin following hZA as he prepares to begin recording the song we are listening to. Some of these shots include shaky footage of a garden shed AKA hZA homemade studio. Also, some of the shots as he prepares his studio to start recording are very hard to see what's happening. But then we keep getting treated to these little animations so it makes up for it. Jailty has proved he’s got a real eye for directing. It would be interesting to see what he could with a bigger budget; or any sort of budget. This particular video doesn't have much to offer except for the animated shots but yet it manages to keep you entertained. I think it helps that the song isn’t particularly long. I’d definitely be interested in seeing what Jality does next. It would be good to see him try his hand at short filmmaking if that interests him. He uses various filmmaking techniques throughout with quick cuts and zooms. The zooms do struggle to keep focus but I’m just nitpicking. I think he could translate all the skills he’s acquired from his music videos and use them towards narrative filmmaking. #MatthewSawyer

★★★ Directed by #NoraUnkel Written by #NoraUnkel Starring: #AlixWiltonRegan #GiullianYaoGioiello #ClaireGlassford Film Review by Matthew Sawyer What does it actually mean to lose yourself in a book? In the case of A Nightmare Wakes it actually means to lose everything. This film is very loosely based on the real life story of Mary Shelley (Wilton Regan) as she writes her masterpiece; Frankenstein. The film focuses on the part of Shelley’s life where she and her soon to be husband, Percy Shelley (Yao Gioiello), visit Lord Byron (Bowgen). He challenges them to write the scariest story that they can. A Nightmare Wakes is not afraid to hold back in its bold re-imagining of this story and it should be made aware this is not for the faint hearted. It is not a true ‘horror’; it does not really succeed in building suspense or make us ‘fear’ anything. Rather, it makes the viewer extremely uncomfortable with its brutal and bleak scenes of rape and miscarriage. The film won’t hold your hand through these, we are just forced to watch and feel the characters’ emotions. One actor who really sells these emotional scenes and really pulls you into the story is Alix Wilton Regan. She gives an incredible performance as Mary. We can feel ourselves going mad with her as she becomes a reflection of the hellish character she creates. However, one actor who doesn't deliver as well is Giullian Yao Gioiello. Don’t get me wrong, he does a fine job, I just believe he was slightly miscast and doesn't really deliver the presence needed to be lover and enemy of Mary Shelley. The writer and director Nora Unkel does a good job on both fronts. The sound design and muted colours serve the story well. The film opens very strongly and we are treated to some great tension right from the very first seconds. It manages to keep up the tension for most of the beginning but it does unfortunately lose itself in the middle. Unfortunately, all the horror involved is very clichéd with the usual blood coming out of the wall and the quick cuts to something horrific; you won’t find anything new here, but at least it doesn't rely on any cheap jump scares. The film does pick back up again towards the end and delivers a very satisfying ending. The idea of the Frankenstein novel being a product of Mary Shelley’s environment is very interesting, the film delivers this message very well. It’s a real treat to see Mary slowly piece together what would become the final version of the book as she reads the lines out loud. Her words reflect her emotions; out of tragedy and grief comes incredible art and horror. #MatthewSawyer

★★★★ Directed by: #PriyamChanda Written by: #SushovanDasgupta Starring: #AsmitaBhaduri #AnindyaBanerjee #AvinabaPalchoudhury #PampaBanerjee Film Review by Joyce Cowan The Round Trip is an incisive and honest exploration of betrayal, identity and truth. Blood is thicker than water, the old adage assures us- meaning family is not only always present, but also never lets you down. With questioning spirit writer Sushovan Dasgupta set out to explore this assumption in The Round Trip, and the result is moving. From the beginning the stakes are high as a young couple of Indian origin who live in the United States face one of their greatest decisions relating to how they will extend their family, which is happening simultaneously to Sanaya, the one whom the story revolves around, having found her only known family member through an ancestry website. Straight away, the narrative technique is conventional but, in my view, effective. There is great use of flashbacks to suggest reflection and relating to the film’s title in an artful way, as the story turns full circle within its approximately 15 minutes’ duration. The performances are, for the most part, truthful and absorbing although in the scene with the highest dramatic tension Sanaya’s reaction feels somewhat anticlimactic, with an expressiveness that is visible but too contained, which is effective at other points in the film. Sanaya is a relatable character and the portrayal of her attempt to deal with a key decision and face her family history in a way that is intimate but does not lead her to isolate is wonderful to see. All five actors played their characters with palpable commitment and visibly relished in the naturalistic dialogue (or at least it seems naturalistic to a Western viewer like me). This is a film that would have been technically flawless were it not for some sound editing that seems harsh and distracting rather than meaningful, but I wouldn’t dwell on this. The cinematography is mostly strong, with points of view that seem to reflect the character’s moods and predicaments, accomplished medium shots and eye-catching wide shots of the Indian urban landscape. Director Priyam Chanda’s empathy with the script, the characters and the subject matter really shines through. The way in which the film examines the concept of and assumptions about the institution of family and blood relations, without claiming to have an answer or even that there is a single answer, makes it well worth watching. Family is a key part of human life in all locations all cultures, thus it is a theme rich with opportunities for filmmakers. The cast and crew of this film made it their own for a genuine take. Its quality is undeniable. #JoyceCowan

★★★ Written & Directed by: #JennieFeyen Starring: #VickieBillingham Short Film Review by: #ChrisBuick In Australian filmmaker Jennie Feyen’s latest cinematic work of art The Light of the Star We Are Seeing Right Now, an ageing astronomer faced with the looming presence of her own mortality begins to reminisce and fantasise about her life’s work studying the awe-inspiring wonders of the universe and what might possibly await her beyond the cosmos. Feyen’s latest award-winning work (most recently picking up the 2020 Innovation in Moving Image and Installation Art Award as the WA Screen Culture Awards to add to Feyen’s many other well-deserved accolades) is a lean and subtle piece to be sure, narratively uncomplicated and making minimal fuss as far as on-screen action is concerned. For most of the film’s nearly three-minute runtime, we see our astronomer (Billingham) as she drifts back and forth between the present and her fond memories of years spent studying the stars, mostly leafing through books and gazing longingly at the night sky above her. But as simple and unassuming as its plot may seem, by no means is that to its detriment. In fact, like all great art, The Light of the Star We Are Seeing Right Now is not so much about what you see, but rather what you feel. And Feyen’s talent as an artist is undeniable, film her canvas of choice and is assuredly adept at painting all kinds of vibrant colours with it. And as mentioned, Feyen doesn’t aim to allow us to simply watch her work, but actually let it take you over, The Light of the Star We Are Seeing Right Now not just trying to simply tell a story, but fully convey a feeling, a palpable weight of emotion that somehow seeps into your very being, filling you with a sense of something unexplainable yet undeniably real, not an easy feat to pull off and would have perhaps not been fully realised had there been a more complex narrative. From a filmmaking standpoint, it’s pretty much ticks every box. Yes, it’s story may be simple, but it’s one that is also concise and well-told, the film itself running at just about the right length before bowing out and culminating in a wonderful piece of symbolism for the film’s finale. The entrancing score mixed with beautifully interlaced imagery of the cosmos creates such a brilliant sense of wonder that completely washes over and consumes you, allowing us to connect with and fully appreciate Billingham’s permeating sense of awe she deftly manages to put across with a very fine performance. With The Light of the Star We Are Seeing Right Now, Feyen has delivered yet another fine example of her uncanny ability to not just fully realise a complete story in a unique way, but also create an overwhelming sense of emotion without having to use a single word. #ChrisBuick

★★ Directed by: #JuggySohal, #WasimNawaz Written by: #JuggySohal Starring: #ParvinderShergill, #JamalRenaldo, #ChanelFernandes Film Review by: Isabelle Ryan Diversity, inclusivity, and so-called positive discrimination are all points of discussion in Ticking That Box, a film that follows a South Asian woman’s rejection from her dream job, and her realisation that perhaps there was more to it than she first thought. The issues raised in Juggy Sohal’s script are undoubtedly important, perhaps now more than ever in a society that so desperately wants to claim it is free from racism, and at a time when more insidious forms of discrimination and prejudice thrive. Unfortunately, the subject matter is let down in execution. Pritty’s confidence is knocked when she fails to secure a job she felt guaranteed, especially after her incredible interview. Having been forced to take a different job that she does not want at all, and sure that she’ll feel isolated in a firm ‘full of white people’, she is less than enthusiastic when her boyfriend (who brushes aside her concerns by saying that the first company was probably just racist) takes her to the pub to celebrate. Over the course of the afternoon, Pritty and her friends discuss the wider implications of her failure to get the first job, and the reason why she might have got the second one. From the opening scene, Sohal and Nawaz seem unsure of their desired tone. We lurch from Pritty literally dancing away from the interview, to her quiet disbelief at her failure, to a melodramatic sequence of shouting and sobbing and gorging on chocolate. After this, the film becomes far more grounded – and this middle act is the most successful – before taking on a firmly didactic tone. Presumably, the exaggerated, ostensibly comedic scenes in the first act exist to juxtapose the more serious discussions in the latter half of the film, but rather than feeling like a clever, or perhaps even effectively jarring shift, it instead feels like unfocused direction, and leaves the film floundering to keep up with itself. Due to this, instead of telling a story that introduces the issues organically, the film feels like a series of speeches written to educate the viewer. The characters become talking heads, and at times it is clear that they are reading from a script; one almost expects them to look directly at the camera. Some performances do stand out: Chanel Fernandes is natural and charismatic as Pritty’s friend Kiran, and in fact in that strong middle section has some of the best lines and delivery; and Tadeyo “Cocoa Divine” Akitoye and Akil Largie as a Black couple who have learned to ‘play the game’ in Britain offer an interesting perspective. Unfortunately, while seeing such a diverse cast onscreen is refreshing (and all the more frustrating that it is not nearly as common as it should be), they feel less like real people, and more like a means to deliver Sohal’s admittedly important message. On top of a script that lets down strong performers, there are also technical problems. At least twice, actors’ mouth movements are not synced to their voices. There is also a somewhat distracting black line that runs down the right side of the screen throughout, and a number of framing issues. In general, the film would have benefitted from a stronger edit. These problems can perhaps be put down to the film’s low budget, and could be easily overlooked if the script and the direction were tighter. In the end, Ticking That Box is disappointing. While it is wonderful to see a diverse cast exploring a key issue, and there are moments when they are allowed to truly shine, this subject deserves a stronger script.

★★★★★ Directed by: Maxim Ford Film Review by: Jason Knight Time to go on an unforgettable journey into the beauty of nature. Set in Burbiszki, a small Polish village near the border with Lithuania, this mesmerizing documentary proves how amazing the countryside is, being gifted with lakes, forests and wildlife, all of which can create their own magic. This film consists of many shots, all of which are pleasing to the eye. There are shots of lakes, woods, plants, fields, the sky during the day, being decorated by clouds and during the night, revealing countless stars. There is also wildlife, with a variety of animals, such as foxes, deer, swans and multiple footage of birds flying. The weather conditions also change throughout, presenting the countryside during different seasons, which naturally changes the way things look and creates unique images. For instance, during winter the snow covers the trees and ground, making everything white. Although the primary focus is nature, civilization is also present. There are houses to be seen, farming machinery being operated, roads and an abandoned building. Fast motion techniques are utilized to great effect. There are many shots of clouds moving in the sky, in fast motion, delivering out-of-this-world sequences. Wind moving flowers, grass, branches and water is also shown in fast motion and looks terrific. As director, Ford does a very impressive job, creating breathtaking aerial shots of the countryside. The camera is mostly stationary, but it also pans left or right or elevates upwards, revealing spectacular scenery. There is also underwater filming, which is executed fantastically. This achievement is a pleasure to watch from start to finish and is an equal joy to listen to as well. The fantastic soundtrack consists of magnificent classical music pieces from various outstanding composers such as Ludwig van Beethoven, Edvard Hagerup Grieg, Gustav Holst and Antonin Dvorak. Their captivating music accompanies the images effectively. For example during snowstorms and lightnings, the music becomes dynamic, highlighting the fearsomeness of nature. Apart from the music there is no other sound, and there is no need either. Regarding the audio, the addition of this remarkable collection is enough to help make this project an unforgettable experience. Burbiszki should not be missed. With captivating images and score and amazing cinematography by Robert Woznialis, it offers the viewer an opportunity to relax and be enthralled, by providing an insight into the wonders of nature. #JasonKnight

★★★★ Directed by: #Milton Written by: #BenArcher Starring: #Bipolar, #Flasyd, #MirandaAndTheBeat, #TheMysteryLights Short Film Review by Taryll Baker Step into the driving seat for a blistering ride deep into the contemporary Brooklyn punk scene. A day in the life of female punk band Flasyd. This fly-on-the wall style documentary examines a subculture with roots in the past while exploring the evolution of this thriving scene. Their story is depicted through music and the eccentric characters that inhabit their world. Beyond the hustle and bustle of the city life in New York, in the far-most corners of Brooklyn, a whole world of music is exploding, but going mostly unnoticed. Milton’s Always Fast, Hardly Accurate changes that fact with a documentary showcasing the lives and creations of a few punk rock bands (specifically Flasyd) in the back alleys and clubs of a crowded city. This is just more proof of Brooklyn and New York looking incredibly beautiful in black and white, even with its rugged, gritty look. Always Fast, Hardly Accurate was a chance encounter for the film crew; they planned on stopping over in NY on their way to Austin, Texas for SXSW, which was inevitably cancelled due to the ongoing pandemic. So, they took to the streets to meet up with punk band Flasyd, and in just two days captured a visually and musically inviting snapshot of their lives. What this short documentary manages to conjure up is quite amazing — there’s a real polished feel even though it’s intentionally presented in a messy, thrown together way. It’s like something from the 90s/00s but energetic and intriguing enough to pull you right in. The scenes are pretty well crafted and placed given the little time the filmmakers had to create it. There was little to no plan or roadmap, so the final result is quite impressive. There are moments with the band members, sharing a brief glimpse of their personalities, intercutting with live performances of their high-energy music. There really is no place like New York City, or its surrounding areas. The masses of life bursting from every corner; it only takes a camera crew pointing the lens in a certain direction to see just how vibrant the culture is. Overlaying the footage is a scribbled typeface with names and locations to break up the sectioning in the ‘story.’ Overall, this documentary has a very nice presentation. As for the music itself, it’s not in my taste, but it doesn’t detract from the talent and skill bubbling out of these interesting individuals. We only see a day in their lives, but the candid moments encased in this impromptu film display a likeable nature that I’m sure viewers could attach or possibly relate to. There’s an emphasis on collaboration and bonds, tough to be broken. We see the bands discussing each other’s music and performing their songs, giving the sense of creativity and expression being a form of happiness and joy. This isn’t a job or a career to them, it’s a way of life. Simply to exist with a positive attitude of self-exploration. Milton’s emphasis on these ideas really make Always Fast, Hardly Accurate quite the entertaining and insightful piece. It drives home the message that life is about living in the moment, that past and future are just memories and imagination respectively, that what truly matters is the present. So live every moment. Watch the trailer for Always Fast, Hardly Accurate here: https://vimeo.com/ondemand/afha #TaryllBaker

★★★ Directed by: #FranciscoMorais & #MiguelPinto Written by: #FranciscoMorais & #MiguelPinto Starring: #JoséCeitil, #NelsonLeão, #PedroBernardino Film Review by: Julian Gaskell The Night is Calling is a Portuguese short film with subtitles, it begins following an old man going about his daily routine, buying fish from the local fish market before opening up his local wool shop, speaking to customers and having dinner. It’s the simple quiet life of an old man dedicated to his small business. Business is struggling but he seems to be ok, he can buy his fresh fish from the fish market, he can afford a glass of wine and has a good car to get to work where he stays late to work one night. Into the picture arrive Sérgio (Pedro Bernardino) and Alex (Nelson Leão) who set out at night and drive to do a shop break in and it’s the old man’s wool shop. Alex has chosen the shop presumably for it’s easy access but Sérgio isn’t happy he’s chosen a wool shop to rob without any money inside. The heist takes a further turn for the worse when they find the old man shop keeper is still in there. Sérgio becomes incensed with Alex for getting him mixed up with this dire robbery attempt and is happy to call it quits after strongly threating the shopkeeper. Alex meanwhile has other plans. Writer director partners Francisco Morais and Miguel Pinto have put together a simple robbery attempt which goes wrong. It gently moves along with the premise of a nice old man getting by in life with his respectable wool shop until the sudden danger from this unfortunate break-in to his premises that takes a sudden twist. The performances start off quite low key but eventually they escalate into some forceful acting from Nelson Leão and Pedro Bernardino as the robbers. There are a couple of musical touches that are effective in telling the story. One is an integral part of the story, played on a record player and the other is the film’s own sound score. The filming uses some hand held close ups to good effect that really raise the intensity of the situation that are combined with some edited clips which cleverly illustrate what is unfolding without showing you anything in particular, whilst the emotive speaking reveals all about the story's plot. There turns out to be more to the gentle old man and his nice little wool shop and unluckily for him there is no pulling the wool over these two robbers. The result is a hard hitting story as the robbers decide to take the law into their own hands.