★★★ Directed by: #RicardoLorenzo Written by: #RicardoLorenzo and #AlexStone Starring: #MannyBelliard and #JeanetteBerman Short Film Review by: #EthanChapman An Unlikely Story starts off with two disclaimers. The first tells us that it deals with suicide and murder so viewer discretion is advised, while the next shows us a quote by Stephen Hawking that ends with “… you can lose all hope if you can’t laugh at yourself and life in general.” This double hander reflects the tone of the short film that follows – the dark balanced with the darkly comedic. After a startling scene showing Jeff (Manny Belliard) kneeling on top of Syl (Jeanette Berman) with a knife raised above her, we pivot back in time to their first meeting. They’re sat in a café, talking. Syl wants to be killed and eaten, and Jeff is willing to eat her. “You’re not my first,” Jeff says. “I’m sitting here with an actual cannibal?” she says, amazed. He tells her that he likes to get to know the person he is about to eat, but she seems unsure. “I’m looking for a quick deal here,” she says. But she ultimately decides to go along with his plan. It’s a surreal and morbid conversation but the dynamic rings true, acting as a metaphor for what can happen in the early stages of dating. Two people on different wavelengths but not communicating. So they get to know each other. They walk. Jeff tells terrible jokes, Syl disparages Superman – scenes straight out of a hundred romantic comedies. The director/co-writer Ricardo Lorenzo adds some darker touches though; when they’re shopping in a hardware store for something to kill her with, Syl picks out a circular saw, and Jeff gently takes it from her and puts it back. “This will make a mess,” he says. We feel ourselves rooting for these two, but rooting for what exactly? We don’t know. We know that Syl has always suffered with depression and wants to die, and that Jeff is willing to help her. Yet they seem to get on well, and we feel Jeff becoming more attached than he should. “Why do you want to die?” he says. They go back home. A strange television show involving a giant duck plays in the background. We are in some strange alternate world, just a little off centre from the real one. Only a later conversation about Eternal Sunshine of the Spotless Mind reminds us that they are still attached to the real world. Just. Eventually Syl grows impatient and demands he end her life. We repeat the scene at the start, but Jeff can’t do it, says he never had any intention of doing it. Syl feels betrayed, says this is all she ever wanted, that she was up front about her intentions, while he hasn’t been. It’s a scene reminiscent of Marc Webb’s 500 Days of Summer, albeit through a surreal and darker lens. It’s after this, however, that the film loses steam. There is more shopping, a plan is made, there is a suicide attempt, then in the final scene they are both eating and everything is fine. It’s a sharp left turn, a happy ending that doesn’t feel deserved. We never really get to know them that well so the ending doesn’t land with quite the gravitas that it should. The last few minutes seem unfocused, balanced precariously on themselves. But in spite of this, it’s a charming story about two people connecting in a strange world a lot like ours. We all know that dating can be tricky, and this entertaining short film explores this idea and runs with it. Taking themes of consent and expectation and heightening them to darkly funny extremes.

★★★ Directed by #JoelCrawford Written by #KevinHageman #DanHageman Starring #EmmaStone #RyanReynolds Film Review by George Wolf At least two things have happened since we met The Croods seven years ago. One, we’ve forgotten about the Croods, and two, Dreamworks has plotted their return. A New Age gets the caveman clan back together with some talented new voices and a hipper approach for a sequel that easily ups the fun factor from part one. The orphaned Guy (voiced by Ryan Reynolds) has become part of pack Crood, which is fine with everyone except papa Grug (Nicolas Cage), who isn’t wild about the teen hormones raging between Guy and Eep (Emma Stone). The nomadic gang is continuing their search for the elusive “tomorrow” when they stumble onto the Stone Age paradise of Phil and Hope Betterman (Peter Dinklage and Leslie Mann, both priceless). The Betterman’s lifestyle puts the “New Age” in this tale, and they hatch a plan to send the barbaric Croods on their way while keeping Guy for their daughter Dawn (Kelly Marie Tran). But a funny thing happens along the way. Check that, many things happen, and plenty of them funny, in a film that nearly gets derailed by the sheer number of characters and convolutions it throws at us. The new writing team of Kevin Hageman, Dan Hageman and Paul Fisher keeps the adventure consistently madcap with some frequent LOLs (those Punch Monkeys are a riot) and even topical lessons on conservation, individuality and girl power. Or maybe that should read Granny Power, since it is Gran’s (Cloris Leachman) warrior past that inspires the ladies to don facepaint, take nicknames and crank up a theme song from Haim as they take a stand against some imposing marauders. Director Joel Crawford – an animation vet – keeps his feature debut fast moving and stylish, drawing performances from his talented cast (which also includes Catherine Keener and Clark Duke) that consistently remind you how important the “acting” can be in voice acting. By the time Tenacious D drops in to see what condition the Partridge Family’s “I Think I Love You” is in, the whole affair starts to feel like some sort of animated head trip. Yeah, a little sharper focus wouldn’t hurt, but A New Age delivers the good time you forgot to remember to wonder where it’s been. #GeorgeWolf

★★★★ Directed by #MatthewMichaelCarnahan Written by #MatthewMichaelCarnahan Starring #AdamBessa #SuhailDabbach Film Review by Hope Madden Matthew Michael Carnahan is a screenwriter unafraid to dive into the political. Though none of his films are classics, from the best (The Kingdom) to the worst (Lions for Lambs), all tell stories that combine governmental indecision with action in an attempt at cultural relevance. As a rule, the success of his themes depends on the film’s director. So with Mosul, Carnahan has no one to blame but himself if it doesn’t work. The film spends a single, tumultuous afternoon in the titular Iraqi city with the Nineveh province SWAT team, the only group to fight ISIS occupiers continuously from 2014 to 2017. Onscreen text clues us in to their successes, their legendary status, and their desperation to complete one last mission before ISIS finally flees the city. En route to completing that mission, they hear gunfire and come to the aid of two standard issue uniformed police officers about to lose their lives in a standoff with ISIS. When all is said and done, one cop is on his way back to the other side of the city. The second, Kawa (Adam Bessa, Extraction), joins the rogue unit. Carnahan shows surprising instincts when it comes to pacing. Rather than generating tension to be released with bursts of action, Mosul periodically punctuates the near-constant action with brief respites. Carnahan knows how to make the most of these moments. We catch our breath for a glimpse of each of these men as men. The character building is brief and nearly everyone will die before we know their names, but thanks to touches that never feel scripted or heavy handed, the characters have the chance to be human. The breathlessly paced slice of war torn life is grounded by two performances: Bessa and Suhail Dabbach, playing commanding officer Jasem. Kawa’s character evolves almost at the speed of light, turning in one afternoon from a wide-eyed, by the books police officer to an unrecognizable man with a mission. Jasem is on the other side of that evolution and the veteran Iraqi actor makes you believe. A father figure who is simultaneously merciless and dangerously compassionate, he’s a bright and constant reminder of exactly why the unit fights. Carnahan’s first time out behind the camera rushes at times. Kawa’s speedy transformation certainly strains credulity. But Mosul handles the political themes with a surprisingly light hand. It certainly keeps your attention and delivers eye-opening information without abandoning storytelling to do it. He should keep directing his own movies. #HopeMadden

★★★ Directed by: Philip Brocklehurst Written by: Philip Brocklehurst Starring: P.M. Thomas Film Review by: Jason Knight The average person spends a third of their life sleeping. When they wake up, what do they think? Do they want to get up or would they rather stay in bed? This short film shows a man in bed. At certain times he appears to be awake and other times he seems to be sleeping. The film is separated into two parts: Depression and Motivation. It begins with a black screen, with the word 'depression' in white letters. Then it cuts to the man lying in bed, looking up and wearing a top and it appears to be daytime. He then has his eyes closed, his head turned, resting on his arm and then the lights go out and the screen goes black. Then the word 'motivation' appears and the film cuts again to him lying on the bed, daytime, same pillow and sheets, but no top. He is seen in more or less similar positions as before, a significant difference being that in the final shot the bed is empty. The only spoken words are through voice-over, that apparently belongs to the protagonist, who is also the only person in the film. When the two title words appear, they are also uttered (maybe even read). Then after each of the words has left the screen and the man is shown on the bed, these three sentences are narrated during both parts of the film, in the same order: 'I must wake up', 'I must get up', 'I must live'. Both the sequences about depression and motivation are almost identical, making effective use of fast cutting and jump cuts. The most significant difference is that at the end of motivation, the bed is empty, indicating that the man has decided to take action. Generally this film shows an individual who in one scene is depressed, remaining in bed and in the other is able to find motivation and get up, hence why the bed is empty. It briefly depicts how different things can be when one motivates themselves. Vladislav Nogin does a very interesting job with the music. During the 'depression' sequence piano music is heard, which is a bit melancholic. Then during the 'motivation' sequence, an electric guitar is used, sounding tense and dynamic, representing the fact that the man is finding strength setting goals for himself. Thomas delivers a convincing performance and the voice-over is narrated in French. The camera is constantly stationary and films the actor from the chest upwards, while looking down at him. This piece of work is about a minute and a half long, but it provides a thought-provoking experience. #JasonKnight

★★★★ Directed by #AlanBall Written by #AlanBall Starring #PaulBettany #SophiaLillis #PeterMacdissi Film Review by George Wolf Dropping right at the start of the season normally filled with relative reunions, Uncle Frank digs into the scars of family strife for an effective drama full of understated grace and stellar performances. Writer/director Alan Bell frames his narrative through the eyes (and scattershot narration) of Betty (Sophia Lillis), a curious teenager in the summer of 1969. Mainly, she's curious about life beyond tiny Creekville, South Carolina, which is a big reason Betty is always happy to visit with her Uncle Frank (Paul Bettany). He got out of Dodge years ago, settled in New York City and now sweetly encourages Betty to look outside her backwater hometown for any kind of future she desires. A new name? Of course. Betty likes "Beth," and Frank agrees, so that's that. Fast forward four years, and Beth is a freshman at NYU, where Frank teaches. Dropping by Frank's apartment unexpectedly one night, Beth meets Wally (Peter Macdissi, terrific), and quickly finds out why Frank has long felt like an outsider in his own family. An unexpected death in that family means Frank and Beth must travel back home for the funeral, with Wally hatching a pretty funny plan to tag along. This time on the road becomes the bridge that connects Frank's coming out and Beth's coming-of-age. Ball (writer of American Beauty, creator of True Blood) isn't blazing any trails here, but his outstanding ensemble consistently elevates even the most well-traveled terrain. Bettany has never been better, covering Frank with a mask of easy charm that can never quite hide his self-loathing. He finds a touching chemistry with the wonderful Lillis, who brings a warm authenticity to Beth's wide-eyed awakenings. And check out who's waiting at home in Creekville: Stephen Root, Margo Martindale, Judy Greer, and Steve Zahn, all seasoned talents able to keep their characters above the hicktown cliches that tempt the script. There's pain here, for sure, but there's also humor and a comforting sense of hope. Uncle Frank may not be the first film to remind us how heavy family baggage can feel, but this has the cast and commitment to make you glad you unpacked for a spell. #GeorgeWolf

★★★ Directed by #KeolaRacela Written by #MattBlack #LaurenceVannicelli Starring #JillianMueller #RobbieTann #EvanDaves Film Review by Hope Madden Have you seen Lamberto Bava’s 1985 horror Demons? I can’t help but wonder if writers Matt Black and Laurence Vannicelli have. It’s a low rent affair that suckers a group of moviegoers into watching a violent horror flick that unleashes—you guessed it—demons. More than three decades later, Vannicelli and Black pen a more good natured horror that traps five Christian teens in the small town cinema where they work circa 1992. After closing they chase a homeless intruder into an unknown basement, find additional theaters, movie posters for Orgy of the Dead and other unsavory features, and a canister. Here’s where things get a little familiar. The teens decide to screen the film from the basement canister. But it’s not exactly a grisly horror film, like Bava’s. For these sexually repressed teens, it’s worse. It’s porn. Hell for sure. Black and Vannicelli give director Keola Racela plenty to work with, whether touching the funny bone or the gag reflex. Porno is strangely upbeat and even sweet for a film whose villain (Katelyn Pearce) doesn’t deliver a single line or wear any clothes the entire running time (unless you count her merkin). And it’s gross. You don’t even want to know what happens to Heavy Metal Jeff’s nut sack. Four of the five teens are afraid they’re pervs in one way or another and are therefore headed to hell. (Not Jeff. Jeff’s keeping his edge.) Racela and cast have fun with this idea, thanks in large part to charming performances. Porno nails the time period and the mood, delivering some carnage-laden laughs pointed at both the uptight and the nasty. But Racela gets a little lost in the storytelling. Porno would benefit from a serious edit. It runs a mere 90 minutes but feels much longer, likely because storylines spin out all over the building with little thought to pacing or tension. Between the sloppy structure and some sophomoric comedy, even the brightest and wildest moments can be overlooked. (Well, not that thing with Jeff.) The weaknesses pile up and by the end clear Porno feels like a near miss. #HopeMadden

★★★★ Directed by: Kimberley Wintle Written by: Kimberley Wintle Starring: Kimberley Wintle, Alexander Dreymon, Alex Benjamin, Rhoda Pell, Julyza Commadore, Kelly Musslewhite, Cat Limket, Christopher Ashman Short Film Review by: Jack Bottomley Now more than ever we live in a mad mad mad world, so it is important to have fun as much as you can and never think it’s too late for you to do so. And in director/writer Kimberley Wintle’s short film Mabel, we have a stylish piece of filmmaking which opens up into a story that is both unexpected and most welcome at this point in time. A story of loss, of human connection and of making that leap. The film sees lone young woman Mabel (Kimberley Wintle) living her daily routine of spending time at home with her pet Tortoise and going out to pick up a coffee, where she has been reassured by the kindness of one particular barista. However, Mabel, is affected by her past but does that mean she can’t still have a future? From the playful opening moments of this film, bright and breezily edited by Meredith Leece and bouncily scored by Alex Baranowski, this short has an old fashioned charm to it. Starting as a simple story of a lady who makes a connection in her daily routines and toys with going further, Wintle’s tale opens up warmly and engagingly into a very kind hearted look at dealing with loss and the life that can come thereafter. Mabel is full of little details, some of which may seem to sit slightly off in your head, but this all comes together as the finale reveals the real story at the core of the film, and it is an unspeakably lovely plot, one about life and attachment. So often we think we are past something or question our feelings, but this happy, lively and lovely little movie suggests it’s never too late to keep on living. Wintle is excellent in the lead of the film as Mabel (who is not keen on her name being called out, so she goes by the name of Joan) and her character expands as the film goes on, with her past meaning so much and explaining a lot about her present and even a potential future. There are also some nice supporting turns by Alexander Dreymon as Jack the friendly barista, Kelly Musslewhite as her equally bubbly friend and Rhoda Pell as a surprising and hopeful presence. Alongside a fun and diverse cast. To say too much about this enjoyable little story would be to spoil its narrative impact but suffice to say, this is a great watch. One about time and life, that I think will prove most welcome, especially in a year that has often been so downbeat. Not to mention a film that may speak to a few viewers of any age, who have gone through something life changing, and understand what it is to fall into a routine and contemplate not just what the future will mean but whether one is even possible. In the excellent Mabel, Wintle’s endearing script and direction suggests a promising future for the actor turned filmmaker to come. #JackBottomley

All features showing from December 3rd Preview by Patrick Foley Films have become integral to our shared Christmas celebrations. Whether it’s a journey to the cinema to see a family classic, or gathering around the TV on Christmas Day to watch a festive favourite (you’re not watching the Queen, admit it), a good movie around Christmas is the perfect way to get into the spirit. And whilst this year Christmas will be different for us all, BFI Southbank’s December season is a safe and secure way to kickstart celebrations. It wouldn’t be Christmas without the immortal Christmas greats, and you will be hard-pressed to find a better trio than It’s a Wonderful Life, A Muppet’s Christmas Carol and Elf. Frank Capra’s timeless tale of George Bailey and his epiphany on life is as relevant as it was in 1946. The Muppets take on Dickens’ classic still resonates amongst the best adaptions ever made - with Michael Caine’s scrooge a contender for the definitive portrayal. And Elf still feels slick and modern, even as it approaches it’s 20-year anniversary. Whichever you prefer, a fantastic family day out is assured with these 3. December also features Marlene Dietrich: Falling in Love Again for those looking to experience one of cinema’s most enduring and enigmatic icons on the big screen. Discover some of the German-American star’s finest performances, from her silent movie days in The Three Lovers, through to her explosion into Hollywood superstardom in The Blue Angel, A Foreign Affair and Rancho Notorious. Dietrich’s charisma is at it’s spellbinding best in these timeless offerings. A little less festive but no less essential is Henry Blake’s County Lines, screening from December 4th. The true-events drama is a troubling story of Tyler, a teenager recruited into ‘county lines’ drug dealing. The film is a stark reminder that cinema’s role in addressing societal issues is more important than ever, and stories like Tyler’s matter even as our news cycle is dominated by global events. Also hitting the screen is Mogul Mowgli, Bassam Tariq’s new release starring Riz Ahmed. Ahmed stars as Zed, a rapper about to embark on a life-changing world tour before he is stricken by an autoimmune disease. The film is a visceral study of loss, illness and righteous anger, and continues to cement Ahmed’s standing as one of Britain’s most exciting actors today. For anyone in need of further escapism (and after this year, who isn’t?) then the Cinematic Escapes series may be just for you. Leave 2020 in the lobby and be transported to some of the most thrilling and authentic worlds imagined on film. Travel back to 18th century France in Portrait of a Lady on Fire, Céline Sciamma’s acclaimed 2019 love story. If the glamour of 1950’s Rome is appealing to you, La Dolce Vita may be the dreamlike getaway you need. If you want something more otherworldly, the dystopian Los Angeles of Blade Runner: The Final Cut is as stunningly realised and alive as it was in 1982. This 2007 directors cut is the seminal edition of one of the greatest and most influential sci-fi films ever made. Last but certainly not least is the all-conquering Black Panther, the Wakanda-set Marvel blockbuster that electrified the superhero genre. There is no better way to remember the late, great Chadwick Boseman than with his most iconic role. Whether you are comfortable with multiple trips to the cinema or looking for your first fix since March, BFI Southbank’s December line-up is one not to miss. Enjoy this mix of classics and new releases in a safe and secure setting as the cold days draw in. For more information, head to https://whatson.bfi.org.uk/Online/ for full listings, times and booking.

Interview by Chris Olson Can you tell us a little bit about your filmmaking career before Auricular Confession? I started making music over 10-15 years ago. Just experimenting with ideas and releasing it on my own. About 2012, I felt confident enough to start creating music videos. I always visualized scenarios while recording songs so it was pretty natural for me to just jump in. Around 2017, a friend lent me his camera which was nothing special really but it served its purpose and I decided to do some sort of an experimental film with my mother during her last years alive. It turned out to be my first short film called Mother's Milk and I loved the concept of what I was creating at that moment. I think I've always been meaning to make experimental short films and once I did Mother's Milk, I explored that medium a lot more and came up with different subjects to explore; getting to the point where I wasn't afraid to push the boundaries creatively on a film such as Auricular Confession. What made you want to make Auricular Confession? Initially, I always wanted to film a guy in the nude just doing random things like reading a book or sitting at a table. I feel when we're naked, we are at our most vulnerable and I wanted to explore those feelings but in a mundane kind of setting. I held on to that vision for some time and in 2019, I decided to finally make it happen by collaborating with Esteban Licht whose artistic photography work I have seen online and loved. He flew in from Argentina and we just went for it. What I also wanted to explore with Auricular Confession was spirituality focusing mainly on some of the different aspects that are both traditional and esoteric. What I didn't really know at the time while filming it was that I was telling my father's story, but in an abstract way. I guess it came to me intuitively since I was about to lose my father a year after losing my mother. Were there any challenges in getting this film made? Not really to be honest. Everything flowed smoothly overall. I had a great actor and the director of photography, William Murray, is someone I've known for years and have collaborated with on many projects. I had a great small team so there was no reason for things to get complicated during the filmmaking process. We were a little tight with time but even that worked itself out. What's the hardest part of being a filmmaker in 2020? Making and spending money on your film projects. I think because of everything that has happened this year and how it took us all by surprise, some of us are probably a little more mindful of what's in our wallets and how we spend it. But interestingly enough, I have seen many push forward with their art regardless and that's inspiring to say the least. Who are your filmmaking heroes and why? I've been a fan of filmmakers like Andy Warhol, Gaspar Noé, Pasolini, Godard, Fassbinder, David Lynch, Lars Von Trier, Abel Ferrara, Alejandro Jodorowsky, and more recently Robert Eggers. I love the risks they take and how true they are to themselves and for that, they are able to stand out with their work. What advice would you give to new filmmakers? My advice would be to stay true to what you do and to allow yourself time to grow and not be afraid to take risks when it's needed. Having realistic goals couldn't hurt either. What's next for you? I'm in the process of editing another experimental short film entitled The Dark Forest which I hope to release some time soon within the next month or so. It'll be more of an art installation piece which is something I've always wanted to assess a little more deeply. Where can people see Auricular Confession? They can watch the film on my Vimeo channel: https://vimeo.com/martindelcarpio What would you say if you were a dolphin? Watch out for those sharks! ;) #ChrisOlson

★★★★ Directed by: Giulio Mastromauro Written by: Giulio Mastromauro, Andrea Brusa Starring: Giulio Beranek, Babak Karimi, Elisabetta De Vito, Christian Petaroscia Film Review by: Jason Knight A heartbreaking look into the harsh life of an underprivileged family. Little boy Timo lives with his parents and grandparents in a caravan. He helps his family take care of the attractions and rides at a nearby funfair, where they work. His mother is heavily ill. It is winter and things are tough, because people are not going to the amusement park. This poignant story carefully examines the struggles that these poor individuals have to face. They clearly do not have a lot of money, as they live in a caravan. And due to the winter season, the park is not busy, therefore they are struggling with their income. On top of all that, Timo's mother is seriously unwell. There are many scenes that show Timo, his father and grandfather tending to the funfair, proving how hard they are working to stay on top of things. The scenes in the caravan with the mother in bed are truly sad. The cast deliver very emotional performances as Greek-speaking, well-meaning individuals who care for each other and want to live a good life. Petaroscia deserves special mention as his performance is heart-rending and very realistic, which is quite an achievement for an actor so young. Mastromauro does a fantastic job, creating wonderful establishing shots and the scene where mourners gather outside the caravan at night to pay their respects, holding lit candles, is very well directed and has great use of lighting. Great praise goes to Bruno Falanga's score. The music is sentimental and poignant, perfectly accompanying the tragic narrative. This winner of multiple awards worldwide takes a look at life's harshest realities. It explores themes of family, loss, love and poverty and is bound to touch people's hearts. #JasonKnight

★★★★ Directed by: Jay Martin Written by: Jay Martin Starring: Mick Newton, Cathryn Fletcher, Lee Anderson, Ben Bradley Film Review by: Jason Knight This short documentary focuses on the town of Mansfield. It analyzes the circumstances that ended nearly a century of Labour rule in the city and caused it to switch to Conservative. The film covers the town's history and politics, giving special acknowledgement to the mines, as they have played a significant part to its history, because many generations of families have worked there. It culminates in the historical change in the town's politics, when in 2017 Ben Bradley became its first ever Conservative MP. The documentary consists of politicians being interviewed, some of which have themselves worked in the mines. They share their experiences about working there, how the mines are part of Mansfield's heritage, what life there used to be like and how they feel about the fact that it has now changed to Conservative. There is also old footage that shows politicians, significant events, the UK miner's strike of 1984-85, crowds of people protesting and work being done at the mines. There is also footage from recent years, that covers the elections that led to the town's historic change, Bradley's efforts for support and his subsequent victory. All the interviewees efficiently share their experiences and knowledge and provide an informative insight into the relevant events. Their voice-overs help the viewer understand the events that they are seeing. Composer Jack Bennett creates a powerful and mesmerizing score that adds a great deal of strength to this astonishing piece of work! The title refers to the change that Mansfield went through. The color of the Labour Party is red and the color of the Conservative Party is blue, therefore the change was 'from red to blue'. REDt'BLUE is a very well made documentary, with wonderful establishing shots and anyone who has an interest in the subject it covers should definitely seek it out. #JasonKnight

★★ Written and Directed by: #LoongWah Starring: #ChongKahHing Short film review by: Brian Penn Never shirking a challenge, I’ve always subscribed to John F. Kennedy’s assertion that we do things not because they are easy but because they are hard. Fashion falls into the latter category, but the challenge was sadly beyond me on this occasion. I was comprehensively defeated by a puzzling collection of images backed with a dated disco beats soundtrack. Bereft of any real dialogue the semblance of narrative was completely lost. Having watched the film I am no wiser as to its purpose or meaning. So the action supposedly lands on a host from the Midnight Express Discotheque (Chong Kah Hing). Cue a montage of extreme close-ups featuring performers at the aforementioned nightspot and a reassuringly diverse customer base. The point being made here isn’t entirely clear, but maybe it’s just sailed quietly over my head. If the lack of clarity in plotting isn’t enough there’s also the soundtrack; which veers from Shaft style 70s funk to Kraftwerk inspired Europop. I found the eclectic approach quite engaging until an original song called ‘fashion’ made its appearance. I have never heard such a tuneless and flat delivery of a song. It momentarily took my mind off the visuals which seemed increasingly reliant on cross dressing, chain smoking blondes with bad make-up. Brief conversations about what time the show starts seem way out of context, not that I really got any notion of structure in the piece. Was it a drama or documentary, maybe it was neither? Perhaps the idea is to keep the viewer guessing, but why commit anything to celluloid when it’s totally devoid of reason or logic; film making can’t be that easy. Covid permitting, I could take a crew to a Premier League game of football and film the reaction of fans watching their team play. Without explanation or context it becomes a pointless exercise, which I’m sorry to say this film largely is. It gets an extra star to represent the curiosity that lurks deep within me.