★★ Written & Directed by: Shaun Wilson Starring: #CaraCulligan #GarrieKeltie #ShaunWilson Film Review by: #ChrisBuick Christmas Eve. Eight days after the horrific events of World War III. Alone and desperate to survive, Kate (Culligan) traverses the now desolate dystopian landscape with nothing but a gas mask and a radio in her hands, which she uses to communicate with some unknown gentleman on the other end who claims to be able to lead her to salvation. To say that Black Garden is a slow burn would be quite the understatement. In fact, the pace at which this film moves through its narrative is practically glacial. Which might have been fine if it meant that ultimately the film was laying the foundations for something spectacular or inspired, but sadly, it never really comes close to that. The film starts interestingly enough. In the opening fifteen minutes or so, we cut between other survivors isolating themselves from the unknown danger outside their homes and havens, before ultimately each one is coaxed from their sanctuary by a mysterious radio voice only to then be lead to their demise. Here, it seems like Wilson is building a rich and intriguing mystery for us to stew over as he leads us through his bleak, dark world. But from that point on where we begin to follow Kate exclusively, the film seems to then be forever trapped in a vicious cycle of rinsing and repeating the same story beats over and over again. Save for a somewhat tedious scene where Kate’s only other human contact Henry (played by Wilson himself) is revealed unsurprisingly to not be what he seems, and culminates in a sexual assault which seems to serve no other purpose other than to inject some kind of drama at any cost, the majority of the film mainly limits us to watching Kate shamble through deserted landscape after deserted landscape, desperately clutching her radio before searching a nearby building for food, without ever facing any real sustained sense of threat or danger other than starvation. It’s never nice to say but the unfortunate reality is, Black Garden is quite boring. It’s a bit like watching someone play a video-game RPG for the first time on easy mode and had this film been delivered in a tighter, more focused short form effort, it perhaps might have worked a whole lot better than it does. There are brief mentions of a wall (nod to Trump?) and radiation but not much else and while a certain sense of mystery is always welcome and heavy exposition is by no means necessarily the way to go either, you’ve got to give your audience something to go on, especially if you want them to care about the people you’re asking them to root for. But there are positives here. The haunting monochrome aesthetic and pounding score work fantastically in setting the tone right from the off, we understand immediately how harsh this world is going to be, it’s just a shame that it’s dramatic potential is never truly explored. And while Culligan isn’t given that much to do overall, she demonstrates and commits fully to what range she is able to show. Black Garden is a film that sacrifices a lot of its substance for style and while its certain arthouse aesthetic and ambition can certainly be appreciated, it simply doesn’t have the legs or the story to justify a full feature. #ChrisBuick

Press Release Born To Do It: Becoming the Leader of a Business Niche Using Powerful Spiritual Techniques By Dr. Rebekah Louisa Smith World-Renowned “Film Festival Doctor” Reveals How She Discovered her Soul Purpose, Found Her Niche and Drove Her Business to Increasing Heights through Mastering Spiritual & Business Practices. Smith Provides a Roadmap for People Looking to Start or Grow a Business They Love — And Thrive! Rebekah Louisa Smith was earning her PhD, headed to the life of an academic. She had a plan completely mapped out until one day at a conference someone gushed about life as an academic and suddenly she realized, it wasn’t her passion. She didn’t gush over teaching film! But fortunately, she was also simultaneously working at the Abertoir Horror Festival in Wales, travelling around to festivals all over Europe, gaining a tremendous amount of knowledge about film festivals, as she recruited filmmakers to the prestigious horror festival. She began giving advice to filmmakers who wanted to get into more festivals, win awards and gain visibility that would lead to sales revenue. Then it hit her, that’s what she loved doing! She had a marketable skill that she could turn into a business. Rebekah ultimately became recognized worldwide as The Film Festival Doctor, an innovator in her field. Her company has won more than 850 awards for her clients and has supported over 600 creatives to achieve their filmmaking dreams. But through the years, she sputtered at times, struggled, hit many roadblocks and made lots of mistakes. What finally cleared the path to her rapid accession and towering success was the business guidance and the spiritual practices she learned from experts, and then immediately put into practice in her business. In her new book, Born to Do It: Becoming the Leader of a Business Niche Using Powerful Spiritual Techniques, Rebekah wants to save you the same headaches she experienced, and she provides a roadmap to business success that embraces the spiritual principles that righted her ship. It’s a book for someone just contemplating the entrepreneurial journey or for anyone already growing a business that is struggling or in need of revitalization. Here is a rare book that combines finding and defining the niche that empowers you, practical business skills and the spiritual “magic” that ignites acceleration! The first of the key stops on Rebekah’s roadmap is the process of finding exactly what it is that you were born to do, your Soul Purpose, which gains momentum from your passion and helps you discover your special unique niche. From there, Rebekah takes you on a journey to: Grow your business niche Energetically brand your business Create a solid business infrastructure and craft a strong sales pitch Implement cosmic ordering, manifestation and Feng Shui techniques into your business for maximum success Using her own experiences as examples and saluting the experts who guided her in the process, she shows precisely what she learned and how you can apply that wisdom. This book will quickly get you to clarity on what it is that you are born to do and empowers the drive and ambition in you to create the business your heart and soul desires. Born to Do It is available on Amazon.

★★★★ Directed by: Christopher Tenzis Written by: Christopher Tenzis Starring: Astra Marie Varnado, Raymond Ejiofor, Carly Stewart, Arabella Frost Film Review by: Chris Olson Big Touch Film Review Symbolic for its powerful racial themes and pertinent for its euphoric depiction of one embrace (when the world cannot), filmmaker Christopher Tenzis’ short film Big Touch is a potent dose of 2020 cinematic surrealism. The story takes place in an empty underground car park. A white girl (Arabella Frost) and her mother (Carly Stewart) play in front of a lift when out walks the imposing Judy (Astra Marie Varnado), a literal “giant” black woman. The daughter extends her hand, mesmerised by the woman in front of her, only for her mother to grab her hand back and offer only a sympathetic smile to Judy - who looks crestfallen. Another outing sees Judy traverse the empty car park, walking slowly and morosely, and find a small man (Raymond Ejiofor) ranting and raving in a crouched position. The two characters, whilst physically so different, share a similar heartache, one which soon gets extinguished when the experience an engulfing touch. Beautifully depicted and unburdened with dialogue, Tenzis captures a purer narrative within the Black Lives Matter movement by keeping his piece simple, graceful, and laden with emotion. Varnado’s theatrical expressions to the reactions she receives from the three different characters say more about the world we live in than most feature films can muster up in a two-hour running time. Big Touch is a film significantly enhanced by music. Sheku Kanneh-Mason’s immersive cello (arranged by Pau Casals) becomes the lifeblood of the movie, encapsulating the plot, tone, and themes expertly and lights an individual fire under every audience member. There was a need to reflect the poignancy of the surrealist story in order to reach the full potential of the short and the filmmakers nail it. Films that tackle racial divides are often ready to slug it out with the all-too-true nature of reality. Armed to the teeth with powerful imagery, political dialogue, and a penchant for (understandably) frustrated characters, these films are often described as being “heavy” along with more positive adjectives. With Christopher Tenzis’ film Big Touch, we are offered all those things but not in a way which feels familiar, weighty or documentary-like. This is a movie which comes from a place of frustration, yes, but works it into a quite literally tangible experience, whereby human contact and the need to feel is something more than words can contribute to. We need to embrace the emotional connection that occurs between the two central characters right before our eyes as if it is us receiving the ethereal benefits. #ChrisOlson Watch the Movie Trailer

★★★★ Directed by: Dan Ollerhead, Andrew Smith Written by: John Hardwick Starring: Roisin McCusker, Kerry Carroll, Roger Rowley, Elliot Aralar Film Review by: Jason Knight Associating with criminals and acquiring a firearm will lead to very unfortunate consequences. Christa (McCusker) and Suze (Carroll) are two art students. Christa purchased a handgun and bullets from some criminals, in order to use it as a work of art in a project that she is working on with Suze. Unsurprisingly their art teacher does not approve and they are forced to take the gun away. Later, while walking out at night, they are attacked by a man and ,in self defense, Christa shoots him dead. They then steal a taxi, hoping to avoid the law and escape. The plot bears a resemblance to Thelma & Louise (1991). Two women unwillingly commit murder and are forced to go on the run, living as outlaws and committing further crimes. Right from the start, it becomes clear that this is a crime thriller, as Christa is buying the gun. And in the movies, when an everyday person gets a gun, then that means things are probably going to take a turn for the worse! The film offers a rather exciting and suspenseful ride. As the two heroines go through their journey, things get more and more desperate and they resort to armed robbery, carjacking, stealing and kidnapping in order to avoid the consequences of their actions. The audience keeps on wondering: What will happen next? What will their next move be? How will things turn out? The two main leads deliver great performances. McCusker's character is rebellious and determined and she is the one in charge of the getaway. Carroll is sensitive, insecure and not as strong as her friend. They are presented as well-meaning individuals, who made a mistake and got themselves into trouble. The supporting cast also do a very good job. The movie is very well directed, with wonderful establishing shots towards the end. Alexander Arntzen and James Smith make a great contribution with the atmospheric music. Regarding the content, there are scenes of a sexual nature, profanity and violence. Generally, this is a female buddy road film. A story about two women on the run from the law. The characters are interesting and the plot will keep the audience guessing until the end. #JasonKnight

★★★ Directed by #DavidRaboy Written by #DavidRaboy Starring #OdessaYoung #MadelynCline Film Review by Hope Madden Been a while since I’ve been swimming in the dark. Who knows what nasty things are in there? It may be a line delivered by high school senior Olivia (Madelyn Cline), but it’s a theme writer/director David Raboy knows how to work. Somewhere in that steamy summer between youth and adulthood, between the loose ends of rural Southern life and the tidiness of college, an ugliness lurks like a trap to keep you. On the same night as that dark swim, when Olivia and Charlotte (Odessa Young, Shirley) jump in alongside a couple of menacingly boyish buddies, a girl is murdered. Olivia’s feeling nostalgic, maybe panicked that this next chapter will mean a separation from her closest friend. Charlotte’s preoccupation is hazier and more menacing. The truth is, the time of year and Charlotte’s impending move have her thinking about—dreaming? remembering?—her mother’s suicide. But then, when the girl is murdered, Charlotte’s ex shows up like he’s back from the dead, himself. And then another girl dies. Raboy’s indie drama The Giant plays like the fever dream of someone so wedded to a certain kind of pain that they may submit to it rather than move on. The murders on the periphery, the Malick-esque use of voiceover, the hazy close ups and distorted light combine to create a groggy nightmare, both beautiful and frustrating. The Giant’s beauty lies not only in Raboy’s intriguing framing and pacing—so thick you feel as if you’re hallucinating—but in the lead performances. Young cuts an enigmatic central figure, a tragedy waiting and possibly willing to happen. Meanwhile, Cline’s innocent and earnest turn is like its own light source in the murky Gothic. But The Giant is frustrating in its vagueness. The dreamlike dread Raboy creates sometimes takes the place of narrative structure, the elements within his script—the serial killings, the suicide, the partying—create creepiness but they don’t serve a concrete narrative purpose. The film serves any number of potential allegorical objectives, but it never actually tells a story. As weird as it seems, that isn’t enough to sink the film. The nastiness in those murky waters keeps your interest even without it. #HopeMadden

★★★★ Directed by #AlexandreOPhilippe Written by #AlexandreOPhilippe Starring #WilliamFriedkin Film Review by George Wolf Most of the time, limiting a documentary to only one point of view is not a winning strategy. You want balance, with a scope wide enough to deliver more than just an agenda-laden screed. Leap of Faith doesn’t worry about all that. If your aim is to take a deep dive into the filming of The Exorcist, and director William Friedkin agrees to a lengthy interview, well, that’s that. Sure, you could probably find someone to argue Friedkin didn’t craft one of the greatest horror films in history, but do we really need to give idiots any more screen time this year? In just the last three years, director Alexandre O. Phillippe has deconstructed horror classics Alien (Memory: The Origins of Alien) and Psycho (78/52: Hitchcock’s Shower Scene) to fascinating effect. Leap of Faith makes it a trifecta of terror, thanks to a film icon who also proves himself an endlessly engaging storyteller in front of the camera. If it’s true every interview needs at least one good story to be worth the time, Phillippe’s visit with Friedkin is a pound for pound champ. The stories here – from Jason Miller taking the Father Karras role away from Stacy Keach to Friedkin’s battle with legendary composer Bernard Herrman over the score – keep you hanging on every word. Strangely, though, the conversation never does get around to Linda Blair at all – not her casting, her performance, or the complexities of directing a teenage actress in such extreme subject matter. Even with all the compelling content here, it’s a noticeable omission. But more than an indispensable guide through the making of a classic, Leap of Faith shines a wonderfully illuminating light on Friedkin’s creative process. Yes, Billy clearly likes him some Billy, but at 85 years old now, it’s hard to blame him. Whether or not Phillippe knew what he was getting when first he sat down with Friedkin, the game plan no doubt materialized pretty quickly. Keep him talking, trim the fat, and then splice in the appropriate clips at the perfect time. Leap of Faith might be a one man show, but when the show is The Exorcist and the man is William Friedkin, it feels like enough. #GeorgeWolf

★★★ Directed by #ToddKwait #RobStegman Written by #ToddKwait #RobStegman Film Review by Rachel Willis Quick question: do you think Lee Harvey Oswald acted alone in assassinating John F. Kennedy? If you think Oswald was part of a larger network, whether tied to the mob, Cuba, or the Soviet Union, you’re not alone. Directors Todd Kwait and Rob Stegman want to dispel the conspiracy theories once and for all. Along with Cuyahoga County Judge Brendan Sheehan, who narrates the film, Stegman and Kwait bring us a detailed look at the findings and conclusions of the Warren Commission, the committee of men charged with investigating the Kennedy assassination. The bulk of the film features interviews with many who worked for the Commission, men who conducted witness interviews, reviewed the police and FBI reports from the crime scene, and sifted through the numerous avenues which Oswald might have been connected. But there is also gruesome footage – the infamous Zapruder film, autopsy photos. These scenes are hard to watch. Since these things are easy to find online, their inclusion in the film could be deemed unnecessary, but they help underscore the point being made – that the conclusion Kennedy was shot from behind is accurate. Two of the major avenues for a conspiracy are addressed in the film – the destruction of evidence by members of the FBI, and the CIA coverup of the plot to assassinate Cuban Prime Minister Fidel Castro. Both events became known after the Commission released its findings. These are profoundly disturbing occurrences, but do they speak to a larger conspiracy? Not every conspiracy surrounding the assassination can be tackled in a 2 hour and 20 minute documentary, so the filmmakers try to restrict their focus to not only the most major theories, but also to a lengthy examination of Oswald himself. Some of the information presented is tedious and doesn’t do anything to convince us that Oswald acted alone. However, most of the information is pertinent to the investigation and the conclusions made. The major question: Is any of the information presented new to those who believe Kennedy’s murder was part of a larger plot? Maybe not, but as we approach the anniversary of the assassination, during a period of history that’s ripe with conspiracy theories, it’s worth re-examining once more. #RachelWillis

★★★★ Directed by: #RemiWeekes Written by: #RemiWeekes, #FelicityEvans, #TobyVenables Starring: #SopeDirisu, #WunmiMosaku & #MattSmith Film Review by Connor Slatkoff Sharpe While haunted houses certainly aren’t out-of-favor in modern horror movies—what with the recent success of The Haunting of Bly Manor and the Conjuring universe—Remi Weekes’ debut feature film His House nevertheless manages to reinvent the sub-genre as something which more-closely comments on our current society. The film follows a young married couple who, having escaped from war-torn Sudan, try and find asylum as refugees in England. After the dangerous journey by sea—which tragically cost the life of their young daughter—Bol and Rial are relieved to have found themselves in a large London flat, seemingly well on their way to a new life without the dangers of the past. That past however, seems to have followed them to their new home, along with threats the two refugees must face alone, socially cut-off from the rest of the country around them. Between the societal horrors taking place during the day, and the supernatural torment at night, Bol and Rial must fight to hold on to their new-found freedom. The direction from relative newcomer Weekes is exceptional, with seamless shifts between hyper-realism and fantastical eeriness. The movie, before anything else, remains a truly terrifying experience, with similar scare tactics to those used throughout Ari Aster’s 2018 film Hereditary. The horror in His House lingers just on the edge of perception: an out-of-focus face in the far background or a subtle moment of movement in an otherwise still frame. This, paired with instances of genuine and un-subtle terror, will cause audiences to remain constantly on the verge of another jump, never resting back on numbness, to the huge success of the film. Along with this generally high level of horror, Weekes expertly alters space to create a sense of surrealism for his already metaphysical film. Rooms gradually transition into vast ocean landscapes and walls stretch out at either side, making the house itself into a sort of sinister character: bigger on the inside than the outside, like a haunted Tardis. Thanks to the work of both Weekes and his Director of Photography Jo Willems, a poignant parallel is drawn between the theatrical horror and the real-life challenges refugees must face every day in the UK. As Willems remarked in an interview with Variety Magazine, “the film works so well because we go from very real and normal situations to being in this visual evocative moment”. Along with these parallels, Willems’ beautifully captured wide-angle closeups showcase stirring moments of monologue in the film’s few sections of stillness. However, these monologues wouldn’t have nearly as much of an impact on the film had it not been for the grounded, powerhouse performances from our two primary leads, Sope Dirisu and Wumni Mosaku, whose character arcs throughout the short 90-minute-runtime showcase a range and depth rarely found in horror movie leads. Matt Smith (Doctor Who, The Crown) adds a subtle non-chalantness to our leads’ high level of dramatic stakes, perfectly reflecting this divide between refugee and Brit, whilst himself remaining a sympathetic, likeable character. The effects—both practical and digital—are hugely impactful, with creative monster-design lending itself to the aforementioned manipulation of space and setting. Thanks to these believable effects, Weekes is able to craft a genuinely unexpected, satisfying finale without losing the terror created through setting and creature-design. Because of this, His House remains a telling study of grief, displacement and identity, while still holding onto its identity as a good old-fashioned haunted house movie. #ConnorSlatkoffSharpe

★★★★ Directed by: Daniel Thomas Freeman Written by: Daniel Thomas Freeman Starring: Sally Mortemore, Emma Spearing, Lucy Alfred, David Broughton-Davies Film Review by: Jason Knight Words cannot describe how devastating the loss of a loved one is and the magnitude of the grief it creates. The Silence After Life is an emotional story that deals with themes of loss, grief, love, friendship, death and religion. Katherine (Mortemore) has just lost a loved one and has fallen into deep depression. She seizes to speak and begins having visions about a woman in the forest and David (Martin), the person she lost. Unable to cope with her emotions, she decides to go and live in nature. Then she meets and befriends Claire (Spearing), a friendly, compassionate woman, who has also experienced a recent loss. This is a drama that is very heavy on emotions and the dialogue is rather limited. The main focus is Katherine, her emotional state and how she deals with the tragedy that took place. Mortemore does a brilliant job in portraying a woman who is torn apart and wants to find the strength to carry on. Spearing is equally captivating as a kind, warmhearted person, who wants to help Katherine. Freeman also created the music for this feature and he did an outstanding job! The score is dramatic, mesmerizing and tender and it accompanies the images and narrative perfectly! Regarding the sound, there is one scene that deserves special mention and that is the first one that takes place inside a crowded church, during a service. As the event is taking place, the sound of vocals sinks into the background, while the sound of the organs is turned up, taking over. This technique, along with the wonderful directing, make this scene seem otherworldly! The directing is also great, with many beautiful establishing shots, and shots of nature. The editing is also good, making effective use of fast cutting techniques. This poignant drama is a must-see! It is undoubtedly a project that had a great deal of passion and hard work put into it. The performances are magnificent, the directing marvelous and the main message appears to be how much people need each other. #JasonKnight

★★ Directed by: #AndrewStMaur Written by: #LiamSwann #OwenWard Starring: #VinHawke #AlessandraMunez Film review by: William Hemingway In space no-one can hear you groan with disappointment; which is just as well for the crew of the Audax as this is the only sound likely to be made by anyone watching their ‘adventures’. Disgraced Captain Kit Taylor (Vin Hawke) is the sole survivor of the ill-fated space cruiser Carrion, and although he has been cleared of any wrongdoing he has lived a lonely life of quiet shame, grounded on Earth, for the past five years. He is estranged from his ex-wife and daughter and gets by any way he can whilst trying to avoid the ire of those around him. Then one day, out of the blue, he is offered a second chance. The chief exec of the world’s biggest multi-national conglomerate Dot Tech, Vincent McKeown (David Galbraith) is testing out a pioneering new navigation technology, run from a brain implant, that should allow any old Joe Schmo to take control of their own spaceship and fly it with ease. He has unwittingly called this integrated tech Orca (uh-oh, I think we’re gonna need a bigger budget) and believes that Kit is just the man to test it out on its maiden voyage. Obviously things go wrong and the brain implant has some negative side-effects on Captain Kit’s already fragile state of mind. Not to give the game away, but this part of the plot then borrows heavily from other space dramas such as Solaris, Event Horizon and Moon as Kit deals with his own breakdown out in the vastness of space. The crew are no real help as they only really seem to be there to make up the numbers, and the company stooge then takes his chance to get in the way and obturate proceedings. It’s here that we find out Vincent McKeown is a Peter Weyland type of character who believes only in profit, even at the cost of human lives. So, you might say to yourself, the plot has a good pedigree and seems to reference some of the most classic of space sci-fi; what’s wrong with that? The problem is that none of it really hangs together in the way that it should. Whereas each of the films that Audax steals from take the time to explore their themes and characters in detailed isolation, here they are all mashed together like a four year old at a kiddies pick ‘n’ mix bar picking all of their favourite sweets without ever really thinking how they’re all going to taste when shoved in their mouth all at once. It’s a gummy mess of half-chewed ideas regurgitated in chunks that just don’t coalesce. The actors never seem to get a grip on the full story or the depths of motivation for their characters either; the script just doesn’t give them any time (or ironically space) for that. They try their best with the minimal direction they are given but all end up over-compensating instead with some ridiculously hammy performances cranked up to 11 and everyone overacting to the Nth degree. The direction is static and amateurishly placed with very little movement between characters and scenes, which at times leaves you feeling like you’re watching a high-school stage production of an old Blake’s 7 episode. It would be easy to also knock the props and special effects but for an indie-feature on an obvious shoe-string budget let’s just leave it at – they’re bad. Audax leaves you with that unshakeable feeling of ‘What on Earth (or off Earth) was that all about?’ It has several confusing moments (avoiding the asteroid being the main culprit) and more than a few confused ideas. It becomes self-referential at one point and seems to poke fun at itself whilst simultaneously trying to be a deep, psychological space drama. You’re never quite sure where the Audax is trying to get to or why the solar system seems to be continuously littered with free floating asteroids; and why does everyone in the near future think that polo-necks are high fashion? Sadly, Audax takes good ideas and makes them bad, turning classic sci-fi tropes into embarrassing schlock space memes, all of which means it never properly get off the ground.

★★★★★ Directed by: Brian Duffield Written by: Brian Duffield Starring: Katherine Langford, Charlie Plummer, Hayley Law Film Review by Robert Stayte Brian Duffield has not had a great track record in scriptwriting, having had credits on Insurgent, Jane Got a Gun and Underwater. So him both writing and directing a film might seem like a recipe for failure. But Spontaneous is one of the best, if not the best, film of the year. At a small town high school, a student Spontaneously Combustes out of nowhere. This then starts happening to other students, sending the town into a panic and forcing the government to deal with the situation through various means. Whilst this is going on, students Mara (Katherine Langford) and Dylan (Charlie Plummer) fall in love and must endure this escalating situation. For a film with a dark and morbid setup, what is surprising is just how sweet yet also sad Spontaneous is. The romance at the center of the film is unbelievably adorable and the two lead characters are incredibly likeable, so as a result the film has a strong beating heart. Yet it is also a sad film with a lot of drama and weight, as the premise is often taken very seriously and used as a way to not only cue some very effective sequences, but also a way to talk about life and death. For a writer who has had his name attached to mediocre fare, Brian Duffield’s screenplay is surprisingly amazing. It thankfully keeps the focus on the main characters rather that get tangled in the central concept (the kids exploding is more of a subjective metaphor), yet the plotting is also rather unpredictable and impactful, grabbing your attention and never letting you know what will happen next. The witty dialogue and visual gags are hysterical, with several laugh out loud moments and thankfully no mean-spiritedness. Finally, the blending of genres is impeccable, as Spontaneous balances teen romance, dark comedy and existential drama well without feeling disjointed. But by far the best aspect is both it’s emotional and cultural relevance. The fact that this film was shot two years ago yet has only come out now seems like a scary coincidence, given the on-going but hopefully soon to end Pandemic, though that gives it more impact. And the message of this film is resonant regardless, the message being one that will not be spoiled. Some might find the film to be preachy and unsubtle with it’s message, but it’s told impactfully, with the final monologue being beautiful, hilarious and hard hitting. As for the acting, Charlie Plummer is charismatic and lovable, but Katherine Langford gives the strongest performance of her career so far. Her combination of deadpan and goofy comedic delivery is amazing as is her dramatic delivery. She has so much charisma and brings an incredibly amount of soul to what could have just been a one-note "quirky girl", especially in a moment towards the end that will no doubt make you cry. Both have amazing chemistry and make their love story totally believable. The direction from Brian Duffield also impresses, there are a lot of cool stylistic camera-tricks and 4th wall breaks, yet he also knows when to keep the camera and let the material speak for itself. Finally, he knows how to use narration correctly without it being a distraction. If there are any flaws, it is that the runtime is a bit too long and could have trimmed here and there, though that is a minor complaint. The film also does not have a traditional climax either, which might bother some who want a third act that is more action packed and eventful, but the character drama and story is strong and specific enough to where the inclusion of a grand finale would not have worked. This film is not about solving bad stuff, it is about dealing with bad stuff. Spontaneous is a true gem, a funny, emotional and overall impressive achievement by Duffield, one that makes for a great debut and if time treats it well will end up becoming either an underrated masterpiece or a classic. Regardless, it is well worth the watch.

Christmas might not have been cancelled yet, but it's likely to feel a little constrained by circumstances this year. But that doesn't mean you have to settle for a lump of coal in your stocking. The Grimmfest Team have sold their souls to Santa to secure a suitably sinister sack-full of goodies, a sleigh full of slayers. Two nights of festive frights, seasonal shockers and merry mean-spiritedness, delivered right into your homes. Fearsome feature films, startling shorts, and all manner of eerie extras; everything you need for a chilling Christmas and a cruel Yule. On Friday December 11th, Grimmfest favourite Lora Burke (POOR AGNES, LIFECHANGER) is a nurse forced to abandon her Hippocratic Oath in a brutal, bloody battle for survival, in Gabriel Carrer and Reese Eveneshen's ferocious FOR THE SAKE OF VICIOUS. And love means never having to say you're sorry, no matter how far you go to preserve it, as real-life couple Sophie Rundle and Matt Stokoe put everything on the line in Jennifer Sheridan's emotionally harrowing ROSE. In support, a selection of shocking shorts dealing with domestic dread and family-focused fears. In the middle of a pandemic, a father struggles with his own infection and his duty to protect his daughter from harm, in Syvia Pradas' heartrending US [NOSOTROS]. A teenage girl longs to escape from the isolation of rural England, only to realise just how trapped she is, in Garreth Carter and Will Douglas' quietly devastating THE FARMHOUSE. A young woman is disturbed in the middle of the night by her boyfriend's return from the pub, and the growing suspicion that he is not alone, in Simon Stanford's unsettling INCUBUS. A man is haunted by spectres of his own guilt in Martin Thomas' oneiric THE SHALLOWS. A woman confronts her worst nightmare, in Ryan Harr and Jacquelyn Ferguson's nerve-jangling REFLECTED. A young carer starts to feel increasingly under threat in her patient's home in Damien Fannon's subtly creepy and claustrophobic THE KEEPER. On Saturday December 12th there's a controversial countdown to Christmas in DEATHCEMBER, a sour and shocking seasonal spin on the multiple microshort anthology. Twenty four short films, twenty-four directors, and a whole host of top genre talent: an advent calendar crammed with toxic treats. And because you've all been so good this year, Grimmfest is screening the film in its uncut form. Finally, in this age of online festivals and socially distanced screenings, Maximiliano Contenti's elegantly retro-styled slasher RED. SCREENING [ AL MORIR LA MATINÉE] offers a timely reminder of what we are all missing: a classic night out at the cinema. Popcorn, overpriced sodas, the chance of romance. And the possibility of being stabbed through the head by a violent lunatic. And as an aperitif, a selection of startling shorts. An army pilot survives a plane crash, only to find he's leapt from the frying pan right into the fire in Ben and Jacob Burghart's appropriately named SUSPENSE. A young social media influencer takes increasingly extreme risks to win more followers in Sean Q. King's slyly satiric LIKE ME DEADLY. A young man receives an unexpectedly troubling birthday present from his fiance in Dinh Thai's darkly comic MAKE A WISH. And a young girl has a very bad day at school, in HERE THERE BE TYGERS. Polly Schattel's surreal, gender-flipped reinterpretation of Stephen King's very first published short story. Plus cast and crew Q&As, Christmas competitions and other goodies. Just add mulled wine and mince pies for the perfect festive film show. For more information https://grimmfest.com/grimmupnorth/ For tickets: https://xmahorrornights.eventive.org/welcome For any enquires please contact: katieb@grimmfest.com