★★★★ Directed by: #MilesBlacket Written by: #MilesBlacket Starring: #NendaNeurer, #AlfieStewart Film Review by: Theo Rintoul A secret crush? A diminishing friendship? Romantic or platonic? Miles Blacket’s short film Hovering Between Us doesn’t give total clarity to the nature of Maria’s (Neurer) feelings for her housemate and friend Alex (Stewart), but that’s not important. Instead, Blacket gives us a tale about lost communication between old friends that'll leave you with a smile on your face. The opening close-up shows Maria on her phone, as we learn she often seems to be. Alex texts her to ask if she’s going out that night, sending her a video of him dancing to music. Maria delves deep into a computer folder labelled ‘Coursework’ and saves the video – not out of place amongst the many photos and videos of Alex and Maria together that she’s disguised there secretly. The close-ups that Blacket uses and the shots of her as the observer at the party she goes to that night tells us more about Maria than anything else – especially since she barely speaks, often seeming to type out a message on her phone to Alex but then deciding to delete it. The narrative unfolds through both real-life and phones – texts, video messages, taxi journeys shown through transport apps. Maria finds it difficult to tell Alex that she needs someone to talk to just as much as he needs to distract himself from talking, as he struggles from a recent break-up. Despite the short length of the film, editor Sam Allen manages to create a larger world out of the small one Blacket lets us peek into, the close-ups and natural fumbles over words creating an organic atmosphere that Neurer and Stewart seem to be a genuine facet of, as if we’re watching their real lives. At the party, Blacket pauses on a shot of a phone camera before zooming in through the lens to show a drunk Alex as he stumbles and dances. In the taxi, Maria’s journey is shown through the moving icon of an app on a phone. Blacket understands that technology is a part of human interaction, and it’s small instances like this that communicate more to the audience than any of the dialogue could. The focus is on the nuances of the characters actions rather than an exposition-heavy dialogue. Even the final shot of a computer screen indicates a new (or re-kindled) relationship between her and Alex. Hovering Between Us is a soft and quiet insight into two character’s relationship with one another, conveying the importance of communication rather than a direct explanation of their actual relationship. It’s like the viewer has been granted permission into a little snippet of two people’s lives, private and concealed but fully understood through Blacket’s great directing and the natural performances of Neurer and Stewart. Whilst you can decide for yourself whether or not Maria wants Alex as more than just a friend, you’ll come away with a comforting sense of a new beginning for the two characters that makes the film a worthwhile watch.

★★★★★ Stars Directed by: #MichèleOhayon Starring: #SheilaKelley, #AmyBond, #JenyneButterfly, #MeganGamble, #GenellynDriver Film Review by: Alicia Moore Academy Award Nominated director Michèle Ohayon's film follows women of all ages and ethnic backgrounds who heal trauma and body image shame through sensual dance and daring pole dance artistry. Strip Down, Rise Up is a beautifully moving documentary centred around the work of Sheila Kelley, the founder of S Factor which primarily involves pole dancing classes to help those who identify as women in unlocking their inner feminine power. The film follows one of Kelley’s classes from their first introduction day right through to their graduation ceremony, showcasing jaw-dropping growth in confidence and expression along the way, as well as other pole dancing professionals who are more performance orientated, yet everyone’s journey of twisting around the pole intertwines gracefully. At first glance, you may think that Strip Down, Rise Up is simply a documentary filled with information on the artistry of pole dancing. However, as a viewer, you are met with such a striking load of emotion and great strength in many forms to add to this. The women who enter Kelley’s class do not expect to be awakened in this way either. As a group, they slowly open up to each other about certain trauma they have suffered and how that has impacted their way of life, movement and view of themselves. A safe space is created by Kelley and other teachers for these women and the vulnerable atmosphere is transferred to viewers almost immediately. I felt as though I was sitting in that room with them, letting my tears stream and my hands shake as I watched. Braided with this output of deep emotion is the addressing of the stigma and perceptions surrounding pole dancing — the documentary shows pole dancing as the true form of art that it is and directs the attention away from the male gaze that has landed upon it. It focuses on the empowerment of women and their bodies; how they heal, thrive and begin to feel all their senses heightened through dance. These women are blossoming flowers that are finally opening in the light of a golden summer morning. The cinematography of this film has a subtle vision, following these dancers as they allow themselves to break free. To the eye, the cinematography techniques used are not a game changer but there’s no doubt that they match with the documentary’s content perfectly. Because of the substantial amount of emotion that is being shared throughout its duration, the simple and flowing style of cinematography helps to balance this overwhelming experience. While the audience’s hearts are about to burst with intensity, in their eye-line they are met with calming scenes of each dancer’s elegance. It is almost like building a warm cushion around one’s heart. The cinematography also allows audiences to clearly see the shining change in each woman’s demeanour and motion as they progress in the class due to its slow, delicate nature. The film’s sense of structure is different from what I’ve seen in other documentaries which I adored. Whenever I mention that the documentary ‘follows’ certain aspects of the topic, it does exactly that — calmly following along with those involved instead of upholding a strong, compact structure from start to finish. It is easy to follow as well, still maintaining the much needed core of organisation by presenting Kelley’s class scenes with markings of how far through the course they have travelled together. I felt that this somewhat unconfined presentation blended with that of pole dancing too, as if viewers are also dancing with those onscreen but through their supportive gaze: a joint performance between the body and vision. Strip Down, Rise Up is one of the most powerful and strengthening documentaries I have seen in a very long time, especially on a platform like Netflix, and I feel privileged to be writing this review under its title. Having the opportunity to see women embrace love, sensuality and sexuality through impressive, healing dance is something that will replay in my mind. I have definitely gained a more positive and guided view of my own emotions through this documentary; each unfolding scene made me want to take a step to heal and blossom in the same way as these immensely empowering women. I’m stunned that only two hours of footage has drawn out this type of reaction from me. I thoroughly encourage everyone, however you comfortably identify, to join in with this experience as well.

★★★ Written and Directed by: #KotaNakamura Starring: #RitsukoKuboniwa, #KotaBaba, #RyoSugita, #AyoHosomi and #RyusukeWatanabe Short film review by: Brian Penn A short film that starts with monochrome titles and the caption ‘an experiment of film’ conjures certain images in the mind. One immediately thinks film school projects, hand held cameras and DIY graphics. That pretty much is what we get here. And the result is an interesting but occasionally puzzling study of a goldfish bowl that is now the society in which we live. With more than a hint of big brother imagery, the director in the story Shimada (Ryo Sugita) moderates a succession of brief exchanges between the principal actors in the piece. Yuji (Kota Baba) and Satsuki (Ayo Hosomi) appear to portray a misfiring relationship while Aki (Ritsuko Kuboniwa) is a voyeuristic almost meddlesome presence. Ryusuke Watanabe makes fleeting appearances as the Timekeeper ominously counting down the seconds. Flickering black and white images give the impression of close circuit TV which enables the audience to eavesdrop on conversations. However, the focal point remains Yuji and Satsuki who act out and then interpret their own behaviour when the time limit has been exceeded. But elements of doubt are quickly sewn by subsequent conversations; are they in a real relationship? The hideous spectre of structured reality TV springs to mind but then quickly presents the audience with a different scenario. So what conclusions can be drawn from this experimental short piece? It raises infinitely more questions than it answers. It will make viewers wonder what message the narrative is trying to communicate; or whether it was communicating a message at all? Tracts of dialogue are also repeated without any obvious value or purpose. In spite of the ambiguity there is something strangely engaging about the characters’ motivation. To stoke this level of curiosity is quite an achievement with the limited resources at their disposal. The director is frequently accused of behaving like a puppeteer pulling the strings. I do wonder whether the puppeteer is really pulling the strings of the audience? Marginal: Short Version screens as part of the BFI Future Film Festival from 18-21 February, free on BFI Player: https://player.bfi.org.uk/free/film/watch-marginal-short-version-2020-online

★★ Directed by: #AvibrataChanda Written by: #BenjaminRider Starring: #SarahJaneSavage Short Film Review by: Emily Davison A woman (Sarah-Jane Savage) enters a room where she is greeted by an unknown force in this enigmatic short thriller. The Red Whispers (2020) is directed by Avibrata Chanda, who has also made a handful of other short films and written by Benjamin Rider, who has won and been nominated for numerous awards for feature length films. The short is an English language production released in the United Arab Emirates and published on the YouTube channel ‘Short Films’. The film has an intriguing premise with a mysterious voice uncovering a terrible truth to the lead through a suspenseful lens, but ultimately comes across as a little lost in its motives and execution. The opening credits are certainly a positive start to the short, however, with a visually pleasing colourful aesthetic and artistic transitions as well as high quality photography of the lead drawing interest. The cinematography by Faheem Naqvi and direction are also admirable for the small space featured in a room and bathroom, with a variety of diverse shots establishing the setting well and maintaining a sense of engagement. There are also effective uses of slow motion to compliment this, building tension as we are slowly introduced to the mystery at play. Although underdeveloped due to the short length of the film, Sarah-Jane as the lead expresses a grounded, down to earth character who she makes likeable by her natural line delivery. She also voices the speaker that lures the woman into the room, which does have its charm, but the typical cliché ‘evil’ voice does bring the intended dramatic moments down. Savage plays the shock well when she discovers a dark truth about a family member, yet the lack of development and information given in regard to character and story unfortunately results in a mystery which was not well utilised and leads to a lack of emotional investment. On a positive side, Ana Maria Oancea’s score matches the pacing of the film’s slow build up well, with some chilling high pitched strings and dark ambient sounds creating suspense. There are also some good emotional pieces, capturing the drama which is arguably not as well realised in the set up. The Red Whispers is a well-intentioned piece with an intriguing story and compelling direction with a personable performance from its lead, but its ambition and lack of clarity lets it down. The film may have benefitted from a longer running time to develop its lead and story, but there are certainly strong elements in here that make for an admirable effort! #EmilyDavison The Red Whispers (2020) Short Film:

★★★ Directed by: #TerrellWilliams Starring: #ChristinaMancari, #JafethGarcia, #BobbyJRomay Short Film Review by Taryll Baker Lilly, living in a society that cages people like animals for not adapting to the new world order, is joined by another prisoner in her cell, and she shows him her form of escapism. Terrell Williams’ Escapism is a speedy little mini film that shows how the mind cannot be imprisoned. There’s always a way out of a situation with some simple self control. This resonates with most things in my daily life that’s for sure — catching yourself slipping and then allowing your mind to ease up and focus on something else can be beneficial. Something I’ve learned over the past months. This is super short filmmaking; running at only 3 minutes and, while it does kind of end up cutting itself off too quickly, there’s a nice meaning held in the core; a message of hope in all darkness. And certainly something to remember during these trying times we’re facing. Escapism is important. It can come from many things, big and small, from a movie to a walk in the night. Or in this case, dancing. Lilly is held prisoner in a dark cell for not adapting to the new world order. We’re introduced to her way of escaping through dance, then quickly shown a cut back to reality in which a second prisoner, Luis, is brought in to accompany her. He finds her offer of water insulting at first but quickly changes his mind, and then, as Lilly reaches her hand out to him, they dance together and escape the cold confines of the cell. There’s a small crew for this film, given its scale, with cinematography (I’m presuming) by Williams. The camerawork is very controlled, and the colour grading on the sections where the two characters dance and “escape” is very pretty. Due to the short length, there isn’t much time for a score but the one piece Steve Holman does provide is decent enough. There’s a lot to be desired in the detrimental sound quality for the dialogue, but luckily there isn’t a huge amount of this and the story — as thin as it is — is told mostly through visuals. I think it’s incredibly challenging to tell any story in under 10 minutes, and Escapism attempts this at only 3 minutes. So it’s expected it wouldn’t be the most exciting or captivating piece, since there’s simply not enough time for the viewer to settle in. But it’s a good idea and fairly well executed. #TaryllBaker

★★★★ Directed by: #SimisolaoluwaAkande Written by: #SimisolaoluwaAkanda Starring: #MaryamAhamdu, #AnjolauluwaAkande, #OluwatoyinAkande Film review by: Patrick Foley Whilst 2020 may have been a year when a desire for racial justice collided with institutional barriers like a fist cracking the first layer of a concrete wall, it is important to know that silenced and marginalised voices remain yearning to be heard. Colourism may not be as familiar to general audiences as racism, but in ability to detract from the core of one’s identity, they stand as equal. Director Simisolaoluwa Akande’s Dudu is a poetic, creative snippet of the pained, humbling experience of discrimination. The short film is a visual poem, detailing the experience of colourism in a young black girl’s life. As she awakens, powerful and proud of her identity, a prejudiced world silently chips away her confidence in the darker shade of her skin. Whether it’s media images, taunts from schoolmates, or misplaced and heart-breaking ‘compliments’ from the boys she likes, her pride in her beauty is replaced by loathing and desire for an illusion of whiteness. Akande’s short features sensual and artistic imagery to accompany its powerful and piercing words of poetry that weave a lasting impression on the viewer. The crisp footage seamlessly intertwines with the spoken word of its creator to symbolise the turmoil of black skinned girls growing up in a society that unconsciously rejects them every day in minute but unavoidable ways. The footage is shot in such a way to portray the power and beauty of black skin whilst contradicting the very images on screen with the fatigued and downbeat dialogue. The film manages to balance personal rage and the heavy topic of colourism with a relatable and contemporary edge. Akande drops in references to ‘Hannah Montana’ wigs with a witty bite to demonstrate the young age at which self-aimed indoctrination starts. The theme of visual light is repeated throughout – with references to the dance of sunlight off the skin or a camera’s flash – with an impact similar to the metaphorical usage of water in Barry Jenkin’s Moonlight. Much like that seminal masterpiece, Dudu feels even more relevant today than the short time ago when it was released, with the justified anger at the film’s heart in line with protests that rumbled around the world this past summer. Dudu is a must-watch in this context. It unapologetically tears into the lingering, toxic culture that racism has forged without any happy ending or optimistic message to accompany it. You can leave your empathy at the door when watching: Dudu has no time for it. It is steadfast in its view of the world and how colourism has warped the self-imagery of black women. There is no demand or begging for change from its audience – this is left for the viewer to conclude on their own. However, anyone who watches and truly listens to the message, will be left with a desire to be part of the solution. Dudu is a prime example of how even the most powerful words can be amplified on screen with an artistic and imaginative use of imagery. Simisolaoluwa Akande’s poetic rebuff of a hidden and underrepresented discrimination is a must-see eye-opener to how the world unconsciously rejects black beauty. Black [Dudu] screens as part of the BFI Future Film Festival from 18-21 February, free on BFI Player: https://player.bfi.org.uk/free/film/watch-black-dudu-2018-online

★★★★ Directed by: #ArronBlake, #DariusShu Written by: #ArronBlake Starring: #ArronBlake Short Film Review by: Emily Davison A man who has lived in his car for four years after being excluded from his family takes a filmmaker into the woods to share a dark secret in this mockumentary style short. I AM Norman (2021) is a challenging watch, but its relevance and originality in addressing the damaging cruelty of gay conversion therapy and mental health in the LGBTQ+ community is bound to resonate. The topic is certainly a sensitive one to address and directors Arron Blake and Darius Shu deliver a powerful short film which demands observance and attention. The London based filmmakers are best known for their other short His Hands (2019), which won numerous awards at film festivals. This short follows Norman, a charismatic yet clearly mentally disturbed young man, as he reveals to an unseen filmmaker that he films suicides in the forest near where he sleeps in his car. The short is shot in the style of a mockumentary with the lead guiding the fictional story through a series of events, demonstrating a basic day in the life of Norman. There is a naturalistic intimate quality to Shu’s beautiful cinematography, with the sereneness of the rural woodland establishing shots contrasting the distorted uncomfortable close ups that often occur on Blake’s character. The film often utilises a gritty black and white aesthetic, creating an unsettling horror tone not too dissimilar from the style we have seen in films like The Blair Witch Project (1999). The deliberate slow pace forces you to look at the unflinching truths that reflect real issues facing many people across the world; it is simple yet provocative in its execution and results in a mesmerising viewing experience. Blake’s performance as the enigmatic Norman makes the character very likeable by his casual demeanour, but there is always a dark tragic element to his quirks. Blake plays the part with conviction and emotional integrity and he instantly evokes sympathy when we are introduced to his living conditions and learn more about his disturbing hobby and past history with his ex-girlfriend and family. A chilling, yet indicative line: “Some people would say that I’m a killer, but I don’t kill anyone. I just watch” perfectly outlines Norman’s emotional involvement with his film subjects and acts as an important message about the damage that gay conversion therapy can inflict on people’s sense of self-worth and value. The film includes an original soundtrack with the song ‘A Peaceful Killing’, performed and produced by Matthew Barton and written by Shu, adding an effective emotional anchor to the final montage. During this sequence, we see Norman paying tribute to one of the recently deceased suicide victims with some of his art work and stuffed animals and the track offers a touching, hard hitting final punch to the film. I AM Norman is an important, haunting short which addresses relevant issues regarding mental health in the LGBTQ+ community. With two talents behind and in front of the camera, this impressively honest and unique film should be viewed for its admirable direction and impactful themes. #EmilyDavison

★★★ Directed by: Mohed's Random Stuff Written by: Mohed's Random Stuff Starring: Dandroid, LWAnimations, Mr. J.O Film Review by: Jason Knight The conflict has begun. The evil villains are up to no good and it is up to the superheroes to stop them. This feature was made in a way that resembles a puppet show. It is a live action film, where the protagonists are superhero action figures, no different than the ones that are found in shops around the world. The filmmaker holds the camera with one hand and uses the other to handle the figures and their hand is often seen. The action takes place primarily inside a bedroom, with the characters being moved on everyday furniture such as beds, tables, chairs and shelves. They film the toy characters as they move them around, making them walk, jump, fight bad guys etc. They also speak for them, making up conversations. The collection of characters is rather diverse: there are the Teenage Mutant Ninja Turtles, Captain America, Iron Man and the Hulk, to name a few. Some of the antagonists consist of The Shredder and Ultron. Although most of the figures as Marvel characters, there are also Disney heroes, such as Buzz Lightyear and Lightning McQueen. The plot is similar to so many other superhero movies: the good guys fight the bad guys (what else?) There are plenty of action scenes, where the creators make them engage in hand-to-hand combat and scenes where they discuss what they are going to do next. The duration is approximately eighty minutes and halfway through, there is a brief animated scene of the globe, with a red line starting from New York City and reaching Karachi, accompanied by Asian music. This is followed by a picture of a neighborhood in Karachi, indicating that the action has now moved over there. The filmmakers also add music throughout the film and it changes, depending on the situation that is taking place. For instance, the score is tense during fight scenes and dramatic when the heroes are in a rough position. There is also a news report announcement. Watching this movie will most likely make people think about their childhood. Apart from the music, the filmmakers created a film that depicts something that countless individuals do as children: play with toy figures of their favorite heroes. The camerawork is clumsy sometimes and at certain points the sound quality is poor, however this piece of work is amusing, successfully establishes a narrative and pays homage to superhero movies. #JasonKnight

★★★★ Directed by #KevinMacdonald Written by #MichaelBronner #RoryHaines #SohrabNoshirvani Starring #TaharRahim #JodieFoster #BenedictCumberbatch #ShaileneWoodley Film Review by George Wolf In the face of the highest of ideals, America is capable of horrible things. According to his own writings, Mohamedou Ould Salahi believed in those ideals, until he was held without charge in Guantanamo Bay for over 14 years. Oscar-winning director Kevin Macdonald and a cast full of veteran talent tell the story of The Mauritanian with impressive craftsmanship, a proud conscience and a narrative cluttered with good intentions. Not long after 9/11, Salahi (Tahar Rahim from A Prophet and The Past) was apprehended with suspicions of being a Bin Ladin confidant and the “Al-Qaeda Forrest Gump.” His was to be the first death penalty prosecution of The Bush/Cheney/Rumsfeld response, until human rights attorney Nancy Hollander (Jodie Foster) took up Salahi’s case pro bono. The script, adapted from Salahi’s book by M.B. Traven, Rory Haines and Sohrab Noshirvani, picks the emotional teams early. Salahi is a sympathetic character, and quickly charms Hollander’s assistant Teri Duncan (Shailene Woodley) while Hollander herself remains unmoved, committed only to the rule of law. This commitment serves her well, especially against Marine lawyer Stu Couch (Benedict Cumberbatch), who has a personal and professional stake in seeing Salahi put to death. Macdonald (The Last King of Scotland, State of Play, One Day in September) breaks from the pack of similarly-themed films with a tone that shifts between self-congratulations and tearful apology. The “rough justice” abuse Salahi suffers is clearly barbaric but still feels sanitized, and part of a larger question the film eschews in favor of heavy hearted hindsight. But there isn’t a false note in this cast. Even when their character arcs may feel predetermined, every player – from principals to supporting – delivers enough heart and humanity to keep the lessons of Salahi’s ordeal resonating. Landing at a time when the conscience of the country is literally being voted on, The Mauritanian is a committed if somewhat unwieldy reminder of the stakes. #GeorgeWolf

★★★ Directed by: Robert Gulassarian Written by: Robert Gulassarian, Nick Mancuso Starring: Nick Mancuso, Lazar Rockwood, Emily Michelle Lyons, Nicola Pullus Film Review by: Jason Knight Based on Dante Alighieri's Divina Commedia and the medieval play Everyman, this thought-provoking story about regrets, family, friendship, the significance of money, poverty, the film business, working as an actor and suicide. Nick is a veteran actor, who had a successful career but is now facing many problems. He owns taxes, has a troubled relationship with his daughter Emily and is considering ending his life. His friend and fellow actor Lazar is also struggling with his own issues and tries to support Nick. Nick is frustrated regarding the world and how his life has turned out and appears to be struggling to make sense of everything. Both Nick and Lazar have plans: Nick is planning to make a film titled Born Dead and Lazar is trying to get a role in it for Nicola, a wannabe actor. The main focus in this drama is Nick's perspective towards today's world and his relationship with Lazar and his daughter. Operating like a documentary, this feature examines the lives of two seasoned actors and follows them as they walk the streets of Toronto and discuss their experiences and feelings about life. Nick gives the impression that he believes the world is filled with hypocrisy and that his life has no meaning. He is angry with the world and will not hesitate to say what he truly believes. Although he believes in goodwill and fairness, he comes across as unlikeable, constantly swearing and insulting people he does not approve of. The film shows various locations of Toronto, including the CN Tower. The addition of voice-over is often present and there are numerous montage sequences, which utilize very creative editing and the filmmakers make effective use of slow motion and fast motion and brief black-and-white cinematography. There is also real-life footage of news reports and reality TV. Born Dead makes for a rather bleak viewing, as it does not contain many uplifting moments. Nick is a person who has given up on life and is miserable and distant. The subject of poverty and homelessness is also present and there is a nasty rape scene. It may not be a joyful movie but it offers an interesting and moving experience. #JasonKnight

★★★★★ Written & Directed by: #LauraMarcus Starring: #LauraMarcus Short Film Review by Taryll Baker With her mother away for the weekend, a girl sets about planning her evening of antics in order to gain some drinking experience before diving headfirst into University life in September. Here we are again, bearing witness to another gifted filmmaker who wouldn’t allow for the current world situation to put a stop to creation. Laura Marcus’ insanely enjoyable The Massive F*cking Bender is a phenomenally rich project with one the most entertaining performances I’ve seen in a while. As intended when making the film, she set out to make audiences feel some sense of joy and relief; something I believe was certainly achieved. Laura mentions in her interview with us that this film was edited within iMovie and her budget was £8.99. You honestly can’t tell; there’s a genuine top-notch look about this energetic short. The editing is particularly inspiring for any budding filmmakers who might need a little convincing that it isn’t always about the tools you have, but how you use them. Laura’s “utterly stupid” (her words, not mine) film — made during the UKs first lockdown — is a chaotic and funny scramble. Pieces somehow clicking together just right, with perfectly selected music to accompany the youthful plot. It’s incredibly well-paced from the opening to close. The snappy nature of The Massive F*cking Bender allows for Laura to cut rapidly between scenarios featuring wacky characterised versions of “real” people, which really reminded me of the style of Danny Boyle. The film is roughly 10 minutes in length but it feels even less, due to the speedy cut and exciting plotting. This is such a simple story idea, and really could have been put together by anyone, which I think is the point. But, no one could have made it quite like this. I must say, prior to watching this short film, I wasn’t sure it would be to my taste. Yet here I am, absolutely impressed by the skill on display. Even the cinematography, which was clearly handled solo, has a polished feel. Laura has certainly grabbed my attention and I’m very interested to see what she tries next. The Massive F*cking Bender is a superb, fast-paced thrill with plenty of laughs, and quite possibly the little bit of cheer you’ve needed after months of uncertainty. The Massive F*cking Bender screens as part of the BFI Future Film Festival from 18-21 February, free on BFI Player: https://player.bfi.org.uk/free/film/watch-the-massive-fcking-bender-2020-online #TaryllBaker

★★ Directed by: #KarenCinorre Written by: #KarenCinorre Starring: #GraceVanPatten, #MiaGoth, #HavanaRoseLiu Film Review by Lucy Clarke Karen Cinorre’s feature debut Mayday, which was screened at both Rotterdam and Sundance, harks back to the cut-throat vengeance politics of Kill Bill, but with a feminist twist. This is an island of girls who are determined to seek revenge on all of mankind. Ana (Grace Van Patten) works as a waitress. The restaurant is bleak and empty, and her boss leers at her. As she enters the kitchen and meets friendly chef, Max ( Zlatko Burić) she readies herself for the verbal and sexual abuse that she’ll encounter in the dining room. Most men here are viscously unpleasant. After her boss abuses her, Ana is mysteriously drawn to the oven in the empty kitchen. She climbs through it, as though she is the Grimm brothers' Gretel, but with an added boost of agency. On the other side, she finds herself marooned on an island surrounded by azure seas. There’s a mysterious unexplained war in the skies above, and the girls who inhabit the island have taken it upon themselves to kill any men who sail too close. Ana joins a ragtag group of girls, led by the slightly psychopathic Marsha (Mia Goth). Mia Goth is predictably fantastic in the role, chewing up the scenery as her obsession with killing boys overwhelms her. The four of them live in a discarded U-Boat on the shore. Together, like reinvented sirens, they send out mayday calls. Ships respond, eager to help ladies in distress, and are promptly sent into stormy waters. Water spirit mythology has routinely demonised women. Cinorre’s script reclaims this folklore and allows these sirens to be the heroines of their own story. With its harmonious palette of sandy browns and ocean blues, the beautiful cinematography can’t save this film. Glimpses of fantasy are left frustratingly unexplored. Ana might have travelled to the island like when Alice fell down the rabbit hole, but this world’s landscape is nowhere near as engaging as Wonderland. A magical dance number shows a glimmer of hope, but when the inventive ideas in this world resemble nothing more than 1940s Land Girls, it sticks out like a sore thumb. There’s a wealth of potential here that remains frustratingly untapped. Admittedly, it is joyfully fun watching these girls seek vengeance on men, but the film isn’t as grown up as the ideas lurking behind the screenplay. Many aspects of the story feel like they have been stripped from a mediocre YA blockbuster from the early 2010s. The characters are routine, and the dialogue recycled. The feminist messaging, while fun, doesn’t progress much further from a girls vs boys dynamic. These little problems create a domino effect which this film cannot escape from. Although it’s bombastically fun and includes an excellent performance from Mia Goth, Mayday is frustratingly lacking. Despite a premise rich in imagination, there are moments when this film almost capsizes. The stumbling blocks are numerous, from the script to its own politics. Unfortunately, it repeats familiar tropes that viewers will have seen a million times before. The fascinating exploration of women in folklore is left dead in the water.