Raindance Film Festival announces the 5th Annual Independent Filmmaker’s Ball, UK’s top indie film party at the Café de Paris, 18th April The Independent Filmmaker’s Ball, the fundraising gala for the Independent Film Trust presented by Raindance Film Festival, will be back in London at the Café de Paris on the night of the 18th April. This year, Raindance rolls out the red carpet for a Tiki Night Special, inspired by 1960’s rock & roll and surf films. Filmmakers and indie film lovers alike are invited to the Independent Filmmaker’s Ball for an evening of Hawaiian fun, with live music, networking, and a fundraising raffle with special guests at the hottest party in town. All proceeds from the raffle go to Raindance’s charity arm, the Independent Film Trust, towards a collaborative project called 25x25 to support under-represented from diverse groups and offer opportunities to bring under-represented film artists into the industry. The Ball promises to be a wild night of music and celebration at the art deco-inspired Cafe de Paris. Party-goers will be swinging to the live big band sound of Natty Bo & The Top Cats, and there will be a charity raffle with top prizes and celebrities in attendance. Previous Raindance Film Festival guests include Guy Ritchie, Martin Freeman, Joanna Lumley, Nicholas Lyndhurst, Celia Imrie, Freddie Fox, Johnny McDaid, Jamie Campbell-Bower, Nicholas Pinnock, Paul Franklin and Dakota Blue Richards. Elliot Grove, founder of Raindance Film Festival, said: “Come join Raindance to celebrate independent filmmaking. Let your hair down, grab a drink and come boogie with us! After all, it’s all for a great cause.” Tickets to the Independent Filmmaker’s Ball are £18 on early-bird price, £21 general access, or £16 for Raindance Members. All tickets are available through the Raindance website. #RaindanceFilmFestival #PressReleases #FilmFestivals #UKFilmFestivals #FilmFestivals2018

Film Festival Feature With just under a week to go until the start of this year's BFI Flare Film Festival, we take a look at some of the festival's highlights, and what audiences attending one the UK's most diverse and exciting movie events can expect. UK Film Review will be covering the film festival so make sure you come back regularly for film reviews and articles. BFI Flare: London LGBT Film Festival unveiled its 31st edition’s full programme tonight. As announced last week, BFI Flare opens on the 16th March with the World Premiere of Fergus O’Brien’s BBC Production Against the Law at BFI Southbank. The Film Festival closes with the International Premiere of Jennifer Reeder’s Signature Move at BFI Southbank. One of the most significant and long standing film events in the world’s LGBT calendar, BFI Flare will present over 50 features, more than 100 shorts and a wide range of special events, guest appearances, discussions, workshops, club nights and much more. Tickets go on sale via bfi.org.uk/flare to BFI Patrons, Champions and Members from Monday 20 Feb and General Public on Monday 27 February. Tricia Tuttle, BFI Deputy Head of Festivals: “If last year’s 30th Anniversary of the Festival was time for reflection on just how far we’ve come, many world events in the 12 months since have reminded us just how vital this event still is. And what a programme we have to offer this year – it’s vibrant, politically engaged, playful, stirring – and with a number of World, International and European Premieres on offer, BFI Flare is absolutely the place to see the best new LGBT cinema first.” The Centrepiece Screening of the 2017 Festival is the European Premiere of Torrey Pines, a psychedelic stop-motion animation about a child grappling with gender identity and a schizophrenic mother. The film will be accompanied by a live score from director Clyde Peterson’s Queercore band, Your Heart Breaks. The year’s Special Presentations are both World Premieres: the new UK web series, Different for Girls, a smart, sassy, sexy multi- layered lesbian drama, directed by award-winning Festival alumni Campbell X and After Louie in which Alan Cumming plays a New York artist whose life is turned upside down by an encounter with a much younger man. 2017 sees the 50th anniversary of the 1967 Sexual Offences Act which decriminalised private homosexual acts in England and Wales. The Festival marks this anniversary in a number of ways:  Fifty Years of Queer History through the Moving Image and Beyond a unique afternoon of illustrated talks, screenings and storytelling with a wide range of historians, archivists and individuals who lived through the period. The aforementioned Against the Law is the profoundly moving true story of Peter Wildeblood and the events that led to the creation of the Wolfenden Committee on sexual law reform. BFI Flare will host the World Premiere of the politically charged Pride? (dir. Ashley Joiner), a provocative and intelligent documentary which details the history of the Pride celebrations. As previously announced, the BFI is also marking the 50th anniversary with a new season of screenings and events in July and August. Gross Indecency will explore the pioneering – and sometimes problematic – depictions of LGBT life in British film and TV in the 50s, 60s and 70s. In a global climate which sees many LGBT people struggle for basic human rights, BFI Flare also presents a selection of films and events which explore LGBT culture around the world. Highlights:  Out of Iraq (dirs. Eva Orner and Chris McKim) is an outstanding documentary about the forbidden relationship of two Iraqi young soldiers at the height of the Iraq war. The Pearl of Africa (dir. Jonny von Wallström) follows the story of Cleopatra Kambugu, the first out transgender woman in Uganda. Sridhar Rangayan, the Director of Kashish Mumbai International Queer Film Festival will attend BFI Flare and take part in an event exploring LGBT film and television culture in India, as part of UK/India 2017. LGBT film gets an international spotlight with the welcome return of fiveFilms4freedom, programmed in partnership with the British Council, which sees five LGBT short films from BFI Flare available online for free throughout the festival. Last year’s films were seen in more than 130 countries worldwide. The Film Festival continues to develop new LGBT filmmaking talent with a third year of its Mentorship programme, working alongside BFI NETWORK and BAFTA:  BFI NETWORK@FLARE Mentorships in partnership with BAFTA offers emerging lesbian, gay, bisexual and transgender-identified filmmakers the opportunity to develop industry knowledge, professional connections, and a deeper understanding of the landscape for LGBT film. The program is structured around a professional relationship with a senior figure from the industry and engagement in a year of BFI Flare and BFI London Film Festival screenings, and a wide range of filmmaker- focused and social events and talks. Applications are open until 19 February. BFI FLARE: LONDON LGBT FILM FESTIVAL, 2017 FULL PROGRAMME From 16-26th March at BFI Southbank, the Film Festival will showcase the best in contemporary global LGBT features and short films, talks, events and archive screenings. The Film Festival opens with the World Premiere of Against the Law (directed by Fergus O’Brien and starring Daniel Mays, Mark Gatiss and Charlie Creed-Miles), a sensitive adaptation of Peter Wildeblood’s bestselling memoir, telling the story of his affair with a handsome serviceman and the subsequent court case which led to his imprisonment. The Film Festival’s Closing Gala on Sunday 26th March is Signature Move, directed by BFI London Film Festival alumni Jennifer Reeder. The comedy drama stars Pakistani-Canadian actress, Fawzia Mirza, Bollywood star Shabana Azmi and Mexican-American Sari Sanchez, and is a cross-cultural romance about a lesbian living in Chicago with her recently widowed mother. Special Presentations include Clyde Peterson’s return to the festival for the third time with a captivating semi-autobiographical animated musical Torrey Pines, which will feature a live score on the night. Alan Cumming gives a stand-out performance as a troubled survivor of the AIDS epidemic in Vincent Gagliostro’s passionate and inspirational After Louie. BFI Flare also screens the World Premiere of Different for Girls (dir. Campbell X), a sassy, sexy lesbian web series set in West London, starring Rachel Shelley (The L Word) and Guinevere Turner (American Psycho, Go Fish). The Film Festival is further divided into sections: HEARTS, BODIES and MINDS. Highlights in the programme include: HEARTS includes films about love, romance and friendship. Handsome Devil, directed by John Butler and starring Andrew Scott, is a witty Irish charmer which charts the unlikely friendship between an isolated gay teen and his hunky rugby playing roommate. Maura Anderson’s elegant and assured debut Heartland is a powerful examination of love and loss and tells the tale of Lauren, who is forced to return to live in rural Oklahoma following the death of her girlfriend. Dear Dad (dir. Tanuj Bhramar) is an India-set bittersweet father and son road movie. André Techine’s powerful and affecting Being 17 is the story two young boys in their last year of high school, co-written by Celine Sciamma (Tomboy, Girlhood). The pain and heartache of young love is laid bare in Monja Art’s hugely accomplished second feature Seventeen. BODIES features stories of sex, identity and transformation. The diverse selection of films includes the Interbank LGBT Forum Special Screening of Nathan Adloff’s winning gay teen movie Miles. Park Chan Wook’s ravishing The Handmaiden, inspired by Sarah Waters’ Fingersmith, sees a woman hired as a handmaiden to a Japanese heiress, secretly involved in a plot to defraud her. Marcelo Caetano’s Body Electric follows a handsome young man enjoying casual encounters in contemporary Brazil. Created by an entirely female crew, Below Her Mouth (dir. April Mullen) is a no holds-barred depiction of what happens in the first few days of two women falling in love. Dante Alencastre’s documentary Raising Zoey follows a strong family who demonstrate how open mindedness and love can pave the way for a joyful transition for their 13-year- old Zoey. In FTWTF: Female to What the Fuck (dirs. Katharina Lampert, Cordula Thym), several trans-identified people openly discuss the intricacies of transitioning. Timothy Greenfield Sanders returns to BFI Flare with The Trans List, in which some of the world’s most prominent transpeople, including Caitlin Jenner and Laverne Cox, tell their stories. MINDS features reflections on art, politics and community. Morgan White chronicles the world’s most recognisable pair of shoes with The Slippers, a documentary about Dorothy’s iconic ruby footwear in The Wizard of Oz, which features appearances from the late Debbie Reynolds and Carrie Fisher. Waiting for B (dir. Paulo Cesar Toldeo) is a kitschy, light-hearted and thoroughly camp portrayal of pop culture, mega fandom and the adoration of Beyoncé. Mark Kenneth Woods’ Two Soft Things, Two Hard Things sensitively observes the complexities of LGBT life in Canada’s remote Arctic Inuit population. Last Man Standing (dir. Erin Brethauer) is a beautifully made documentary charting the life of eight long-term survivors who live with AIDS. Led by Laverne Cox, Jaqueline Gares’ Free Cece documents the case of Cece McDonald, a transwoman imprisoned in a male facility. BFI Flare also includes a wide range of events, talks and debates. SEXIT: What the Fuck is Happening with UK Porn Laws? debates the recent anti-porn laws which disproportionally target queer businesses, performers and portrayals of alternative sexualities. This event will question this new wave of censorship with a panel of filmmakers, organisers and activists on the front line of the debate. Zorian Clayton, in his first year as a BFI Flare programmer, will present A Romp Through Classic-Camp a lecture exploring the arch queer aesthetic in cinema that has been enjoyed from the margins to the mainstream. This will be complemented by screenings of camp classics; Mommie Dearest, Barbarella, a sing-a- long Gentlemen Prefer Blondes and an exclusive presentation of Can’t Stop the Music at the BFI IMAX. Celebrated out lesbian film and TV director Jamie Babbit, returns to the Film Festival to discuss a body of work celebrating strong female-focussed stories. More than 15 years after her glorious and defiant teen romance But I’m a Cheerleader, Babbit continues to bring a delightfully queer eye to features like The Quiet, Itty Bitty Titty Committee and Addicted to Fresno and TV works including United States of Tara, The L Word, Girls and Looking. Surprising Ancestors: Cinema’s Forgotten Queers sees Brian Robinson uncover hidden queer gems from cinema’s silent era. This illustrated lecture will feature a complete screening of What’s the World Coming To? (dir. Richard Wallace, 1926), a newly restored Hal Roach comedy set 100 years in the future where butch women rule the world and effeminate men stay at home and read fashion magazines. With Queering Love: Queering Hormones BFI Flare screens a collection of artists’ films which examine love through the filters of biomedical science, culture and politics. These films were funded by Wellcome Trust, delivered by BFI and no.w.here, in collaboration with King’s College London. In The Queer Frontier: LGBT web series and beyond Emma Smart steps us through the best LGBT work online, revealing just how much of a game-changer the internet has been for creating more varied representation and better accessibility in LGBT media. BFI Flare joins forces with interactive theatre company Clay & Diamonds for Orlando: The Queer Element, an education event which uses Sally Potter’s film and Virginia Woolf’s text to allow audiences to step inside a world that breaks apart traditional boundaries between science and art and explore notions of gender and sex from the Elizabethans through to 2017. Following the thrills and spills of the BFI Flare Film Quiz last year, Michael Blyth leads the challenge again, inviting you to put your queer knowledge to the test with the Big Gay Film Quiz We see the return of the hugely popular BFI Flare Club Nights (Fri 17, Sat 18, Thur 23, Fri 24, Sat 25) at Benugo Lounge and Riverfront with our favourite DJ’s including: Pink Glove, Club Kali, Maricumbia! Sadie Lee and Jonathan Kemp, BBZ and Unskinny Bop for the BFI Flare Closing Night Party. #FilmFestivals #BFIFlareFilmFestival #FilmFestivals2017 #UKFilmFestivals #LGBT

★★ Directed by: #NicholasRooney Written by: Nicholas Rooney Starring: #AlexanderDugin, Nicholas Rooney Documentary Film Review by: Corey Bulloch I think it’s safe to say that Alexander Dugin is not what one would call a “conventional thinker” regardless of personal or political beliefs. Diplomat turned filmmaker Nicholas Rooney centres The Wolf in the Moonlight around a series of interviews he had conducted with Dugin in 2018 across a wide berth of subjects. Dugin, a controversial philosopher with influences in the Russian political and military spheres has had his ideological views compared to fascism with schools of thought on Neo-Eurasianism and Fourth Political Theory. Holding extremely anti-western views, sanctioned by the United States government in response to the Ukraine crisis, even dubbed “Putin’s Brain” by other journalists, Dugin is immediately a fascinating subject to be examined in the documentary form. Unfortunately, Rooney is not a filmmaker up to the task as The Wolf in the Moonlight squanders this potential in a poorly paced narrative that doesn’t know what to do with itself. The majority of the film is Dugin speaking either in talking heads or in walk and talk scenarios with Rooney, whether the subject is political, theological, artistic, controversial, or incidental Dugin has many things to say. Initially, it's captivating, Dugin comes across like a modern-day Rasputin at times, almost every opinion he has can be considered radical, even ludicrous. The Wolf in the Moonlight isn’t a particular endorsement of Dugin’s beliefs but it's not a challenge to them, it's frustrating to see Rooney steamrolled by Dugin whenever he tries to question him further on topics such as Crimea or the Skripal poisonings. Rooney just lets Dugin spin the film however he wants it and all that initial intrigue the film holds dissipates as you watch the film become another one of Dugin’s soapboxes. Rooney is no David Frost, he’s not equipped to go toe to toe with his subject, playing it safe at just about every turn. From a filmmaking perspective, his creative decisions give some breathing room between each discussion but don’t offer the deep thematic resonance intended. Paintings, footage of festivals and dancers bookend the interviews, offering visual aid to Dugin’s beliefs, they’re nice little breaks and but clearer cultural contexts would have been appreciated. There are sound mixing issues during segments of the interviews whether it be Dugin sitting next to a burning fireplace or non-diegetic sound effects layered over the dialogue, it can be distracting. The Wolf in the Moonlight just feels aimless amid all of its subject matter, Rooney casts broad strokes trying to cover everything but doesn’t have a clear focus for his vision. While political analysts and historians might find these reflections of Dugin fascinating, the layman will be turned off by the repetitive filmmaking and slow pacing. #CoreyBulloch #documentary

★★★ Directed by #GarrySykes Starring: #LeanneRutter #KatieQuinn #LucyJaneKelly #TracyBell #AmandaHodgson Film review by Nathanial Eker I've never been partial to "scripted reality" shows like Geordie Shore. Perhaps then, an experimental, art-house approach to documenting the lives of the working-class residents of Newcastle on Tyne is the perfect alternative to explore the famous city and its characterful people. Alas, while Drunken Butterflies offers glimpses of genius, its core stylistic gimmick quickly becomes its greatest hindrance, and it ultimately offers little more than a semi-interesting dive into Geordie culture. Chloe (Leanne Rutter) is in a pickle. She's accused of being unfaithful to her boyfriend, Liam; the brother of Queen Bee, Tracy Bell (Tracy Bell). Chloe quickly discovers who her real friends are as two rival groups develop, one led by Tracy, and one consisting of Chloe's old pals Nicky (Katie Quinn) and Isla (Amanda Hodgson). What follows is an exploration of Geordieism that both critiques and honours the Newcastle natives' charming idiosyncrasies. It is a clear adoration for Newcastle and its people that gives the film much of its charm. Director Garry Sykes pulls no punches and presents an uncompromising view of the working-class Geordie youths. Fights are had, cocaine is snorted, and many of the characters spend their screentime "slagging off" their supposed friends. However, it is this gritty authenticity that gives the film its edge, as it presents a brutally honest view of the darker sides of modern-day working-class youth. This commentary is extenuated by the film's decision to blend fiction and reality, as evidenced by one actor playing a (presumably exaggerated) version of themselves. Sykes cleverly weaves in short mockumentary segments in which supposed interviewees give their testaments of the main characters' histories, quirks, and flaws. Much of the film's dialogue is also reportedly improvised, both to its benefit and detriment. Indeed, while the conversations occasionally add an extra layer of genuineness, they mostly feel forced and awkward. The hit-and-miss performances of the leads also don't help things. Tracy Bell and her two cronies fare well, but regrettably, the supposed kinship of Chloe, Nicky, and Isla is utterly unbelievable, thanks to a trio of wooden performances and a vacuum of chemistry. Thematically, however, Drunken Butterflies fares a little better. It effectively tackles issues of the struggling youth, sexual assault, and sub-communities, with overtones of classism. Most interesting, however, are the film's feminist commentaries. The majority of the cast is female, and there is only one male character of substance; Chloe's ex, Liam. Sykes transforms the rest of the male cast into a metaphor for sexual assault, even disallowing the "frat boy" antagonists a voice of their own. They instead become an embodiment of male oppression, less than subtly highlighting the need for female allyship and unity. What is less successful is the film's structure. Drunken Butterflies prides itself on being an intriguing blend of reality and fiction, but regrettably, and despite a decent build in tension, the ending falls flat. The film stops without much of a resolution and ultimately leaves us wondering what the point was. Is this a love letter to Newcastle? An art-house experiment? Or a fictional tale about a group of working-class girls with a female empowerment message? Sykes seemingly attempts all three, and the result is messier than a beer-driven fight at Wetherspoons. The implementation of various filters, colour palettes, and even a phone camera offer an experimental aesthetic that gels well with the fictional parts of the story, yet it clashes terribly with the supposed documentary segments. Drunken Butterflies is an admirable film. It clearly boasts an affection for its home and the elements that work serve as a fitting homage to the people it represents. However, despite some intuitive moments, Garry Sykes' film is too unfocused and stylistically jarring to recommend comfortably. The razor-sharp commentary of the film's first ten minutes soon blunts as it devolves into a muddle of disparate ideas, styles, and storylines. #NathanialEker

★★★★ Directed by: #OliviaWilde Written by: #GarrettCombs & #ChaseHilton Starring: #MargaretQually, #JohnPirkis, #SamStillman Short Film Review by Taryll Baker A woman is forced to rediscover her humanity in an increasingly digital world. It’s kind of paradoxical and ironic that I’m writing about this film on my laptop with my smartphone sat next to me. HP have given us a clear message with this short film directed by Olivia Wilde; “Our screens enable us to do extraordinary things. Let them enhance us, not diminish us.” — The use of smart devices have become integral to our lives, and although extremely helpful, it’s damaging also. But there is comfort found in staying connected with people across the globe. I, for one, love to spend my days chatting away to friends who aren’t even in my timezone, but with the highs come lows. The real beauty of technology is discovered when you find a balance. This film wears its message proudly on its sleeve, with the title Wake Up. Olivia Wilde’s career seems to be taking an interesting turn as she looks to directing. With the success of Booksmart, it feels as if she’s finding her place behind the camera and, just by looking at the upcoming projects in the pipeline, you can tell this area of filmmaking excites her. Wake Up takes us on a short journey of rediscovery. A woman who may have spent her last pinch of luck, skips and dances around the city, fumbling through the many people who have their eyes locked on screens. She starts to realise just how “connected” we are, but it’s not the connection we, as humans, desire most. A conversation with a person online can only keep you entertained for so long, before wanting to explore a relationship further with real life interaction. The engrossing nature of smartphones in particular can become a burden and, at times, fatal. Olivia takes this idea and, though explored before, delivers a pretty impactful story. Margaret Qually, who seems to have grabbed a lot of attention after Tarantino’s Once Upon A Time In Hollywood, shines as the striking lead in Wilde’s thoughtful short drama. She has a very admirable charm, a beautiful aura and striking personality. Wake Up proves that she can take a story even as simple as this, and provide a subtle but absorbing performance. Accompanying her is a powerful soundtrack filled with airiness and intensity. With each scene there’s something new happening in the music, adding just another layer of brilliance. I can’t find the individual responsible for the soundtrack, but their work isn’t unnoticed. Wake Up ends on a sombre note, but it also ends with hope. It’s okay to use technology, but always remember to look up, you don’t want to miss something important. #TaryllBaker

★ Directed by: #PSKing Written by: #PSKing Film Review by Lucy Clarke In the whitewashed walls of an art gallery, you will find an experimental film. Illuminated on a blank wall with a projector streaming waves of hot pink, cobalt blue and fluorescent yellow, a movie will play. There will be a few bucket seats below and a sign glued on the wall with the artist’s name and the year printed proudly in black ink. Sometimes these experimental films are a riot of colour, washing over the gallery visitors wearing their rain macs and clutching their guidebooks. Sometimes, the experimental film takes the form of a slow documentary, with mumbled, inaudible conversation. A fantastic film featured a still-life scene slowly rotting until the rabbit’s flesh turned green and fell off the carcass, and the apples bloomed with mould and turned into brown gunk. Experimental filmmaking can inspire, emote and evoke. Dziga Vertov’s seminal film Man with a Movie Camera might be one of the most well known experimental films, and it’s a film which patchworks snapshots of a city together without a narrative. Man with a Movie Camera affects the viewer deeply. They will feel the jostling city and can imagine lives bustling past and coexisting. Unlike Vertov’s brilliant work P.S. King’s The Loneliest Girl on Mars fails to communicate any truly ground-breaking thoughts to the viewer. This is a film filled with bright neon colours, repeated words and a club-like music track. Even though the audio track and mumbled repeated lines of dialogue may seem promising, King’s film worryingly lacks substance. It’s difficult to understand the crux of the film. Themes crackle throughout the film so lightning fast that it’s impossible to grasp onto one train of thought. As a result, The Loneliest Girl on Mars sorely lacks depth. A screenshot of the news reflecting on the coronavirus and Dr Fauci is then replaced by prints of blue monkeys. But after that, but the film doesn’t attempt to reference the pandemic again. It’s frustratingly unclear if the film even has any kind of a stance on the pandemic. At the very least, the juxtaposition of these images feels crude. This film quickly becomes a slideshow of pictures and noise, connected only by the runtime. King’s imagery and inverted colourways occasionally spark interest, from the hot pink and blue beachgoers to the bright red screaming mouth. These images aren’t left to be explored, adding to the film’s frustratingly sloppy tone. The film may evoke the much-missed atmosphere of being in a nightclub. But, there is no warning that this film is chocked full with flashing imagery. Even if flashing images don’t tend to affect you, the rapid-fire pictures can result in the start of an irritating headache. When the artist creates work, the work should say something of substance. If there’s nothing beating beneath the clutter of images and music, it is hard to feel inspired or enlightened after viewing it. King’s film is worryingly sloppy and unfocused. An excellent experimental film nourishes the mind. This only leaves your brain feeling bruised and desperately needing paracetamol and a glass of water.

★★★ Stars Directed by: #DetlevBuck Written by: #DetlevBuck, #MartinBehnke Starring: #KostjaUllmann, #AlliNeumann, #SaschaAlexanderGersak, #SophiaThomalla, #MerlinRose Film Review by: Alicia Moore “A man foils an attempted murder then flees the crew of would-be killers, along with their intended target, as a woman he's just met tries to find him.” As we collectively seek some Christmas spirit, the usual step forward is to watch a lighthearted Christmas classic. But for some people, like myself, who enjoy films with a darker theme, these typical films can become boring quite easily. Christmas Crossfire is a German film that is bloody and suspenseful, yet with comedic undertones and a Christmas theme cleverly embedded; perfect for the ones whose attention is better grasped by gunshots and a sense of thrill. The writing of this film, by Detlev Buck and Martin Behnke, presents an almost impeccable basis for other elements of the production to mould around. The writing is what balances out the tension of the story with those moments when you catch yourself giggling or greatly smiling — the comedic aspects of Christmas Crossfire aren’t dependent on visual actions of the characters and, instead, are completely dependent on dialogue and quick remarks. I suppose that is two different sides of a comedic value which you can see when comparing a range of films, however the use of dialogue to evoke laughter perfectly matches this type of film and the storyline that it reveals. This film does not primarily focus on a ‘Christmas time tale’ yet it still lets that spirit shine through in its own unique way. The writing is definitely the highlight of the film and the quality of its content seems to only be internally enhanced as the watching experience progresses. The writing of Christmas Crossfire also creates incredible character development as the timeline extends. The characters slowly show their true hearts, thoughts and insecurities which brilliantly builds on the audience’s connection with them. At the start, I didn’t really have any expectations— meaning that I wasn’t expecting to feel strongly for the characters and how they react in the situations they find themselves in — but I can tell you with confidence that the individuals presented onscreen have wonderfully sculpted personalities, created within the short space of just under two hours. I was amazed; because of the categories of the film being more on the ‘thriller’ side, I was unsure if such personalities could be painted amongst the punches and the waving of guns, but they were stunningly brushed onto this cinematic canvas. Character development is obviously aided by the way that the cast present their characters as well. The entirety of this cast holds a lot of individual talent and they are able to show their onscreen chemistry as if they are simply who the script states. Despite the chaotic storyline, it is actually quite peaceful to watch the different relationships blossom while others deteriorate — the how immerse the relationships in Christmas Crossfire can be perceived. An actor I would like to praise in particular for his work is Kostja Ullmann, who plays Sam. As tension begins to rise, it became evident to me that his body language immediately, and very naturally, changed. From there, I continued to keep that in mind and I soon realised that his ability to absorb the core personality of his character, and seemingly slip into the headspace created as Sam, adds so much depth to the film and strengthens the ambience of the scenes that he appears in. It was mesmerising to watch how his body language alone could upgrade the impact of a scene. I thoroughly enjoyed the editing of this film too (by Dirk Grau.) The film opens with a distinctive spark in its editing; shots smoothly pieced together with an eye catching presentation to prepare the viewer for the wild ride they are currently boarding. Its liveliness can be seen from start to finish, playing a huge part in the success of almost all other elements of the film. While the writing can be stated as the perfect foundation, the editing is what keeps the film moving steadily throughout its duration but with a mischievous glisten following alongside that fluid pace. Christmas Crossfire is a must watch on Netflix for those who want to add a bit of extra flare to the festivities. If you are feeling burnt out from watching films like Elf, and want something with more guts than Gremlins, then this may be the best pick for you.

★★ Directed by: Jon Jacobs Written by: Jon Jacobs Starring: Christina Fulton, Isaac Turner, Leon Herbert, Susan Rhodes Film Review by: Jason Knight This supernatural horror film was inspired by the short story of the same name by Fritz Leiber. In nineteen thirties Miami a young woman named Louise (Fulton) takes her own life in the glamorous hotel 'The Tides'. In the nineties she is resurrected in the same hotel, which has now been abandoned. Now she is something sinister. She has fangs and special abilities. She can read people's thoughts and hears mysterious voices inside her head. She proceeds to murder local residents for their blood and she meets a young photographer named Carlos (Turner), for whom she poses for pictures and develops a relationship with him. In short this is a vampire slasher film. The mood is generally dark, with plenty of scenes taking place without much light. There is also plenty of gore, nudity and sex and a very disturbing sex scene that involves a great deal of blood. The pace is rather slow and at times can seem boring. The highlights occur when Fulton's character pursues and kills her victims. The performances are not very realistic. Fulton is the one who steals the show as a deadly, supernatural individual, but still her acting gives the impression that she is just insane and not a creation of evil powers. The supporting cast portray overall uninteresting characters. The image is windowboxed, with a black border all around. This technique makes the film appear darker, which serves it well, as it is a rather dark movie. The footage appears damaged and scratched, which goes with the gloomy atmosphere. The sound effects are effective and the filmmakers make a satisfactory job with the use of voice-over in the scenes where Louise hears sinister voices inside her head and when she hears peoples' thoughts. The soundtrack is generally amusing. The narrative consists of two plotlines: Louise as she goes about her killing spree and the life of Carlos, who is unwillingly involved with bad people. The two plots intertwine as the two meet and spend time together. This picture is multiple genres. It is a slasher horror film. A vampire film. An erotic thriller and a love story. However, in spite of a concept that appears promising, the narrative is not particularly thrilling and the acting leaves a lot to be desired. Unfortunately this feature is unlikely to make a positive impression. #JasonKnight

★★★★ Directed by: #BenReid Written by: #BenReid and #OwenGower Starring: #AliceLowe, #TommyJessop, #LaurenceSpellman and #RichardGlover Short film review by: Brian Penn The seven plot scenario looms large in the quest for originality and new angles in storytelling. However Ben Reid finds the key in this simple yet disturbing tale of lives fractured by circumstance. The use of Down Syndrome actors in film and TV has rightly gained prominence in recent years with some powerful performances and challenging storylines. Innocence is a compact and beautifully balanced piece that benefits hugely from four interlocking central characters. Dylan (Tommy Jessup) lives in managed accommodation; but has something of an attitude, particularly where care assistant Michael (Richard Glover) is concerned. Dylan’s brother James (Laurence Spellman) also works at the home and is naturally protective of his brother. James has a chequered past and inevitably carries baggage with him. Michael never fails to remind him of the fact and the strings pulled to get him the job. When Michael’s lifeless body is found on the pavement a police investigation begins. DS Noble (Alice Lowe) leads the investigation, but has a task on her hands with two brothers as principal witnesses. Their recollection is sparse and limited but she gently teases out the truth. It packs a compelling narrative into a limited time frame with strategic flashbacks to complement the plot as it reaches a gripping conclusion. However, there are nagging doubts about the film’s realism. One cannot doubt the sensitivities involved and the film was made in conjunction with the Portsmouth Down Syndrome Association. One can only conclude that events are correctly portrayed, and this reviewer is hopelessly out of touch with the realities of life in the care sector. The plot cleverly twists and turns as the truth is finally revealed. The cast perform admirably throughout, particularly Tommy Jessup who can seemingly switch moods as required by the script. Alice Lowe also delivers a likeable turn as the world weary copper trying to make sense of the most challenging case. Innocence may well be a relative term in the world at large, but this film provides contrasting definitions where nothing is as it appears to be. It’s a highly creditable effort to present the human condition in a new light; a big thumbs up to all concerned.

★★★ Directed by: #PhilDunn Written by: #TheodoreBrun and Phil Dun Starring: #NatashaAlderslade, #DonPatrick, #ElliePiercy Short Film Review by: Corey Bulloch Opening with a car driving through the gorgeous familiarity of London’s nightlife to the tune of “Amir” by Henri Texler, About lures in the audience’s attention with its graceful ease. Street lights reflecting off wet roads, people roaming the pavements, the echo of house parties, director and co-writer Phil Dunn paints a comfortable picture of a normal night that can be seen from outside the windows of a rideshare car. That comfort, however, can just be a ruse as About is a film that asks questions on what we really know of what’s around us as a car ride home has two strangers, Rebecca and Caitlin discuss a mutual acquaintance as theirs. Cinematographer Mario Genovese along with Dunn’s editing are sure not to fall into a rut in depicting how this conversation plays out visually. A short film about two people talking in a car is usually a tried and tested recipe for cinematic boredom but Genovese’s shot compositions serve the story well. Dunn’s editing like his direction is all about this accepted routine of events, the characters as well as the audience don’t question anything about what’s happening around them. It’s a car ride through London, Dunn cuts to close-ups when characters are speaking, reverse shots for reactions, cuts to establishing shots of the car driving during the lulls, its everything you’d expect. Genovese’s shots of Natasha Alderslade’s Rebecca looking out the car window as the lights reflect across the windows captures how you can get lost in your little world, which is what allows Dunn to pull off About’s bait and switch. Both Alderslade and Ellie Piercy’s performances are terrific, the discussion into their acquaintance Tom fills the scene with natural ease rather than awkward expository regurgitation. Theodore Brun and Dunn’s script has the dialogue consistently shift the balance of power between Rebecca and Caitlin, initially about their connections to Tom but both actresses can convey how it affects their self-confidence. Especially Rebecca’s character who talks about her and Tom had a romantic entanglement, possibly hidden as they were work colleagues. Rebecca brings this up to either make Caitlin jealous or to just voice a part of her hidden from everyone else with Alderslade’s performance showing stirring vulnerability. These are both women trying to navigate the world around them, unable to see the whole picture but the pieces they share help them see a little clearer for better or worse. Which makes the ending even more of whiplash, without going into specifics Dunn’s direction layers the performances and editing to hide quite the surprise for the characters. It’s unexpected and expected all at the same time as Dunn makes clear it's a normal night in London and the film concerns itself with questions on what is actually right in front of us. About defines itself with terrific cinematography, direction, music and performance, it doesn’t conclude the story of Rebecca and Caitlin conventionally but does enough to make the whole experience engaging. Trailer: #CoreyBulloch #shortfilm

★ Written by: #RashedRahaman Directed by: #RashedRahaman #AkashHossain Starring: #RashedRahaman #MimiDas Short Film Review by: #ChrisBuick Puti (Das) and Shyamal (Rahaman), two young people in love, meet on the shoreline of a river where they meet every day to discuss their future, one that is unfortunately becoming increasingly finite due to Puti’s ongoing battle with cancer. Unsure how much time they have left, they reflect on their relationship and lives as they try to digest the meaning of this terrible disease. One would think that a premise such as the aforementioned would be extremely fertile ground for emotional heft, character investment and profound perspectives on life. But unfortunately, Pirit is a film that says a whole lot without ever actually saying anything at all. Rahaman’s film is essentially a series of half-baked and pretty disconnected conversations between our two leads that are over just as quickly as they start, randomly digressing from one subject to the next until the film finally slumps over the finish line. When it does finally get round to trying to make its point, it’s a rather sudden, empty and ultimately fleeting attempt to say something meaningful without ever really coming close. It’s possible that a fair amount of the film’s gravitas may have been lost with some of the mismatched translations, with some sections not being translated at all, most notably and frustratingly in the scene where it matters the most where Puti discovers Shyamal’s letter explaining why he doesn't show in their favourite spot the next day like they agreed, with no discernible context from what happened prior for us to even hazard a guess (the voiceover reading that letter also isn’t translated). It’s highly doubtful the message had enough in it to suddenly turn this film around, but frustrating nonetheless and instead, we are presented with a closing song and montage to play out our confusion that despite being so desperately saccharine somehow only adds to the bitter taste left in our mouths. Technically, the film is ok, but certainly nothing to write home about. It may not be the case, but the dialogue seems to have been layered over the top afterwards, definitely on a different track from the rest of the film, majorly disconnecting the dialogue from the action and therefore us as viewers from the characters. But while both the sound and the writing can for sure be pointed to for the film's inability to get us to connect with it, a good share of the reason why we never warm to either of these two ill-fated lovers is the complete lack of belief in the two lead performances. Every line from Das is delivered with the same level of unimpressed apathy, whether talking about the mundanity of crops or the seriousness of her condition, before suddenly turning the dial up completely with a cringeworthy display of melodrama during the closing scenes. Rahaman at least tries to show a few different layers but they never run very deep at all, a basic summation of Pirit if there ever was one. Pirit is a film desperately trying to pull at our heartstrings but it’s haphazard delivery and lack of any real conviction or emotional depth in its story means its barely even clutching at straws. We can see what Rahaman is aiming for, but the target is miles in the distance from where this particular film lands in terms of delivery. #ChrisBuick

★★ Directed by: Jorge Villacorta Written by: Jorge Villacorta Starring: Jorge Villacorta Film Review by: Patrick Foley We’re living in a golden age for conspiracies right now. Everyone from Donald Trump to Denise Welch seems to be on the verge of uncovering a grand scheme to explain COVID, the US election and why on earth Arsenal signed Willian. The idea of a master planner behind all the chaos is almost comforting. Theoretically, a paranoid conspiratorial phone call shows that it would be anything but. A mysterious figure known only as ‘the boss’ takes a series of phone calls from clients. He is a ‘Pro bono spyhunter’ – the man the spy world calls when they need to reshape political landscapes. But as he becomes embroiled in one scheme, his own reality is called into question. Theoretically… is not an easy watch. The film is a conceptual piece in which the audience sees only the spymaster (director and writer Jorge Villacorta) as he partakes in a number of phone calls at his office desk. Viewers are fixed in place for the film’s 90-minute runtime, and only hear the Boss’ side of the call – to give the impression of our viewpoint being that of a hidden camera. Viewers must be prepared to focus intently in order to follow the developments of the plot, and given the unconventional approach, this gets increasingly difficult as the film goes on. The concept is interesting, but does not translate well to a film this long. Similar fixed-location movies such as Locke manage to go the distance by being far more stimulating – plot-wise and visually. Perhaps intentionally, Theoretically… fails to do this. Whatever the director’s intended outcome, it does not serve the film well. Jorge Villacorta’s performance is strong as the shadowy and corrupt Boss. His casual, business-like demeanour as he discusses false-flag attacks, faux-revolutions, kidnapping and murder is disturbing and sinister. His arrogance and untouchable manner almost seem unrealistic, but as recent scandals such as the crimes of Cambridge Analytica have taught us, these soulless figures do in fact exist. Whilst the performance is authentic and affecting, it again struggles to sustain the viewer’s interest over the runtime. This is particularly evident as the Boss uncovers shocking information relating to himself – and yet his behaviour seems to change very little. More variation in the performance would have helped keep audiences engaged. The film feels very contemporary with the exploration of power, conspiracy and paranoia. Despite its minimalist nature, the director manages to weave in allusions and nods to a variety of topics in the real world. A hint that the spymaster may have impacted Brexit is in plain sight, and his repeated references to using superhero movies as propaganda is a notable embrace of the conspiratorial mind. The boss eventually finds himself drawn into his own web of confusion, perhaps inevitably for someone who lives in a world of lies. The ambiguous and open-ended nature of his calls, and the questions left with the audience at the end of the movie make this an ominous parable for the truth-twisters who serve as the spymaster’s influences. Theoretically… is an interesting concept for a movie that is stretched out far too long to maintain the audience’s interest. Jorge Villacorta’s performance fits his vision for the project well, and the film is thought-provoking and modern with its portrayal of conspiracy theories and shadowy figures trying to control our reality. But the reality here - is that as a concept, it simply does not suit a feature film.