★★★ Stars Directed by: #RachelTalalay Written by: #JoeBallarini Starring: #TamaraSmart, #OonaLaurence, #TomFelton, #LynnMasakoCheng, #TroyLeighAnneJohnson, #TyConsiglio Film Review by: Alicia Moore Tamara Smart takes centre stage within dreamland and nightmares alike as Kelly Ferguson, a high school freshman who doesn’t realise how under-experienced she is in babysitting. When the boy she is taking care of on Halloween night is captured by the Boogeyman (Tom Felton,) the protection of children is taken to a whole new level of significance in her life – this chaos of monster-ly danger has signalled the secret society of experienced babysitters, where Liz LeRue (Oona Laurence) arrives on a quest to find the boy and bring him back home. With only a book giving them decades worth of monster hunting information to keep them on track, will they have the true inner strength to save the child trapped between the claws of the Grand Guignol? The highlight of A Babysitter’s Guide to Monster Hunting in its entirety is, without a doubt, the writing. The screenplay is written by Joe Ballarini, who is also the author of the book that this film is based on. This deeply rooted connection to the story and the characters shines through the writing with ease. Anyone would guess that writing a screenplay based on an already adored book would be difficult, and reading a book is very different from watching a film as well. Every reader will have their own vision of the unfolding story and how they interpret the words that dance across the pages. With film, audience members may interpret the meaning of the story differently but the unfolding scenes will always look the same to the naked eye. Ballarini has travelled with these characters for a long stretch of time, he knows the details of the story and the cores of these individuals better than anyone else ever could. I’m so eager to read the books after watching this film; I want to swim even deeper, diving head first into this wonderful world. The acting skills that are presented by the cast are impressive, and that praise stretches to every cast member involved. There is an upbeat energy that is kept in the air throughout the film, the onscreen chemistry never seems forced or strained and at no point did it feel like there was a dip in characterisation due to lack of acting abilities. Tom Felton’s performance as the Boogeyman, ‘the Grand Guignol,’ stands out among the rest as an unsettling presence for older viewers and, when stepping into my 8 year old sister’s shoes as an audience member, he is definitely a threatening presence for younger viewers. A perfect splash of comedic responses from the figure helps to keep the tension as balanced as possible, as well as adding more personality to this rather evil and stony-hearted character. A noteworthy part of what makes Felton’s performance captivating is the costume design (Carrie Grace.) The costume he wears appears to be somewhat rugged, but also has ‘stylish’ and more eye-catching contributions to it – almost matching that of his personality: a cold character that can still crack a few jokes and fire back witty remarks. Overall, the clothing is dark yet possesses a colourful haze to those dark shades, once again capturing the essence of the character’s inner self. The only element that I’ve become aware of having mixed feelings about is the musical input of the film. The tracks that have been composed specifically for this film (by Matthew Margeson) are beyond perfect for setting the scene and creating a dramatic ambience. I could listen to these tracks as an album on repeat every day, I really do love them. On the other hand, the songs that have been chosen outside of these instrumental tracks seem incredibly out of place at times. In general, the song may fit with the scene’s pace and occurrence, but most of the time the beat doesn’t match up with the scene altogether. It unfortunately creates a bumpy introduction to some sections of the film. Although this aspect did irk me, in no way is the impact of this heavily negative on the film as a whole. A Babysitter’s Guide to Monster Hunting is an extremely fun Halloween experience for the whole family to enjoy. However, I do recommend removing toys and plushies from your surroundings before watching… if you’re anything like me, paranoia can take over pretty quickly. This film is also available on Netflix – an accessible watch for many during this spooky holiday!

★★★★ Directed by #JulianneDonelle Written by #TizianaGiammarino Starring #JessicaParkerKennedy, #MichaelTeh, #NikhilShukla Film Review by Lawrence Bennie Award-winning LA filmmaker Julianne Donelle adds a worthy credit to her directorial resumé with this powerful short that delves into an uncomfortable, but undeniably life-changing, psychological affliction. Survivor’s guilt. When young teacher Emily (Jessica Parker Kennedy) becomes the sole survivor of a devastating terrorist attack, her life is left in anguish and torment. Increasingly self-isolated from the outside world, and her husband (Nikhil Shukla), Emily realises that she will never find peace until she discovers why the bomber (Michael The) spared her life. Penned by Tiziana Giammarino (also executive producer), Split Second is a no-nonsense, masterfully understated exploration of a sensitive and, arguably, unrepresented issue. As the haunted Emily, the presence and performance of Kennedy is a major asset to the production. In a little under 12 minutes, Kennedy convincingly charts Emily’s heart-rendering journey from kindly soul to traumatised survivor, before she finally comes within reach of an answer and a possible return to peace. Equally adept is Giammarino’s sensitive script and Pierce Cook’s absorbingly effective cinematography. As Emily becomes more detached from life and burdened by memory, we’re paradoxically drawn more closer to her, always with at her side even in the darkest of times. When the reveal does come, it’s handled just like the rest of the film; delicately, intelligently and without melodrama. Ultimately, what makes Split Second exceptional is Donelle’s focus on the story of the survivor. When faced with such tragic events, we of course always remember victims and their loved ones. Unfortunately, we perhaps sometimes do overlook the eyewitnesses, those lives left to go on but by no means unmarked and unburdened. An early scene in Donelle’s film has the shattered Emily struggling to cope with a TV interview. It’s a telling moment which subtly goes some way to offer a suggestion for the quiet role of the survivor in the media. Often, we don’t get to hear their stories because they can’t bring themselves to tell it. Even more unsettling is Donelle’s bold decision to humanise the terrorist of the story, where a “split second” moment of empathy, coupled with Emily’s warmth, temporarily re-awakens some humanity in the character. Most surprisingly, Donelle leaves us with even Emily acknowledging this by the film’s end. With a solid cast, first-class filmmaking and exemplary tactful storytelling, Split Second is an excellent treatment of a difficult subject all too easily overlooked. With more films like this, that could soon change. #LawrenceBennie

★★ Directed by Martin Sandin Starring: #CarlIngemarssonStjernlöf #EloraSchaaf Film Review by Nathanial Eker Distressed, a fifteen-minute short from director Martin Sandin is a film of implications. It is difficult to analyse what makes this emotive film tick, due to a lack of narrative intent to its script. What is presented is intriguing, but Sandin's failure to move the narrative forward makes it difficult to become properly invested. It's a shame too, as the film's morbid tone is established effectively, and the cinematographical choices are often superb. Regrettably, what we're left with is a short that embodies the term 'all style and no substance'. Nathan Larson arrives at a small house and burns his funeral clothing, seemingly letting go of what came before. We quickly discover that his daughter has passed away, and his guilt is immeasurable. Unfortunately, there's little more to reveal than that, as despite boasting an interesting premise, Distressed never builds on its conflict, nor does it reach a satisfying resolution. This could be interpreted as a metaphor for the immeasurable grief of losing a child. However, as a viewer, the lack of conflict and especially the damp finale is undeniably disappointing. Just as we become invested in Nathan's journey and wonder exactly what happened and how he will cope, the film ends. As a slice of life story, it's likely a realistic portrayal, but as a piece of entertainment, the lack of conflict is crippling. It is especially disappointing as Sandin eloquently crafts an enticing premise using very few words. This is undoubtedly thanks in part to Carl Ingemarsson Stjernlöf's earnest performance as Nathan. His expressive face is often telling and, as a mostly solo performer, much of the film's verisimilitude rests on his shoulders. Fortunately, his energy is believable, and his dour facial expressions cement the film's realistic scenario and regretful tone. Stjernlöf is ably assisted by a fantastic mise-en-scene, particularly the solitary setting, low-key soundtrack, and long, methodical cinematography. The regular slow zooms in on Stjernlöf's distraught face allow us to effectively relate to Nathan's strife without the need for words, while the mournful guitar helps to establish a solemn, isolated atmosphere. It is frustrating then, that Nathan's journey never goes anywhere. He expresses clear outbursts of anger and resentment, yet we never get a conclusion. Will he move on with his life and be with his partner? It is difficult to even hypothisise potential scenarios, as there is no obvious conflict in this script, whatsoever. Is Distressed a painfully assiduous expression of the trauma of the grieving process? Absolutely. But for a film that crafts such a naturalistic mise-en-scene, it is fair to assume that it would utilse a traditional narrative structure and present an impactful resolution. Unfortunately, if it is simply an examination of the haunting effects of grief, there just isn't enough here to be compelling. Distressed does what it says on the tin. As an audience member, it is distressing to sit through fifteen-minutes of excellent build-up, only to be afforded no resolution. #NathanialEker

★★ Written by: #MohedsRandomStuff Directed by: #MohedsRandomStuff Starring: #MohedsRandomStuff #Dandroid #LWanimations Film Review by: #ChrisBuick Almost a year after putting an end to Ultron, Tony Stark convinces Bruce Banner (for some reason) to bring the malevolent mechanical maniac back with the hopes of learning from their previous mistakes. But of course, Ultron has other ideas, meaning yet another showdown with Iron Man, Hulk, Thor, Captain America, Hawkeye and... Michelangelo? Now, if you are thinking perhaps you somehow might have missed an entry in the ever-present Marvel Cinematic Universe, fear not. Avengers: Revenge of Ultron is in fact a home-made piece of fan-fiction meant to homage Earth’s Mightiest Heroes, brought to us by YouTube creator Mohed’s Random Stuff (MRS) who himself has enlisted a few creator friends to help along the way in LWanimations and Dandroid. A quick glance at the MRS YouTube channel will instantly confirm a passion for the franchise, and while Avengers: Revenge of Ultron certainly isn’t short of love for it either, what this particular project is ultimately let down by is a lack of structure, planning and to a certain degree, commitment. In terms of plot and premise, the film’s overall idea isn’t actually too bad and there are sporadic moments of ingenuity throughout the films sixty-minute runtime as MRS tries to mix things up with different storytelling methods and camera angles (it even has a post-credit sting), but mostly it is an hour plagued by jarring dialogue, half-backed ideas, sound issues and more. The most glaring issue at play here is that aforementioned dialogue, with MRS and co. making it all up as they go along but without the improv skills to pull it off, meaning there are gulfs of awkward dead space while they struggle to think up what to say next. It also means unfortunately that the film is never really that funny, clever or engaging, only occasionally bringing a chuckle when things start to get a wee bit meta. That poor dialogue is only emphasised by a host of uninspired vocal performances. There is a lack of clarity as to who is speaking at any one time, something which is an unaddressed problem throughout especially in the bigger group pieces. Captain America is the most British he’s ever sounded, with every other voice seeming to land somewhere close to it as well. Of course, it is appreciated that these might not be professional voice actors, but it is not the lack of talent that is the problem but in fact the lack of trying, as any attempt at some distinction between the characters would have perhaps worked better, or at least a script. What does work on a more consistent level is the accompanying score, yes its familiar Marvel fanfare sourced from YouTube but used quite effectively and goes at least a little way to creating the desired illusion of being part of that well-established universe, although it often drowns out some of the underlying dialogue which at times might actually be a bonus. Those expecting something akin to the brilliance of Action League Now! might be disappointed. Avengers: Revenge of Ultron is an obvious passion project that means well and MRS and co. shouldn't be disheartened, but with what looks like a sequel on the way they should know that films like this need a script and better planning at the very least to make us forget the fact that this is just guys playing with figures in a room. #ChrisBuick Watch the trailer here:

★★★★ Directed by: #JeremyMax Starring: #JenFurlong, #ClarkFurlong, #JonJPeterson, #HeatherBoaz Film Review by: Alexandra James Our Son This short film portrays the life of Caroline, a melancholic mother who is coming to terms with the traumatic loss of her 10 year old son. Her husband, Adam, returns after abandoning her for almost a year and becomes this menacing shadow for Caroline. Adam is extremely controlling and even violent, his manipulative behaviour forces her to become this submissive, feeble woman unable to stand up for herself. However, the ghost of her son attempts to warn her that Adam’s presence brings an imminent threat. Our Son was a part of the official selection for Lift-Off Global Network First-Time Filmmaker Sessions 2019, and The Independent Cinema Showcase Summer 2019, an extremely moving piece and highly recommended. Our Son was gripping from start to finish, Jen Furlong who plays Caroline does an incredible job of displaying the characters raw emotion. Her sadness and tears of pain convey the suffering she has endured, as well as projects this feeling of empathy onto the viewers. Her husband, evokes this overwhelming sense of sympathy from the audience by referring to Caroline as ‘weak’ as she expresses her pain. Adam is immediately established as an intimidating and controlling character, almost creepy in some respects as he soon proposes to Caroline whilst she sits in floods of tears over the death of their son. Adam is cold and ignorant to the severity of what has just occurred. However, Jon J Peterson (Adam) is very convincing at creating this ugly character, his persona adds a thrilling aspect to the film and fuels scenes with an element of fear and uncertainty, with the audience unable to predict his actions. The young boy’s ghostly presence looms over the family home, he speaks to his mother about his father and reminds her of his evil side. It is Frankie who gives Caroline the courage to stand up for herself. Although he is a ghost, the boy’s presence is hardly threatening but more a positive omen. Frankie also allows Caroline to relive some of the happy moments she has experienced with her son, creating a heart-warming moment between the two characters allowing her to rewind the clock for a few moments. There were a couple of issues with the editing and the sound. It seemed a little jolty in places and occasionally the sound would end abruptly which worked with some scenes but not all. However, this is a mere minor issue compared with the entirety of the film, as it was enticing and very creative throughout.

Filmmaker Interview by Jason Knight For those who have not seen it yet, what is your animated film Shadowland about? Shadowland deals with the aspects of my favorite subjects: how do we live our lives? What does the near future hold? The film shows the infatuation with cell phones and some of the immediate consequences such as cyber bullying, depression, online shopping, etc. As an intro, the camera zooming in a colorfully illuminated neo-commercial urban cityscape, is the metaphor for a world of fun, a world of consumption, the image of an outside world. As a complementary mood, zombie-like beings appear in black-and-white images, whose faces only reflect the blue glow of the cellphone screens. They communicate within their filter bubble but feel lonely. As a compensation for their inner emptiness, they catch supposed recognition by buying goods. We subordinate ourselves to a system (matrix!) that relies on uncritical, good and obedient consumers. The result leads to consumption junkies as well as a littered planet. The system collapses. Humanity disappears. The crazy figure who controls the people stands for our own weaker self and/or in a broader context-represents our (western) economic and social system. What motivated you to do this film? In a restaurant I watched a couple, each of them immersed on their cellphones. The two didn't speak a word. Basically the relationship seemed to work...but it feels weird and the idea was born. For many people, everyday life without using a cellphone is inconceivable. Twelve years ago there was no smartphone and in this short time a new technology has turned our lives upside down and completely changed our leisure and communication behavior. Our own comfort and the inability to face-to-face communication, reduces our everyday lives to serving a little friend. Senseless consumption of social media cloud our reward system in the brain, which is programmed for recognition, which is compensated by other addictive behaviors (in my film it is a consumption frenzy). Three espressos later I had scribbled some main ideas of Shadowland on a serviette and knew that I would pull this film through to the end, without any big problems in motivation or workflow. What did you find most challenging about the experience? Thanks to the chosen form of a short film (13 minutes running time) the production time of one and a half years (besides my 50% butter and bread job) was relatively manageable, even if the viewer must be aware that the production process contains several alternative versions which were fodder for the bin at the end. Maintaining the motivation was completely problem-free, but the prerequisite was (and is) that I am able to convey the vibes, which I classify as absolutely aptly coherent. At the same time, I am already imagining the music that could set the tone. Finding the fitting tracks of music after the drawing work is for me the most complex part of the entire filmmaking process. Also with regard to my tinnitus, which rages in both ears and completely makes pure hearing impossible. I also need a lot of patience (and coffee). With my 'underpowered' machine, the complete rendering of Shadowland took two full weeks, clippings in proportion to their size. Annoying when a small detail wasn't satisfactory. What do you like most about animation? Acting independently, spontaneous implementation of an idea, the possibility of last minute changes, no discussions. Without a large budget, I am the master of my thoughts. What advice would you give to aspiring animators? Know what kind of animation you are really interested in. For me, driving a story is the nicest and most interesting thing about making animation films. I am less familiar in designing characters like that. S o first you know what you prefer, choose and then work, work, work. Picasso is credited with the following quote: Inspiration does exist, but it must find you working. Be a fighter, follow your dreams...and spend money for a high-powered machine. It is very frustrating when the brain is quicker than your working tool. The correct physical aspect does not necessarily count. the message has to come across (if existing), the vibes have to be felt, the story has to give a ride for the audience. And yes, at some point you have to find your own work successful. Be able to put an end to it, because improvements can be found with every review of the film. What are your plans for the future? I am currently working on a longer short film that deals with the future working world. What do we do when robots do all our work? Not all of us have the skills to program these robots or work in the elderly care or pursue their hobby. The educationally distant and learning-resistant masses must be kept busy and kept calm. It will be essential to be seen whether the model with consumption will work in the future or not. Is there anyone you would particularly like to work with? Not in the field of filmmaking. I love my independence too much. What I can imagine to be extremely interesting is a collaboration with a musician who is developing a score background. Something like dubstep with harp... #JasonKnight

★★★★ Directed by: Sylas Dall Written by: Sylas Dall, Bry Troyer Starring: Mary Madaline Roe, Eden Campbell, Morgan Chandler Film Review by: Darren Tilby Drawing inspiration from the works of Stephen King and paying homage to the likes of The Goonies and Monster Squad, Sylas Dall’s They Reach represents a contemporary and considerably more visceral, yet instantly familiar, take on the horror-adventure films of the 1980s. It is 1979, and after the untimely death of her brother, Jessica Daniels (Mary Madaline Roe), a young social outcast – misunderstood by all but her two best friends, Sam (Morgan Chandler) and Cheddar (Eden Campbell) – living in the small US town of Clarkson, channels her grief into her love of science. But while shopping for components at a second-hand store for her latest science project, she unwittingly comes across a possessed tape player. She releases a demonic entity upon her town, and soon, only Jessica and her friends can save it from becoming a living hell. It is always nice when directors and writers take an old concept and breathe new life into it. By injecting modern social values into a sub-genre of film with largely outdated social values, one can conjure quite a different beast. What we see with They Reach is the mostly male-dominated lead roles and damsel-in-distress attitude towards female characters transposed. For a first-time lead actress (Mary Madaline Roe), Jessica is a substantial, but fantastic role to take on: she is intelligent, loyal, brave and selfless. And while other performances can, occasionally, feel vapid or forced, Mary Madaline excels in the role, and, when combined with the superb supporting performances from Morgan Chandler and Eden Campbell, the trio, and their relationships with one another, provides a solid base upon which the film can flourish. And flourish it most certainly does, for They Reach is a well-written and visually compelling retro horror film. An equal measure of humour and horror is what you will find here, at least in the beginning. However, as things really kick-off, the splattery horror elements take centre stage, and the humorous aspects of it begin to trail off. It can feel a little offish at first, as it takes a little while to re-adjust to the film’s new-found bleakness. But ultimately, it addresses a more mature audience, and I think it works well. James Winters’ cinematography, with its muted colour palette (full of blues and oranges and reds), is extremely pleasing to the eye. Not only will it feel immediately familiar to fans of 80s horror/adventure films, but it also adds atmosphere and character to a movie that could have quickly fallen flat. And as we speak of familiarity, we come to my favourite part of the film: the pop-culture references! Writer/Director Sylas Dall claims there to be ‘542 references tucked into our movie’. Whether you believe this to be wholly true or not is up to you to decide. But the implication remains the same—there is a lot! This is the kind of thing I love about films like They Reach. Searching for, and discovering, new pop-culture references hidden away within its layers will, for me, never get boring. After all, is it not one of the greatest joys in film; being able to re-watch a movie you’ve seen many a time before and still discover something new each time?

★ Directed by: #SaurabhArora Written by: Saurabh Arora Starring: #RashmiArora, #MaheshArora Short Film Review by: Corey Bulloch Dramas built around real events have a fine line to walk, to pay respect to historical accuracy but also to create an engaging film that may have to take liberties to tell the best story. Almost every film based around a historical event or biopic needs to allow for wiggle room but the intention is to allow the audience to experience and empathise with the reality that was lived through. Writer-director Saurabh Arora fails in achieving this with The Article, a short film which follows a journalist’s bravery in reporting abuses committed during the Delhi riots. Investigative journalism which holds the powerful to account has always been a precarious profession with Daphne Caruana Galizia and Jamal Khashoggi’s murders in the last few years being tragic, horrifying examples. Journalists across the globe bravely report against atrocities, representatives to truth and justice but Arora lacks the reverence and respect to this reality to build a film around it. The film feels generic as if the filmmakers hope that the backdrop of the Delhi riots will make it stand out on name alone but it lacks a personal connection. Even the opening of b-roll and figures just makes it seem mundane, the film lacks specifics and doesn’t inform its story around what motivated this violence and destruction. The audience can’t learn or empathise, leaving little interest in the character’s motivations to expose what’s happening. The journalist played by Rashmi Arora’s also lacks character, the script is absent of personality and heart and does little to make The Article a compelling portrait of a moral quest to do the right thing. The pacing doesn’t work as Arora can’t build any tension around the violence of the riots or the journalist’s safety. She is threatened over the phone, has self-doubts on whether to publish but none of it flows together, again the film just feels like a checklist in covering what a journalist goes through in the banalest way possible. There is no emotional connection for the audience; to it’s underwritten characters, to the underdeveloped stakes or to the events that have inspired the film. It’s a hollow story that can’t draw an audience in or keep them invested. The filmmaking also doesn’t immerse as only a few shots Arora creates gives the sense of the dread that the Journalist feels but never capitalises on it. The Article mostly consisting of bland shots of the character typing at a laptop or speaking over the phone. Sound design and performance are also lacking with exposition and motivation being delivered through poorly performed phone conversations, the overly sentimental music that plays over the film doesn’t do Arora any favours. A disappointment in how cynical it seems to be in using actual events and incidents to create an underwhelming and monotonous film. The Article doesn’t highlight and champion the heroism of journalism, Arora may have been well-intentioned in the development of the film but the final product can’t properly recognise the sacrifices of what inspired it. #CoreyBulloch #shortfilm

★★★★ Directed by: Diego Di Iorio Written by: Diego Di Iorio Starring: Charity Rose Film Review by: Jason Knight Darkness can be terrifying! People (especially children) are afraid of what might be hiding within it. Could it be ghosts or horrible monsters? A little girl wakes up in a bedroom, inside a large, darkened house at night time. She hears strange noises and goes to investigate. Things soon turn sinister, as it becomes clear that there is an evil entity living within the house. So many many films have been made about haunted properties and this one will most likely send chills down the viewer's spine! It has all the elements a haunted-house-horror-film needs. The hero is alone inside the house, hearing a variety of strange noises, such as doors screeching, a melody that appears to be generated by a music box, footsteps and the crying of a baby! Apart from the light of the candle that the girl is holding, there is darkness all around her! There are also brief, but petrifying images and a couple of jump scares! The mise-en-scene is very well executed. The clothing and furniture give the impression that this story is taking place in maybe the nineteenth century. The lighting and cinematography are also amazing, creating a very spooky atmosphere! The protagonist, played by Charity Rose, is the only person seen in the film and she delivers a great performance! She is very convincing as an innocent girl, who is by herself in the dark, afraid and breathing heavily. As there is no speech, the audience relies on her face expressions in order to understand her emotions and Rose excels at that! Two of the strongest elements are definitely the sound and music. Along with the darkness, these two are what mostly make Scars such a scary viewing! Throughout the film there are all sorts of strange noises to be heard, whose sources are not revealed, letting the audience wonder whether they are coming from the world of the living or the dead! John Also Bennett makes an outstanding contribution with his frightening music, that creates a feeling of dread and of course supports the jump scares! This is a very dark film. It is so for two reasons: first because of the darkness that dominates from start to finish and secondly due to the terror and suspense that the darkness brings, and it does so very effectively! Scars is a very well made horror film. And like The Blair Witch Project, it proves that films do not need CGI in order to have a significant impact. Whoever watches this film will probably never sleep with the lights off again! #JasonKnight

★★★★ Written and Directed by: #MikeGallant Starring: #AndrewYackel, #ElizabethRuiz, #NoelG and #IrokoAnyogu Short film review by: Brian Penn Life in the future is a fascinating prospect but we naturally assume that human endeavour will find utopia. But it could just as easily be the same old grind where technology simply aggravates our fears and foibles. Terra Beach is a highly literate but disturbing glimpse of what might lie ahead as we land in 2069. The prognosis is bleak as climate change, war and plague have inexorably moved the goalposts. Mitch (Andrew Yackel) returns home on a summer break from his studies abroad. Home is a space colony and abroad is Mars as conventions are turned on their head. The space colony enjoys an infinite summer beneath palm trees but is riddled with ignorance and racism. Mitch meets a young Hispanic girl Dominica (Elizabeth Ruiz) and rescues her from unwanted male attention. This sets off a chain of events that shows how little human nature and society has changed. Dominica and Mitch are themselves saved by an unlikely hero in the vicinity. We imagine the technology that might be around in fifty years and wonder how close the filmmaker gets to the truth. Mike Gallant largely plays safe with inventions that already exist in principle; these are captured with a fair degree of logic and probability. The special effects are well executed but thankfully discreet which give the narrative a chance to breathe without distraction. However, there is one innovation that packs a totally unexpected emotional punch in the closing scenes. It was extraordinarily moving as it delivered a simple but alarmingly effective message. Devices can only take us so far; and should never be substitute for the human touch and presence of people we love. https://vimeo.com/374207944

★★★★★ Written & Directed by: #RadhaBlank Starring: #RadhaBlank, #OswinBenjamin & #PeterKim Film Review by Connor Slatkoff Sharpe As political upheaval and Coronavirus cases sky-rocket across the United States, writer-director Radha Blank reminds viewers that there’s still some beauty left in America with her cinematic love letter to New York City: Forty-Year-Old Version. The American Dream of middle-aged hip-hop artists, Version is a deep exploration of Harlem’s gentrification, a searing commentary on the dangers of the liberal elite, and a moving meditation on the struggles of being an artist without an outlet. Semi-autobiographical, the film follows a partially fictionalized copy of its writer-director as she struggles to find self-acceptance on the eve of her 40th birthday. A successful playwright in her twenties, Radha has struggled over the past decade to find consistent work, and has condemned herself to teaching largely un-willing high-school students the subtleties of playwriting in order to pay off her ever-mounting bills. Discovering an outlet in hip-hop, and a reprieve from the grief she still feels after losing her mother, Radha finds herself stumbling through the world of the Harlem rap-scene. It soon becomes clear to Radha and those around her that she has a gift, but when the chance arises for her to finally step back into the spot-light of playwriting, she must decide between her new-found passion and her past calling. A departure from the traditional sheen and idealistic filmmaking of most Netflix originals, Version is a raw, authentic approach to story-telling with astounding artistic merit. Shot on 35mm black and white film by cinematographer Eric Branco, often using lenses from the 1970s for moments of intimacy in close-quarters, this grainy texture lends grit and authenticity to the streets of New York; streets which are normally bathed in unrealistically pristine hues in cinema. The direction (which earned Blank a Sundance Film award for best direction in a drama) is resoundingly strong and refreshingly unique in its ambitious style. The film feels heavily inspired by Alfonso Cuarón’s Roma, not just in its choice of limited color palate but in the position the camera takes as an intimate onlooker to most scenes. From the backseat of a car, to across the table from our leads, the perspective given by this camera position causes watchers to feel more like an added member of the party, rather than simply an omniscient watcher on the unfolding events. The camera work—while artistically minded and tastefully stylized—never gets in the way of our performers: instead remaining subtly un-cut, with stationary long-shots putting the audience across the table from the characters, rather than circling frantically around them. This direction allows for a far greater emphasis to be placed upon the viewers, becoming their own audience surrogate and finding themselves drawn more personally into the events of the film. Whip-pans are used to great effect, with tense rehearsal scenes having audiences snapping from one side of an arguments to the other, putting them firmly in the cramped studio-space with these actors. There are also strong echoes of Spike Lee’s sensibilities, with the flashing of contextual images across the screen to give further context to the dialogue, similar to what Lee recently experimented with in both Blackkklansman and Da 5 Bloods. These images seem to be often taken from Blank’s real life, giving more weight to the feeling of autobiography and authenticity of her piece. The film perfectly builds-up to the first time Radha fully raps: we see her initial, faltering steps in writing and freestyling her work, not fully knowing what to expect from the final product. This uncertainty lends itself to the utter masterclass in lyricism which Radha eventually puts on for watchers, with a level of social commentary and style which draws comparison to old-school-greats like N.W.A and Wu-Tang Clan. This, paired with brief moments of fourth-wall breaking eye-contact during her set, gives the piece an air of music video flair whenever our lead begins to rap. The script is heart-felt and gentle, not rushing through any beats (pun intended) but instead allowing the audience room to breathe within every scene. Performances match this pace, with largely subtle and honest portrayals of well-rounded characters, especially from the two supporting leads Peter Kim and newcomer Oswin Benjamin. Blank leads the line with her towering, varied and astonishingly truthful performance as her slightly fictionalized-self in the lead role. Subtle use of rhyme is also peppered throughout the script at mostly unassuming times, adding further lyricism to what is already poetic dialogue. The only detriment to the piece is how younger characters are handled and portrayed. While Version seems to be incredibly comfortable in the subtly of its older characters, Radha’s high school students come-off as an abrasive stereotype of New York teenagers in how they abruptly and without warning seem to react in most scenes. While this is most certainly an active choice in direction (and the teenage performances are by no means bad), these characters nevertheless come off as far more shallow versions of their older counterparts. In an interview with Movie Maker Magazine, Blank states that “…it’s been proven to me: my most valuable resource is my community”. This resource is certainly well-taped in Version, documenting and exploring the black Harlem experience of a struggling artist—something which Radha herself has lived through most of her life—in what is a moving and hugely successful work of art. #ConnorSlatkoffSharpe

FRINGE! QUEER FILM & ARTS FEST RETURNS WITH A HYBRID VERSION 10 - 15 November (ONLINE ACROSS THE UK & CINEMAS ACROSS EAST LONDON) This November, Fringe! returns for its tenth edition with a diverse, provocative and political programme of film screenings and events taking place in the festival’s online hub and in selected physical venues. All online screenings will be available across the UK. Founded in 2011 as a community-led response to cuts to arts funding and the detrimental impact on LGBTQIA+ art and cultural production, the festival is committed to celebrating the best in queer filmmaking, from the DIY to the high budget. Fringe! remains entirely volunteer run and not-for-profit, whilst having become a landmark cultural event in London's queer calendar. Highlights Fringe! 2020 opens with No Hard Feelings which follows German-Iranian Parvis as he serves out community service in a German refugee centre where he falls in love with Amon who has fled Iran with his sister Banafshe. The trio spend a glorious summer together in Faraz Shariat’s debut feature which one the Teddy Award for best film at this year’s Berlinale. Closing the festival will be Brazilian coming of age comedy Alice Júnior which sees its titular trans protagonist coming to grips with having to move from the vibrant city of Recife to the country’s conservative Catholic South. In the least likely of places, will she find her crew of misfits, educate the school population, and finds first love, without limits? The festival will also be showcasing more exciting features from Brazil and Germany. The sexually playful and aesthetically tantalising Brazilian drama Dry Wind, bringing together trade unions and neon-lit fellatio, and rebellious road movie Sol Alegria, a wild and radical ride through a dystopian Brazil featuring anus-worshipping, militant nuns worshipping, corrupt priests and unbridled free love. Leonie Krippendorf’s first feature Cocoon is a perfect, tender story of first love and the queer ways in which we open up the world for each other, following 14-year old Nora as she discovers herself over a sun-drenched Berlin summer. Swedish documentary Always Amber will be opening the festival’s online hub. Comprising home video and social media footage of the entire 17 years of Amber's life, this film is a feat of modern storytelling, and a touching record of gender today. Other documentaries of note in this year’s fest are the world premiere of Love + Blood, the first full-length portrait of performance artist Franko B who has unsettled the public for decades, with art made from his trauma and shows in which he bleeds himself. The Art of Fallism documents the protest movement led by Black and POC students at the University of Cape Town in 2015, who decided that the statue of slave trader Cecil Rhodes in the centre entrance to the city’s university must fall. These protests sparked a wave of undoings and anti-colonial actions around the world. As usual the festival keeps it sexy with a number of features and shorts programming shining a light on sexual subcultures and desire. Michelle Handelman’s Bloodsisters: Leather, Dykes and Sadomasochism about the lesbian kink community in 1990s San Francisco receives a 25 anniversary screening, Julia Ostertag’s Female Ejaculation & Other Mysteries of the Universe is a fascinating exploration of the social history of squirting featuring pleasure-icon Annie Sprinkle, Josie Hess & Isabel Peppard’s documentary Morgana charts the life of of its protagonist from unhappy mid-fifties divorcee to queen of alternative queer porn. Special event Piggy in the Middle asks how to fulfil your sexual desires in the middle of a pandemic with the premiere of short film Oink! followed by a discussion including founder of iconic sex club Hard On, Suzie Krueger and multi-award winning adult performer John Thomas. Fringe! boasts a broad array of special events from literary salons, an homage to 90s breakfast TV created by artists Louise Ashcroft and Fritha Jenkins, two online conferences for working class creatives and Black queer filmmakers, Drag Bedtime Stories, Bird La Bird’s queer deep dive into the Elizabethan age and the return of the Love Hub, covering all things sexual health and activism! All this in addition to ten short-film programmes ranging from the experimental to the sexy, and more! Online Festival Hub The majority of festival events will be taking place in Fringe!’s brand-new digital festival hub that will be running from Wednesday 11th November to Sunday 15th November. The hub will be accessible via day passes with ticket prices on a sliding scale. Full programme: https://bit.ly/Fringe2020Programme