Filmmaker Interview by Chris Olson You have an extensive background in Editing. What was it about editing you love? Editing is such an important part of filmmaking and most people don’t really understand the process. At a certain point, I was once one of those people, but then I started to learn more about editing and I realised its creative beauty and the sense of responsibility you get from having to piece the film together. I actually love the phrase “visible art, invisible artist”, because, above all, you edit a film for your love of the craft and not for recognition. There is no better reward than the feeling of bringing a film to life. What I also find fascinating is that there is no right or wrong way to edit a scene. You should always allow yourself the freedom to play with the footage and encounter new ideas as you go. In the end, editing is the story’s biggest ally. You recently worked on an award-winning short called A Strange Calm. Why did you want to work on that film? I was first approached by the director, Austin Rourke, who I had worked with before. I connect with his stylized approach to filmmaking and his attention to detail when it comes to editing and sound design. When I read the first draft, I knew it was a project I wanted to be a part of. It’s an interesting twist to the coming-of-age story. It felt like a twisted view on the idea of growing up too soon. At the same time, we wanted the film to have the elements of the classic thriller, like building tension through pacing, jump scares and having an ominous score. Our goal was for the audience to have a fun experience while slowing uncovering the emotional layers by the end of the film. What were the challenges for you on A Strange Calm? During the edit, the ending was the hardest part, those two last scenes. It was a huge moment in our character’s arc, and I was having a hard time believing we had nailed it. I had an initial cut of the scenes that was later discarded due to reshoots. We as a team didn’t think those scenes worked as the climax of our film. So, there were some trial and errors before I got something I was happy with. It took patience and a lot of restructuring to edit the ending, but it made a huge difference, especially with the final score added. Another challenge, just like any other short film, was the tight schedule, especially after reshoots. We decided to change the entire beginning and ending of our film, and we had less than a month until our scheduled picture lock day. It felt like an insane idea, knowing we had little time to accomplish a final edit, but it was something I knew had to happen to get our film to where we wanted. It was a risk we had to take. The director and I worked long hours to picture lock on time and I couldn’t be more proud of the result. What advice would you give to someone wanting to be an editor? I think, in the filmmaking business, networking is very important. Meet other filmmakers who are interested in telling stories you connect with. It’s also important to establish relationships with professionals who are willing to help you achieve your goal. I found out that other editors are more open to recommending me to jobs than anyone else. However, other filmmakers can be helpful too if you let them know what you are looking for in a collaboration. Besides that, maintain a good work ethic and be respectful towards your crew. A lot of times, directors will come to you for advice or simply to vent about problems. Help guide them through the creative process, and you’ll find yourself earning their trust. That way, it’ll be easier to get your ideas out there. If you are working with a group you connect with, then you’ll have more space to express yourself creatively. Why do you make movies? That’s an existential question for a lot of filmmakers. I believe that making movies is about being able to give life to stories that will have some sort of impact on people’s lives. We watch movies so we can laugh, cry, be angry, be scared, in other words, so we can be emotionally invested in that alternate reality. As I believe that movies are all about creating a world people can escape to, I also believe we, as filmmakers, have the responsibility of giving voices to stories that need to be heard. It’s powerful to have your work create a safe haven for people. The range of impact that a movie can have is what drew me to this craft. If it’s to provide an escape or social awareness, I ultimately hope that the movies I edit will make a positive impact. What's next for you? I’m currently working on the documentary Brainwashed, directed by Nina Menkes (Magdalena Viraga, Queen of Diamonds). I have looked up to Menkes as a powerful advocate for female stories, so to be able to work with her has been an honour. Brainwashed is based on her talk, Sex and Power, the Visual Language of Cinema, and uses films from A-list directors throughout film history, to show how the visual grammar of cinema contributes to conditions that create discriminatory hiring practice, pay inequality and a pervasive environment of sexual harassment in the film industry as well as outside of it. It has been an eye-opening experience and I hope it creates a conversation towards this much-needed topic. Besides this documentary, I have been working on the newest season of Total Bellas and Born for Business, both reality TV shows. There’s so much to learn from working with a lot of hours worth of footage and multiple cameras. It’s a very demanding job, but you meet collaborators who are focused during this pandemic to bring content to people who have to stay at home. The experience of working on reality TV is demanding and I commend the hardworking people who are behind the scenes making it happen. What's the best film you have seen from an Editing perspective and why? I am not sure this is the best editing I’ve ever since, but I haven’t able to take The Lighthouse out of my head for the past couple of months. To be honest, I didn’t know what to expect of it, but I had seen Louise Ford’s work before on The Witch and Thoroughbreds. Louise Ford is such a versatile editor. I was inspired by how she worked on such different genres and all of the movies she edited were highly praised across the board. Usually, as an editor, it’s easy to find yourself trapped in a genre ‘box’ and be limited artistically, but Ford is able to avoid that trap. I think the first thing that impressed me was the attention to detail. So much of the story relies on the two actors and she brought the best out of their performances. It was clear that Ford was letting the characters lead the pacing of certain scenes, forcing the audience to sit with the emotional beats for as long as necessary. Those beats feel almost claustrophobic, as you are ‘trapped’ in that dream-like environment with the characters. At times you almost wonder if you are going crazy. The editorial choices are supported by a surreal sound design and Shakespearian dialogue that intensifies as we are teleported towards the ending. You can see how much fun Ford had in the edit. Things don’t need to make sense anymore, and all you are left with is this uneasy feeling of being lost with the characters. It’s such an immersive experience that shows the audience the power of editing. What would you say if you were a dolphin? “SeaWorld sucks!” #ChrisOlson

Film Feature by Chris Olson Hoping for a cinematic release in 2021, Disney will be releasing Raya and the Last Dragon in cinemas in the UK March 2021. Whether this happens will be anyone's guess, as finding an open cinema these days proves as elusive as the dragon in this film! With the voice talents of Awkwafina and the acting talents of Kelly Marie Tran, Raya and the Dragon is the story of a warrior looking for the last remaining dragon in her land. This animated adventure film is most definitely aimed at families but many other viewers will likely seek it out, not wanting to miss a potential Disney classic in the making. Check out the Raya and the Last Dragon movie trailer below and let us know what you think.

★★★ Directed by: Philip Brocklehurst Starring: P.M. Thomas Film Review by: Jason Knight The human face can make a vast number of expressions, many of which indicate the person's emotions. The film begins with a white screen, in the middle of which the title is shown in black letters. It then cuts to a medium closeup of a man, who is motionless, looking directly into the camera and right behind him is a white wall. His face shows no emotion. It then cuts to the same shot, only now the man is smiling and there is music, which sounds gentle and uplifting. The next shot shows him with and angry expression on his face and showing his teeth and the music is now tense and powerful. Then he is shown looking sad, the music now poignant. Then it cuts to an extreme closeup of his neutral lips, without music. The same three shots of happiness, anger and sadness follow continually and in the same order, each with their own score, the differences being that the editing is quicker and after happiness, there is an extreme closeup of his lips smiling, being angry and sad. After the sad lips appear, only three shots are used for a while, those being happiness, anger, sadness and in that order. They appear again and again, faster and faster, until they reach such a speed that it gives the illusion that the character's face is moving. Then the fast cutting proceeds to slow down, until the film ends where it started: with the expressionless face. The film consists of two types of shots: the medium closeups of the face and the extreme closeups of the lips. The editing is very creative, making interesting uses of fast cutting, creating speed and tension. The man is the only person in the film and there are no spoken words. The use of music is rather fascinating, as it is different for each expression and matches the feeling the expression it accompanies shows, including when the lips are seen. By having a different score for each expression, the film indicates that this is how one feels on the inside, when they show that particular expression. It is rather clever that when the man is expressionless and the expressionless lips are shown, that there is an absence of music, suggesting that if one feels nothing, then there is emptiness around them. Thomas delivers a silent and good performance, as he shows the expressions and gives the impression that this is what he would look like if he was really experiencing those emotions. The film starts of slowly and gently and then, thanks to well-constructed fast cutting, the viewing experience becomes intense and dynamic and then it gradually returns back to neutral. As the editing becomes faster and faster, it also has interesting effects on the sound of the score, making it a bit awkward, but at the same time enjoyable. This short is less than two minutes long and during that time it presents a lot of creativity with the editing and music. It shows that some emotions can be quite different and that they can all come from the same person. This piece of work is worthy of praise and recognition. #JasonKnight

★★★★★ Directed by: Stephen Cognetti Written by: Stephen Cognetti Starring: Danny Bellini. Gore Abrams, Adam Schneider, Ryan Jennifer and Jared Hacker Short Film Review by: Rachel Pullen Hell House LLC Movie Review It’s that time of the week again, that time where, you, my loyal readers, gather around the campfire to hear my tales of gore, of blood and killers, of boobs and saucy teens…and most importantly, of horror gems that just may have slipped through the cracks unnoticed as Hollywood blinded us with yet another Annabelle or The Conjuring movie…sigh. Talking of saturated film genres, remember the found footage surge after the popularity of The Blair Witch Project? Well surprise, surprise, it never died, it lays beneath the many, many sequels to the Paranormal Activity franchise, bringing us some of the best and most atmospheric additions to Horror that I have seen since the ’80s…yeah Friday the 13th was game-changing, fight me if you disagree. Hell House LLC tells the story of a group of friends who decide to take over an abandoned hotel and turn it into one of those haunted houses, you know the ones that Americans just do way better than us Brits (our haunted house is just Judy Dench screaming at you and people putting gravy on pie and mash). They are super excited to make a lot of coin and scare some kids, and why not? That’s the point of Halloween, but little did they know that for all the spooky decorations they add to the house, there was already a portal to hell in the basement…that’s gonna play havoc with the insurance for the events. While they are there lots of quite simple, but insanely scary things begin to happen, and I don’t mean stupid cups floating and doors closing slowly, more like a life-size clown mannequin moving from room to room, people being seen in the shadows, music plays when no one is at the piano. Yet, the team push on creating their haunted house…are they stupid or just really broke, who knows? Either way, as an audience we are being gifted some of the best slow-burn scares I have seen in a while! Of course, the opening night does not go well at the haunted house, shiz goes actually ham and the gates of hell pop open in the basement and lots of cloaked people come out and start to do their killings. All of this is then revealed by the only survivor of the night, who is being interviewed throughout the film (there is this weird mockumentary-style police investigation spliced in which is after the event took place) by the authorities and she hands over a bag of tapes that the crew made during the construction of the haunt itself. Reading that back Hell House LLC does not sound that exciting but hey that’s what I’m here to do, explain why it’s worth your viewing time…and trust me it really is. I watched this movie like five times in a week because I was like so into the clown…I mean the movie, yeah the movie. Hell House LLC is a classic when it comes to its scares, this film uses no effects (thank god) it slow burns, and burns, and then that payoff is so worth it, is so spicy, you’re glad you stuck around. It’s committed to not letting on entirely what’s going on in that basement, why there is a massive clown playing his own version of hide and seek with himself, why there are people in cloaks just kicking it in the background. This film knows that it is a bit silly when it comes to the storyline, portal to hell in the basement? What? But it has the confidence to kick down the door and make us all swoon. And swoon I did like a lady who can only ride a horse side saddle style…taking on the old school vibes of scares straight from the Hitchcock era, and the found footage/mockumentary stylings from films such as REC and Paranormal Activity, Hell House LLC is something to digest for any fan of horror, heck, not even horror just get amongst it, because the lack of gore allows for accessibility to those not keen on typical scares, but the tension and build-up techniques can be valued by any die-hard thrill seeker. Now in my traditional style, there are three of these movies in total (I’m a sucker for a franchise), and yes I will be doing them all because apparently they all relate and uncover the many ‘’onion’’ like layers that this film has, maybe we find out what the clown wants, that’s all I care about…I just assumed he was an Avon salesperson…buy my shower gel and get out…ahh good times. Tune in next week for more... Hotels that hate people... Halloween teens being stupid and… Clowns selling you sponges and pumice stones, what a thrill ride it will be. #RachelPullen

★★★ Directed by #TamaraBass #MeaganGood Written by #TamaraBass Starring #MeaganGood #TamaraBass #MeaganHolder #MekiaCox Film Review by Hope Madden Meagan Good and Tamara Bass have essentially grown up before our eyes. Mainly taking supporting roles in films and TV, the veterans have been fairly consistent presences since the Nineties. For their latest, they create their own roles and their own stories. If Not Now, When?—written by Bass and co-directed by the duo—chronicles the lives of four high school besties facing their thirties and wondering what went wrong. Good and Bass co-star as, respectively, a professional facing her addiction problem and a nurse unwilling to hope for a family of her own. They’re joined by Mekia Cox as a football star’s unhappily pregnant wife, and, most impressively, Meagan Holder as a mother torn between family and ambition. The four have a fairly solid chemistry, with Holder bringing a mellow, peacemaker vibe that diffuses much of the melodrama the film flirts with. A solid supporting cast—Edwin Hodge is especially strong as a love interest—help give each character’s personal story some needed depth and interest. Bass’s script is too often superficial, creating moments for each star to shine, but those moments invariably feel unearned. Without weightier or more believable interior lives and conflicts, flashes of heartbreak or breakthrough come off as little more than fodder for an acting reel. They rarely feel like honest moments in a character’s life. If Not Now, When? does a lot right, too. The pacing of each character’s arc is different, so the excitement and poignant moments are staggered—more like real life. We don’t all hit our own personal highs and lows simultaneously (thank God), and neither should these characters. The cadence not only lends some needed authenticity, but it gives the film a slight irregularity in its structure, which keeps it from feeling formulaic or predictable. In keeping with that thread of authenticity, Bass wisely avoids closing each individual story with tidy precision. Will she or won’t she? And how will that turn out for her? The questions are rarely answered with any real finality, and that emphasizes the film’s point, which is not how each one is doing individually. Bass and Good are more interested in exploring how they do together. #HopeMadden

★★★★ Written and Directed by: #VanessaMariveles Starring: #ShannonHolloway and #SarahThompson Short film review by: Brian Penn And the award for most inventive film title goes to Vanessa Mariveles for this intelligent, well-judged short feature. Bi-curious Sleepover explores how a friendship can take on a more intimate dimension when the crowd disappears. After hosting a game night with friends, Stephanie (Shannon Holloway) insists her best friend Amanda (Sarah Thompson) spend the night after having too much to drink. Their friendship is put to the test when Amanda discovers a sex toy and decides to explore her bi-curiosity with Stephanie. It uncovers deep seated feelings both women have for each other as another side of their personalities come to the fore. The film wisely avoids an explicit portrayal, largely going for the before and after scenario as fallout from the previous night becomes all too apparent. In many respects it’s the ‘after’ conversations that are more revealing when we discover their motivation and learn more about the characters. Soft lighting adds a cosy glow as the audience are left to ponder whether alcohol is the great persuader doing all the talking; or whether it’s unlocked feelings that have always been there. But is Amanda just sightseeing and unable to see how vulnerable Stephanie appears to be? On the downside, credibility is stretched as to how Amanda discovers the aforementioned sex toy. Such minor niggles aside it’s a piece handled with sensitivity, showing a deep appreciation of the human condition and how a friendship can escalate. It seems entirely incidental that two women are featured in the storyline; it could just as easily be two men or a straight couple realising they have deeper feelings. Of course that would defeat the object of the narrative. But the characters’ sexuality is not the crux of this story; it is more about friends who become lovers and whether the relationship can survive the transition.

★★★★ Directed by #KornelMundruczo Written by #AnsumanBhagat #KataWeber Starring #VanessaKirby #EllenBurstyn #ShiaLaBeouf Film Review by George Wolf Pieces of a Woman opens with a crew working on bridge construction. It closes with that new bridge standing strong after many months of work. And it between, the film gracefully navigates how one woman learns to rise above some deeply troubled waters. Vanessa Kirby is devastatingly good as Martha, a pregnant Bostonian who settles in with her partner Sean (Shia LaBeouf, a bit too showy) for the home birthing experience they have planned since day one. What they didn’t plan on was backup midwife Eva (a terrific Molly Parker) having to take the lead when their original choice is tied up with another, longer-than-expected delivery. And when events turn tragic, Martha and Sean are hit with waves of grief while family, friends, and lawyers search for blame and restitution. Director Kornél Mundruczó wields a camera that meanders to great effect, utilizing slow, extended takes and Benjamin Loeb’s dazzling cinematography to completely immerse us in Martha’s emotional upheaval. Mundruczó teams again with screenwriter Kata Wéber (White God, Jupiter’s Moon) for a gentle journey toward one woman’s healing, where the clear metaphors (the bridge, Martha’s fixation on apples) and moody score (credit composer Howard Shore) ultimately land with more sincerity than force. And what a vessel the filmmakers have in Kirby, who stakes her claim as a talent full of staggering depth. From the robotic, soul-deadening way Martha responds to condolences to her final defiance against her tone deaf mother (a blistering Ellen Burstyn), Kirby delivers every note of Martha’s arc with a humanity that is achingly real. This is a film that delivers just what the title promises: one woman, shattered into pieces, grasping for the chance to heal in her own way, on her own terms. And even in its most uncomfortable moments, Pieces of a Woman doesn’t blink. That, and Kirby, make it hard to look away. #GeorgeWolf

★★★ Directed By: #PhilipBrocklehurst Written By: #PhilipBrocklehurst #MalcomBrocklehurst Starring: #PMThomas Short Film Review by: #ChrisBuick Another day, another unique short film from unstoppable horror-short veteran Philip Brocklehurst. This time, the ever-prolific filmmaker directs, writes and stars in (credited as P.M Thomas as has become tradition) The Hand Strikes, another entry in his library of homages to the horror genre which this time tells the tale of a man who in a fit of rage and despair after having his heart broken, suddenly chops off his own hand in grief, only it's not quite done with him yet. Straight up, The Hand Strikes is just a bit of silly fun and according to Brocklehurst completely deliberate in its absurdity, the filmmaker wedging his tongue firmly in his cheek and for ten minutes we are happy to just sit back and laugh with him. Intentionally aiming for the “so bad it’s good” Troll 2 sweet-spot, one could say Brocklehurst kind of achieves that goal, this particular film falling on the right side of ridiculous where we can laugh with it rather than roll our eyes at it and groan however, if this was indeed the intent here, one feels the writer/director could have swung for the fences a bit more. But no doubt, it is ridiculous, a particularly prominent example being the hand itself, not necessarily because the bloody prop looks terrible (it does, but that’s part of the charm) but more that the film can’t seem to make up its mind as to which of our protagonist’s hand has actually been removed, constantly flipping from the right to left with every other shot an observation that’s impossible to ignore once noticed. The dialogue, and Brocklehurst’s wildly over-the-top performance of it is also undeniably right at home with the rest of the films farcical tone and also serves its purpose in setting up the films basic yet effective premise; severed hand comes back to life to terrorise its previous owner, a simple hook with just enough in the tank to keep us going until the end. Finally, it must be said that while a little rough around the edges, Brocklehurst’s rough style is unmistakable and very much his own, purveyors of Brocklehurst’s other works will see many of the same tropes that have almost become comforting staples with each new offering; sudden changes in score, drawn-out dramatic closeups and constantly switching static camera angles; one can’t help but admire a filmmaker committed to making their films their way and Brocklehurst’s persistence and attitude towards his own brand of do-it-yourself filmmaking is commendable. Hammy as hell and yes, there are some of the same sins that Brocklehurst has been guilty of in past projects, but The Hand Strikes just about manages tip the balance it so we laugh along with it rather than at it. Brocklehurst is clearly having a blast and there is nothing wrong with that. #ChrisBuick

★★ Written & Directed by: #EvanLukeBarker Starring: #BradleyLuckett #JosieMorris #IbraheemToure #AijamalNova Short Film Review by: #ChrisBuick Four people who barely know each other, all living under the cloud of a dangerous pandemic without seemingly any idea what the government is doing (imagine that), decide to meet up on a video call in order to hatch a plan to finally get some answers, but may have gotten themselves in to something they wish they hadn’t. Screen-life films have been on the rise in recent times, a trend that seems to be accelerating out of necessity due to the restrictions imposed by current global pandemic, forcing filmmakers and other creatives to get well... creative. And it seems to be a genre that can work if done right, solid mystery thriller Searching and 2020 breakout horror hit Host are examples of that. Unfortunately, Raw Action Creatives debut production Operation Anonymous doesn’t have enough in it to be another shining example of the genre. The films written synopsis speaks of a rapid decline in the population, soldiers patrolling the streets and resources being scarce after four hundred and seventy-eight days of a total world lockdown, all really compelling plot points but sadly none of which are actually explored during the films whole twenty-minute runtime. Honestly. If the words “Inspired by the COVID-19 pandemic” weren’t emblazoned on the screen right at the open, one might be hard pressed to actually know what it was that the quadrants of this particular video call are actually meeting about. Instead, for the first two-thirds or more, we essentially just watch our cast talk repeatedly and rather unenthusiastically of having a plan (no details of which are given or its purpose), being wary of danger (we’re never sure from what or whom) and demanding answers, which because the film is far too mysterious for its own good is pretty much what we find ourselves doing as well. The film’s dialogue seems largely improvised and while the performances themselves are okay, that dialogue feels stagnant, repetitive and often surrounded by large pockets of dead air, crucially hampering a film that is centred around people talking, meaning it doesn’t build any kind of tension it needs to in order to make its attempt for a strong ending pay off. The film does get some points for authenticity, it looks and feels like the Zoom calls we have all come to grin and bear over the last year, complete with all the quirks and frustrations that come with them; people dropping out of calls, audio sync issues, awkward bouts of silence. Sometimes it's on purpose, sometimes it isn’t which works for it in terms of realism but does make it seem a little bit haphazard at times. Operation Anonymous isn’t the first film to be inspired by the COVID-19 pandemic and probably won’t be the last. The film isn’t as fruitless as our character’s call might have been and tries to finish strong but doesn’t do enough to make its mark. #ChrisBuick

★★★★ Directed by: Sean Cranston Written by: Sean Cranston, Scott Thomson Starring: Paul Sacchetti, Scott Thomson, Joe Reilly, Brian Kurtz Film Review by: Jason Knight After a man's wife passes away, three former friends of his try to be there for him. However things take a rather unexpected and nasty turn. The story begins with a high school graduation party at a graduate's house, in the town of Redville. The event is attended by several teenagers, including four friends: Tony, Julian, Joe, Brian. Unfortunately a fight breaks out and Tony cuts them out of his life. Twenty years later, Tony is now an author and his wife tragically loses her life in a car accident. His past friends find out and decide to get together and support him during his time of need. This will end up putting all of them at risk. Redville starts of as a drama and turns into a thriller. It explores themes of adultery, tragedy, murder, revenge and friendship. The screenplay contains well written dialogue, with interesting characters. There are tense scenes of confrontation, nail-biting sequences and dark humour. It also includes clever plot twists, great character development and ends on a cliffhanger. Sacchetti delivers an outstanding performance as the adult Tony, who becomes devastated and furious after he learns of his wife's cheating. He turns into a different person, with vengeance in mind. The actors who play his friends also do a great job, with Thomson being the town's mayor, Reilly the bad-tempered car salesman and Kurtz a happy, married man living in California. Director Cranston does a good job and creates wonderful establishing shots. The editing makes effective uses of split screen and dissolve techniques. The music is engrossing and is atmospheric and tense. The soundtrack consists of many heavy metal songs, which are a joy to listen to (if one fancies that kind of music). Redville is a film that had a great deal of work put into it. With an intriguing plot and engaging characters, this feature is a must-see. #JasonKnight Trailer:

★★★★★ Written & Directed by #PrabhakarMeenaBhaskarPant Produced by: Deep Ajwani Starring #SuruchiAulakh #PushkarShrotri #DeepanshuDhyani Film Review by Jasmine Holly Bullock Chumbak is a 2017 short film written and directed by Prabhakar Meena Bhaskar Pant, it takes place on New Years Eve, a night that will prove to be pivotal in an Indian couple’s life. Chumbak translates to ‘magnets’, which refers to our couple: Kavita and Sambit Patil. Although these two come from different walks of life, like magnets, they were drawn to one another. This film takes us on a 10 minute journey where we try to understand what sparked the events of that fateful night. And just when you think you’ve understood... you realise you haven’t. In regards to the performances, I don’t have a single complaint. All three cast members played their roles amazingly, although the stand out was Suruchi Aulakh, who plays the lead role of Kavita. Aulakh was able to handle this role, which must have been an emotionally demanding one, with grace and she performed with a sense of truthfulness that was touching. Additionally, the soundtrack is superb! The main feature is Aisa Lagaya Dil Tumse Maine, sung by Simi Bisht, this is actually a ghazal, which is more of a poem than a song, but it is truly beautiful and so are the lyrics. They’re hard to translate exactly to English but (with A LOT of help from my mum) I managed to do so. It is a love poem, essentially about two loves becoming one, one of the lyrics states ‘your tears, your sorrows have become mine also’. When you think about the words, this ghazal was a perfect pick for Chumbak. Another superb element in this film was the cinematography, the use of filters was clearly thought out to help juxtapose the moments in Kavita and Sambit’s relationship. Everything that occurs in the current moment is dull, grey and lifeless, but the memories that Kavita goes through are radiant and golden. In this way the cinematography really aided in the telling of the story. I watched Chimbak with my headphones in, not for any reason in particular, but in doing so I got to experience how much effort obviously went into the sound design. If you are going to watch this film, watch it with headphones! The use of binaural sound was incredible and not something you see very much in films generally, I suppose because unless you have your headphones in or have very high quality speakers, you wouldn’t notice it. Because binaural sound isn’t commonly used, I was pleasantly surprised to find that it was utilised in Chumbak. Binaural sound is essentially sound that is traditionally recorded with two microphones so that it can be transmitted separately or differently to each ear of a listener. Which is pretty cool and I appreciate how much effort was made for the audio in this film. Prabhakar Meena Bhaskar Pant has managed to create and orchestrate a story that was so poignant, in a way that I never expected. I was gripped for the entirety of the film, wanting to know what happened, why and how it was going to end. I almost wish the film was longer! Or that I could have seen more of what happened after that night. However, you know a film is good when it leaves you wanting for more, and all they needed for that was 10 outstanding minutes. An important note to make is that Chumbak does contain some very serious and sensitive themes, so be aware of that beforehand if you’re going to watch this, which I thoroughly recommend you do. The fact that Pant decided to tell a story that incorporated such tough themes is commendable, generally in South Asian culture and media, important taboo subjects are not mentioned and are simply ignored but Chumbak does the exact opposite. I’d like to see more of what Pant has made. #JasmineHollyBullock

★★★ Directed by: #BenPage Starring: #AlexanderMcPherson #AlexVaughnMiller Film review by: Matthew Sawyer Only Savages is an ambitious and distinctive live action animation film. It uses various filmmaking techniques, mainly relying on two puppets; The Lieutenant (McPherson) and The Captain (Miller). The pair are on an interplanetary mission of destruction when they come across a planet that appears to be inhabited. We recognise this planet as Earth. They must decide whether to proceed with the annihilation or not, creating conflict between the reluctant Lieutenant and the Captain. Tension is high as the Lieutenant makes his decision, knowing that pressing the button to fire the missile would obliterate life on the planet, but failing to fulfil his duties could result in being court-martialed. From the opening shot of the film, we are treated to an impressive score from Sumner James that sets the mood perfectly. Page gives the film interesting direction through his use of close ups and lingering on the right shots. This is all the more impressive given this is his first directing position. We also get some striking visuals from the cinematographer Thomas Fisher. For example, when we first see the Earth, Fisher’s use of colour and lighting intensifies the emotion that we feel. However, where the film lets itself down is in the story. Although the premise is simple, it gives us little details but never really follows up on them. For example, the photograph of a woman carrying a milkmaid’s yoke with a baby in the basket. We get a shot of the photograph in the first few seconds and we see it a couple more times throughout but we are never exactly sure of its significance. The other main story issue is the ending; once the pair have made their decision about the Earth, something unexpected goes wrong for them. Unfortunately, the film never explains why or what the outcome was. Perhaps it’s karma, illustrating that one selfish decision could be the last that you make. Unfortunately, this message is all but lost and only the filmmaker can be sure. Despite this, the film does lead us to question who the savages really are. Is it the people on Earth, like the Captain claims? Or if the characters make the decision to destroy Earth, does that make them the savages? These are all interesting questions that the film raises. This film is very well-made and an excellent debut for Page as a director. This is a very unique and impressively executed story. I look forward to seeing Page’s future work. #MatthewSawyer