★★ Directed by #RyderDoupe #DawsonDoupe #ToddTapper Starring: #GeorgeJonson #SamuelWyatt #JefferyDean #WilliamShockley Film review by Nathanial Eker Lemonheads takes a rather tertiary dive into drug culture in outer Washington and offers neither compelling insight nor entertainment. Though some scenes are well-crafted, the directionless plot and melodramatic dialogue make for a drab film that feels like a pale impression of your average Tarantino film, with a little David Lynch and Breaking Bad sprinkled in. It's a brash, angry film defined by dreary monologues and expletive exclamations without much substance. Leo (George Jonson) and his cousin Louis are heroin addicts in desperate need of a fix. Through an encounter with Irish dealer Neal, the two find themselves tasked with assassinating an up-and-coming drug lord/pimp named Skinner. What follows is murder, multiple odious monologues, and more f-bombs than you could possibly count— all on Christmas Eve, no less. Despite boasting three directors, Lemonheads lacks solid direction. It's a shame, as the film starts off fairly compelling. However, poor characterisation and a rushed third act do irreconcilable damage to the narrative, and its attempt at a powerful commentary during the final few seconds falls flat. The tale of a drug addict's utter desperation is nothing new, but the tactless and simplistic manner in which the script tackles Leo and Louis' problems is staggeringly ineffective. It's a shame because such a message has potential for some compelling drama, but the script just doesn't hit the mark. It's far too preoccupied with writing another expletive-ridden rant about graphic violence to consider the repercussions of its character's actions. The performances are largely pantomimic and hyperbolic. Lead George Jonson offers a reasonable portrayal of a heroin addict at rock bottom, but his strange intonation makes the script's clumsiness all the more noticeable. Equally, his Christopher Walken - esque swagger paired with an odd vocal style ensures he's memorable, though not necessarily for the right reasons. However, Jonson does manage to craft occasional chemistry with cousin Louis (Samuel Wyatt); the film's only genuine relationship. The two evoke a sense of care for one another, leading to rare bursts of bizarre sweetness. Regrettably, this good work is immediately undercut by the entire casts' obsession with screaming. Yes, they're addicts and criminals. But there is simply no reason to make every scene so aggressive and irate. Regular conversations will explode into geyzers of unwarranted fury at every turn, and by the film's end, it's a miracle there's any scenery left to chew. Equally problematic is the undercurrent of misogynism that runs throughout the narrative. There are five female characters in Lemonheads. Four are cultish sex workers with no lines, while the fifth is an angelic vision of Louis' "angel". She also has no lines. Women are regularly treated as objects while homosexuality is equally maligned by the film's many bigoted players. It'd be less distracting had the characters' problematic behaviours played into a wider commentary, but all it amounts to is another reason not to like anybody. Frustratingly, the film's cinematography, music, and set design are all excellent. The use of contemporary music, in particular, offers a strange sense of nostalgia, tapping into Leo's lost soul more effectively than the script ever could. Equally, the dingy colour palette and close camera work create a delightfully grim mise-en-scene that serves as a perfect backdrop to a story of murder, drugs, and exploitation. Had the script and performances not been so flawed, there could've been a simple, yet gorgeous film here. Ultimately, however, there's no making up for the film's pretentious dialogue, hammy acting, and overly aggressive tone. Watching it is similar to playing an incredibly violent video game; five semi-entertaining moments of anarchy and naughtiness before the novelty soon wears off. Lemonheads is one drug you won't soon become addicted to. #NathanialEker

★★★★ Directed by #SarahPirozek Written by #SarahPirozek Starring #SarahRich #MarcMenchaca Film Review by Brandon Thomas One only needs a fleeting familiarity with social media, message boards and comment sections to know that the internet is a breeding ground for toxicity and abuse. Everyone becomes a target at one point or another. Young women, especially, can become the focal points for violent, disturbed predators who want only one thing: satisfaction through cruelty. Rosie (Sarah Rich) and her mother aren’t doing so well. It’s been one year since Rosie’s younger sister, Amelia (Samantha Nicole Dunn), died by suicide. The pain of the loss is made worse as Amelia was goaded into taking her own life by an online abuser. This abuser used his perverse coercion to worm its way into Amelia’s day-to-day life. Rosie’s depression and guilt morph into rage as she believes she’s uncovered the identity of the man responsible for Amelia’s death. Like many of cinema’s greatest thrillers, #Like leans hard into discomfort. Director Sarah Pirozek pulls no punches when examining how young women are treated not only online, but in their every waking moment. The sexual adoration that men – young and old – direct toward women such as Rosie is shown for what it truly is – villainous and scary. Outside of being a damning portrait of male behavior, this also complicates Rosie’s search for the truth behind her sister’s death. How can she find the man responsible when so many are capable of this reprehensible behavior? #Like isn’t all hard truths. There’s a throughline of ambiguity in the film that creates an ever-present sense of unease. The audience is sure Rosie has her man…until she doesn’t. Like the aforementioned online cruelty, Pirozek doesn’t shy away from the ugly side of Rosie’s anger. All good revenge movies grapple with the cost of vengeance, and this one is no exception. Rosie is a great showcase for Sarah Rich. This is a character who is a ball of guilt, depression, rage and sadness – sometimes all within the same scene. Rosie should be your typical teenager, but the grief boiling inside of her won’t allow that. Rich plays Rosie’s loss of innocence as the film’s ultimate tragedy. On the other side, Marc Menchaca (Ozark, Alone) impresses as The Man (the only title given to this character), the focus of Rosie’s ire. Menchaca has the hardest role in that he can’t simply play The Man as a mustache-twirling villain without steamrolling the movie’s overall theme. Menchaca’s portrayal of The Man runs the gamut from suspicious to sympathetic. #Like could’ve easily gone for pure pulp and still have been a successful film. But by investing in theme, both storywise and through character beats, #Like manages to stand out by challenging the audience. #BrandonThomas

★★★★★ Directed by: #HarryBoulton, #GabrielGoss & #JudeWakeley Starring: #LucyHunt, #OlliePalmer, #AfureMosesTaiga, #LilyAdams, #LivGodley Short Film Review by Taryll Baker The story of Lost Bond is built upon the inherit complexity of human nature and our ability to feel multiple, competing and contradictory emotions, all conveyed through the presence and actions of the ‘Silent Killer’, a character who personifies the dark shadows of a disturbed mind. Beginning with intense cuts in the edit by Harry Steele, and an energetic synth score by Charles Mathias, Safia Kazim and James Grout Smith, Lost Bond throws you right into the dark shadows. But within those shadows, a spotlight is shining down on young mental health. The longest scene in the film is especially relatable in this tough time with the current world situation. I found myself clicking a lot with the character of Ollie. The feeling of pure disconnect from anyone and everything, not wanting to communicate with certain people, not feeling like yourself anymore. In fact for a good 6 months of my 2020, I spent my days talking to newly made online friends, whom are now a special part of my life going forward. To speak on a personal experience, I made those friends on my Twitter account, which I recently deactivated and since doing that, my head and shoulders feel so much lighter. It’s okay to use something as a crutch, but don’t lean on that crutch too much because someday it’ll break. You must find a way back to reality, and as shown in Lost Bond, therapy is an option. A simple readjustment of your time allocated to certain activities can also help a ton, which is what I’ve been working on. So, to speak more on the content within this incredible short film, I’d say it’s very accurate and authentic. The trio team of directors (Harry Boulton, Gabriel Goss & Jude Wakeley) have done a splendid job of creating that authenticity and the actors Ollie Palmer and Lucy Hunt share a wonderfully written scene together. The film is bookended by two dancers performing against a stunning backdrop, and the final shot lingers on the ‘dark passenger’ we all have lurking in the shadows. I think a lot of young people will see themselves in Lost Bond, and I think the COVID-19 outbreak has really become quite a challenge for many, especially the youth. The older generation might think we’re being dramatic or tell us not to worry because “you’re young” but, they don’t understand the battles we could be facing beneath our outer facade. I’m doing better now, but for others it could be very murky. To put it simply, Lost Bond is a phenomenal film with an incredibly important message wrapped in dark themes. And as we move forward with this gleaming hope of a vaccination and life returning to ‘normal,’ I think it’s time, as the film says, to start a conversation. #TaryllBaker

★★★ Directed by: Joshua Ashish Dawson Written by: Joshua Ashish Dawson Starring: Hannah Patterson, Tim Limpert, Bill Mecca Film Review by: Jason Knight Here is an animated short, which focuses on an occurrence that is very familiar these days: the outbreak of a deadly substance. The film begins by describing the substance, stating that it is the most dangerous poison known to man. Scenes show the substance being handled inside a laboratory and being used as an ingredient form of beauty treatment. If mishandled, this substance will cause the nerves of a human to stop functioning, eventually preventing the possibility of breathing. A text then reveals that a small, industrial has suffered a series of airborne outbreaks of that substance, making the air toxic. That town is the main provider of the primary beauty product of an exclusive medical spa. The film then offers an insight into the lives of the town's citizens, after the outbreak. Everybody is walking around, wearing a mask that covers their entire face. There is a market, where people can purchase cans and bags of clean air. People have to queue in order to enter a bar that has containers of clean air. There are also people who fly around in sphere-shaped vehicles, avoiding the polluted air. It is revealed that the outbreak was caused by counterfeiters, who handled the substance carelessly. This science fiction drama performs as a documentary. It examines the substance and the effects the outbreak has had on the town's people. Dawson also worked on the visual effects, world building and animation, and he does a great job. He successfully brings to life a community, whose residents have been forced to change their lives due to a breakout. The visuals look very realistic and the atmosphere is rather bleak. There are several voice actors, who provide voices for journalists and the townspeople and they do so rather convincingly. The atmospheric music, by Russell Henson, effectively matches the tone of the film. Denervation is a piece of work that paints a picture of a place in peril, due to carelessness and indifference. It raises awareness regarding pollution and destruction of the environment and warns against the mismanaging of hazardous materials. #JasonKnight

★★★★ Directed by: #NeilGeorge Written By: #LaurenHussey and #HannahSpaulding Starring: #MaxDoubt, #JonnyLee, #DylanTerrill and #AshleyMcIntosh Film review by: Brian Penn If there’s something weird and it don’t look good, who you gonna call: Ghostbusters! Well actually no, if you live in San Francisco you call Ghost Searchers. What’s more you won’t get Dan Ackroyd and Bill Murray dressed in grey boiler suits with ghost zapping weapons. Instead we have motley duo Matt (Max Doubt) and Jeff (Jonny Lee) armed with a camcorder and paranormal activity device. With a stream of accumulating bills they are desperate for work, and excitedly rush to the home of Robert (Dylan Terrill) who has a problem. After spending the night in said property they are convinced a ghost is in residence and begin researching its history. They enlist the help of Katie (Ashley McIntosh) who has a previous connection with the property. But can they rid the house of what lurks (or doesn’t lurk) under its roof? With a paranormal story heavy reliance would usually be placed on CGI and special effects. However, for a short feature such luxuries are affected by a limited budget with screen time carefully utilised. Neil George uses a series of simple but highly effective visual tricks to create a sense of anticipation. More importantly these tricks enhance the narrative without consuming it. A deeply engaging tale emerges from the kookiness of Robert’s original call to Ghost Searchers. It cleverly plugs into the apathy that many feel for paranormal activity; but also shows how it can be too easily dismissed. Whilst the film plays with our imagination, it recognises there are sides of life yet to be fully understood. This genre can provide many examples for the purpose of comparison. It comes out of the test extremely well and quickly gets away from the Ghostbusters premise. The four strong cast perform admirably with the right mix of scepticism, humour and drama; but it’s the performance of Ashley McIntosh as Katie that rightly stands out. Her reactions are spot on as she runs the full gamut of emotions. A smartly observed and well constructed piece that delivers a satisfying outcome.

★★★★ Stars Directed by: #RossKauffman Starring: #NancyKulik, #SophiaLoren, #EdoardoPonti Film Review by: Alicia Moore “An Italian-American grandmother and film buff finds strength and joy in the life of her screen idol, Sophia Loren.” What Would Sophia Loren Do? isn’t like most documentaries I’ve seen, especially ones highlighting faces in cinema, due to its powerful turn in perspective. This short Netflix documentary film focuses on Nancy Kulik, a great admirer of Sophia Loren, and showcases how much of a positive impact she has had on her throughout life. Instead of centring the film on Loren’s many achievements over the years, the core of its content is how someone’s shining light can influence a spark in someone else’s — even from a great distance, and with a screen breaking contact between them. However, emotional contact can always transfer from eye to eye despite any distance, and the elements of this film can act as proof. As an admirer of Sophia Loren myself, I felt that I was able to connect with the film’s content in a way I haven’t been able to experience before. Seeing a woman at 82 years old recount the times when she looked towards the star for guidance through her acting and how she carried herself as a person hugely resonated with me. Hearing Kulik speak to Loren, “it feels like we know each other,” was an unbelievably beautiful clarification of the strong bonds between audience members, actors and their characters that can be made if one puts their heart out in that way. Regardless if you are a fan of Sophia Loren or not, if you do hold your heart out into the world in this way, you will find yourself clutching onto your chest throughout the documentary because of how interrelated these emotions can be. This film is gracefully carried by its editing (Keiko Deguchi, Hypatia Porter) as Kulik’s stories are intertwined with Loren’s input; whether that is through previous interviews filmed throughout her career or through filming specifically for the documentary. Each scene follows on from one another — even if they are talking about slightly different subjects, that still correlate, the editing process enhances the established friendship that they unintentionally created over the years. The editing allows the documentary to present itself as two powerful women who meet at the same level of personal courage, almost sharing these similar parts of each other. I hoped to capture how moving I found this film in these words but I think, purely, you must watch it for yourself to understand what feelings I’m attempting to convey. What Would Sophia Loren Do? showcases Loren’s talents and personality through the view of those who adore her. It is a passionately warm tribute to the star; the documentary is simply a beaming, short ‘pick-me-up,’ especially in such dull times as of now. Everyone needs a hug filled with joy and tenderness once and a while, and Netflix has your back with this one.

★★★ Directed by: Philip Brocklehurst Written by: Philip Brocklehurst Starring: P.M. Thomas Film Review by: Jason Knight A man is lying inside a bathtub and commits suicide by drinking poison. Dying Alone is the final part in Brocklehurst's Suicidal Thoughts trilogy, preceded by To Be or Not To Be (2018) and Feel (2019). The man (Thomas) is lying on his back inside a bathtub. He is bare-chested. He drinks poison from a small bottle and waits, until slowly he passes away. The entire action of this short takes place inside a bathroom, more accurately, inside a bathtub. Brocklehurst uses closeups of the man's face and stomach in order to capture his final moments. Brocklehurst has stated that he wanted to show death in its most matter-of-fact way, and he does so in a very dramatic manner. After the man drinks the poison, the film repeatedly cuts between a closeup of the man's face and a closeup of his stomach and umbilicus. The man's face expression remains the same: melancholic and staring into the camera. His stomach's movements gradually slow down, indicating that his breathing is becoming weaker and he is dying. The man does not say a word, but the film's voice-over, which consists of the his inner thoughts, starts of with a normal tone and after the poison administration, becomes slower and slower and quieter and quieter, revealing that he is passing away. The haunting and atmospheric music by Stephan Ortlepp also plays a part in the indication of the man's death. From the beginning the score's volume is strong, then after the poison, the volume is gradually turned down, until it is no longer heard at all, suggesting his death. The cinematography also indicates the man's passing. The majority of the film is shot using color. However the final few shots are filmed in black-and-white, representing his dying moments, that he is moving from life to death, from light into darkness. The first shot shows clothing being placed inside a basket. Apparently this is done by the man, just before he takes his on life. According to Brocklehurst, this action symbolizes the fact that no matter what people own in life, they cannot take anything with them after they die, because death is depersonalizing. Watching Dying Alone is far from a pleasant experience. The atmosphere is distressing and depressing. However, it is successful in showing what death is: nothing. A state in which there is no sound, no movement, no color, nothing at all. #JasonKnight

★ Directed by: #SudiptoNag Starring: #AmitavaNag, #PratimaManna, #SayanKar Short Film Review by Taryll Baker I’m not really sure what the intention was with this short film from Sudipto Nag. Just Like Another Day is, well, just like another short film. Not to say that’s a bad thing — it isn’t — but most of the shorts I’ve had the pleasure of watching have achieved much in their runtime, or pushed boundaries and raised bars. Nag’s efforts here are underwhelming, to say the least. I’d comment on the story but there really isn’t much of one. We experience a day in the life of an older gentleman; he reads a book, eats his meal, takes a phone call and then… well, I’m not so sure what happened or why. In terms of actual verbal delivery, there’s a minimal amount of dialogue and when there is, it’s not the most pleasant sounding. No thanks to the very low quality sound recording, almost every line is flooded with external environmental sounds and because of that, the volume was turned up louder, with no attempt to remove said sounds or at least dampen them. This is clearly a very rough, threadbare production even beyond what is captured in front of the camera. I don’t discredit the cast and crew of their enthusiasm to make films, but this is perhaps more of a draft, acting as a learning experience, rather than something worth sharing to anyone more than close friends and family. The music used was ineffective, the cast did their best with the story, the sound and editing was lacking. If I were to add a positive note, I like the determination in the camerawork. It’s shaky and amateur but I do see some inspiration behind it. Interesting angles, even if the execution was a little subpar. It’s often saddening when you watch a film, no matter how big or small, but can’t find any attachment or intrigue. As a huge film nerd and fan, I look for anything and everything that I could possibly find enjoyment in. That could be something as small as a clothing choice, a camera angle, a colour grade. Or more drastically a story, a character, a terrific score. When those are sparse, few and far between, it’s difficult to grasp the director’s idea(s). Unfortunately, Just Like Another Day just didn’t feel very inviting or engaging in any way, but I like to see the potential in budding filmmakers and so I’d be interested to see what Sudipto Nag tries next. It can only go up from here, and as with every single project, lessons are learned and techniques are acquired. #TaryllBaker

★★★★★ Directed by: Manuel Alejandro Vargas Written by: Mick Primmer, Manuel Alejandro Vargas Starring: Thomas Burke, Xavier Alvarado, Mick Primmer, Manuel Alejandro Vargas, Daniel Grisak Film Review by: Jason Knight Time to go back in time and revisit the glorious days of eighties action films. Two filmmakers have come up with an idea for a script that they believe is going to be fantastic. These two filmmakers are Miguel (Vargas) and Richie (Primmer). One day they are at home, trying to write a screenplay. They end up spending the day watching action films from the eighties and this inspires them to create a buddy cop action film that is going to be heavily influenced by similar films of the eighties, particularly the Lethal Weapon films. They notify their investor (Grisak) about their plans and the ball start rolling. The film then cuts to a trailer of their idea. The concept evolves around two unstoppable cops who are determined to fight crime. These heroes are: Rex Spade (Burke) and Morgan Armstrong (Alvarado). They are shown chasing bad guys, shooting them, beating them and arresting them. Guns, blood, explosions, what more could anyone want from an action film? And Spade is also mentally unstable and suicidal, like Mel Gibson's character in Lethal Weapon. This short is a pleasure to watch from start to finish and does a great job in resurrecting the spirit of the eighties action movies. The best part is undoubtedly the action scenes. The trailer contains many scenes of the two hero cops fighting bad guys. Both have a no-nonsense attitude and eliminate criminals like they were nothing. And it is all done in a humorous way. The interesting cinematography makes the footage resemble the eighties and so does the camerawork. The trailer's narrator is very enthusiastic and entertaining, and the sound of his voice gives the impression that it was recorded decades ago. The clothing that the cops and crooks wear looks great and also appears to belong in the eighties. All of the protagonists, including the filmmakers at the beginning, deliver entertaining performances, and it is clear that they are having a lot of fun with their characters. During the part that shows the filmmakers, nondiegetic letters are used in order to inform the audience about the situations, including a childish, fairy-tale-sounding music, which adds a comical tone. It is worth mentioning that the track used during the closing credits ends the film brilliantly. The film also utilizes freeze-frame and wipe editing techniques to great effect. This short is very entertaining and pays homage to eighties buddy cop action films. Worthy of a lot of praise and recognition, this achievement should not be missed. #JasonKnight Trailer:

Interview by Taryll Baker Firstly, fantastic work on Liam. I really enjoyed it. I’d like to know, was there something that interested you when choosing to work on this film? Thank you so much, glad you enjoyed it. Being a parent myself I was really interested in a story that showed a parent struggling to understand their child, but I think the film was so multi faceted in its themes, it was a story about a strenuous parent/child relationship but it was also a story about a child struggling with their identity, and I feel it touched on toxic masculinity and how its present in society at a really young age. I really enjoy taking on parts in films that not only challenge the actors but also the audience. More and more filmmakers are tackling LGBTQ+ topics, do you have any favourite films that utilise this, or if not, any you would like to check out? I think Dallas Buyers Club was a fantastic film. Matthew McConaughey was so good, and it was so interesting to watch his journey as a homophobic man, contracting this horrible disease and then how society at the time treated people because of it, and because of their sexuality. I think it showed us just how ridiculous prejudices are in the face of survival. Were there any personal challenges you were faced with when working on Liam? I think a lot of actors have challenges when trying to find a character, and then subsequently letting go of that character. In regards to my character of Trevor in Liam, I struggled with the parenting aspect of the story, people assume that their children are just going to be mini versions of themselves, but that’s not always the case. My daughter is still very young so (hopefully) hasn’t had to deal with any identity and existential crisis that some young people deal with growing up. I think I saw a lot of myself in Trevor, in the sense that I don’t take an ignorant approach to something I don’t understand, especially when it comes to people I love. Looking at your filmography, you have been involved in several shorts, TV series and even appeared in a One Direction music video. Is there anything you have to adapt to when woking on these different types of production? I think the main thing is the pace in which the productions move. Something like EastEnders moves at such a fast pace, they have so much to film in such a short amount of time you don’t have the luxury of getting loads and loads of takes to get it perfect. Whereas working on a short film, you can work on it more, try different things with different takes. The One Direction music video however was quite a lot of pressure, as I only had one take to get it right — they didn’t have time to reset Zayn after I threw food and drink all over him. Luckily, we got it right! What was it like working with the director, Lisa Müller? Did you have any conversations about your character with notes, or did she allow you to explore Trevor alone? She was so great, so professional, nothing fazed her. Whenever there was a problem on set, as there is on every film set, she took it in her stride and never let it affect the task at hand. And she was so open to hear my thoughts and interpretations of how a scene would go based on the prep I had done for Trevor, and subsequently we changed a few scenes to better suit the character arc. I honestly would have liked to have made the film longer, to explore the characters more, maybe give the story more depth. Is there anything in particular you’ve learned prior to Liam that you applied to your work ethic as an actor? Prep work for me is the most important part of giving a real performance, creating a rich backstory for a character, giving the character objectives and obstacles gives more meaning to the lines. I try to do as much prep and line learning before I get on set so I can let it all go and truly be present, which then lets me react more naturally to the other actors and things happening in the scene. What’s next for you? Any projects you can tell us about? I’ve just been signed by a management company based in LA who are keen to get me over there for some opportunities, which as an actor is very exciting as Hollywood is pretty much every film actors goal! In terms of projects I have a few lined up which I’m excited about, one in particular is a WW2 film which I think will be amazing but can’t say too much about it, and I’m always casting for really great projects so you never know when the phone might ring. I think that’s what I love most about it, is that at any moment you could get a job that changes everything! That sounds very exciting! Lastly, are there any dream projects you’d love to work on with a writer, director or actor? Ah man, like most actors I have a list too long to mention. I would love to work on a superhero project, Marvel or DC to be fair. I’ve grown up with both universes’ characters so would love the chance to be a part of one of those worlds. Directors, I would have to say Taika Waititi. I don’t think I’ve seen any of his projects that I haven’t loved. And actors, there is a long long list, but one actor I really would like to work with is James McAvoy. He is such a talented actor but also comes across as a really down to earth, funny guy to be around so would love to work with him. #TaryllBaker

Film Festivals > Press Release Join us LIVE for a night of extraordinary short films by emerging filmmakers from the UK and around the world. Enjoy the work of 7 visionary directors followed by live video Q&As, real time audience questions and feedback from our panel of experts, who will be giving out the Critics’ Choice Award to the short film that wows them most. From the comfort of your home you- the audience- can vote LIVE for your favourite film. The one with the most votes is crowned the Audience Favourite award on the night! Presented by comedian Mike Sheer and curator Erifili Missiou, expect a relaxed, fun, and inclusive atmosphere and a night full of cinematic gems. 25th JANUARY 20:00-22:30BST LIVE! TO RESERVE YOUR SPOT REGISTER FOR FREE HERE! https://www.efnfestival.org/tickets “These evenings are absolutely wonderful! It’s always a fantastic quality night!” Angela Peters -Actor OFFICIAL LINE UP: 1. Vincent before Noon – Guillaume Mainguet (2019) 17’ A father pays his son a visit after years of conflict and turns up in the middle of his house move. Within a few minutes, the anger, the memories and the crossed looks move the two men deeply. 2. Friends Online – Samantha White (2019) 5’21 “Stacey”, an anxiety ridden, lonely, keyboard-warrior recluse, hopelessly tries to convince his favourite young friend “Ellie”, that he too is a teenage girl, with the desperate hope she’ll send him the pictures he craves. 3. Header – Mark Kuhlmann (2020) 13 When Lars (13) gets further and further behind in an initially funny duel with his brother Kai(11) and thus also threatens to lose the love of his mother, he is faced with a decision: Will he fight against his unfairly playing brother or will he give up? 4. Coping – Vivien Forsans (2019) 1’26 Animation about a bunch of creatures who are trying to relax after a long day of work. 5. Ill, Actually - Zoë Hunter Gordon (2019) 11’59 Ill, actually is a short documentary exploring the challenges of being young and chronically ill in a carefully curated online culture. A real ‘superhero’, a YouTuber and a camgirl explain why they choose to share -or ride- their chronic illnesses online. Online you can be anyone: why be ill? 6. @Jesu_muhnn – Jose M. Lucero & Coté Ramirez (2019) 6’43 A Young man obsessed with a famous influencer takes over her indentity. 7. Not Your Tropical Girl – Limuy Asien (2020) 1’ An indigenous girl responds to a racist audition callback. Our panel of experts are Molly Cowderoy (Leeds International Film Festival), Abla Kandalaft (Clermont-Ferrand International Short Film Festival) and Christina Papasotiriou (Genesis Cinema). “Such a great online atmosphere for an evening packed with uniquely amazing films, interesting filmmaker Q&A’s and insightful feedback from the panel of critics- altogether a thoroughly entertaining night.” Janet Marrett- Film Director/Producer

★★★★ Directed by: #EllieHodgetts Written by: #EllieHodgetts Starring: #TheManchesterSistersofPerpetualIndulgence Short Film Review by: Emily Davison The Manchester Sisters of Perpetual Indulgence is examined through a selection of insightful vignettes and a series of profound news footage in this impactful documentary short. We Are Here (2019), directed and edited by Ellie Hodgetts at the Northern Film School in Leeds Beckett University, presents the worldwide order of queer nuns whose motto is to ‘promulgate universal joy and expiate stigmatic guilt’, through the lens of those at the heart of the cause. The twelve minute short implements small, interconnected narratives smoothly edited together to provide an educational, thought-provoking documentary which reveals the ceremonies and ideologies the order embody and the adversaries they face daily. The film focuses on a small group of members of the order – Sister Bang Bang, Sister Roly, Sister Polly and Sister Judy – with intimate personal accounts of their experiences of being discriminated against for their beliefs and identities and how they came to terms with their sexualities. Each endearingly express themselves honestly through voice overs and interviews and their inspiring bravery to speak of the challenges they have faced in the past, as well as their mission to spread joy and love in communities is admirable and creates a powerful viewing experience. The short is expertly crafted by the team at the Northern Film School, with a strong sense of pacing as we take a few minutes to listen to the stories of the Sisters and are reminded of the horrendous verbal and physical abuse queer men have faced through samples of news reports. Ellie Hodgetts directs and edits exceptionally, contrasting the shocking brutality of the treatment queer men have and continue to receive today, with the positivity that the Sisters promote through their joyful parades and activism. A particularly powerful moment of the documentary comes when we see Sister Polly repeatedly shouting to the crowd “your are loved” and, as reinforced by Sister Bang Bang, “love never fails”, a resonating message which closes the short. The film delicately balances the flamboyant energy and positivity the Sisters promote with the derogatory and violent acts committed towards them by other human beings. Insightful, intimate and inspiring – We Are Here explores the powerfully resonant message of acceptance and being proud of who you are, brought to fruition through a series of revealing stories from a community of emotionally honest individuals. The film is daring in its engagement with contemporary issues of male sexuality and its combination of passionate filmmaking and thought-provoking themes make this short a must watch. #EmilyDavison We Are Here is available to rent on the UK Film Channel.