★★ Directed by: #SudiptoNag Written by: #SudiptoNag Starring: #SudiptoNag, #MehtabMullick, #Mama, #MoumitaMukherjee Film Review by: Amelia Eilertsen The influence of the arthouse film—grit and realism of sombre everyday life made painstakingly romantic yet drab—bleeds through as the likes of novice emulation in this short film about a director (Sudipto) and his crew following a poor man’s man, Gulla (Mehtab) and his bicycle through the back ends of a city without much direction except to follow along. It’s a film that uses a broad brush to paint broad strokes while trying to pass for faux realism—a kind of reality docu-film, except in trying to capture the essence of films that the director finds inspiring, like Spike Jonez’s Her and Jafar Panahi’s Closed Curtain, without the passion to carry the project forward, the nuances of narrative purpose and direction are lost to the people behind—and in front of—the camera (this in itself, is a narrative direction). Gulla Ebong Gullar Ghora presents itself as a meta-narrative film about filmmaking while also catching a glimpse of the protagonist’s struggle in finding employment and, subsequently, how the world views employment as the crux of meaningful direction in life. The choice to shoot the ‘film’ aspects in black and white, and the 'filmmaking' aspects of the film in colour, helps distinguish between which sides of the docu-film we’re witnessing, but sadly, it also detracts from the beautifully deep contrasts and almost timeless feel of the black and white filter. Aimlessness, in terms of both Gulla’s drive in life and the film’s lack of chosen direction, makes for palpable thematic elements which help bolster each other to newer, much more visceral heights. And that is where the film shines; in reflecting the protagonist’s listless disposition with the film's lack of an overall arc. Gulla doesn’t understand the appeal of following a regular man (himself) around town with a camera, the only acting he’s given is not to act, but simply do. It is this interesting contrast between a man trying to understand what type of people—from which class and background—would waste their time making art films when, as he states, more people would rather watch ‘porn’ than the film he’s in. These observations of character turn this film into a culture study as well as a meta-narrative. It showcases the landscape and people while moving around as aimlessly as Gulla. The problem then stems from the fact that the film tries to do too much with limited time, like the jarring music sequence; or the detracting colour shots of the narrative on the filmmaking process. Gulla Ebong Gullar Ghora may not be a masterpiece, but it is an intriguing window into the minds of the ‘lost generation’.

★★★★ Stars Directed by: #SeanBlacknell, #WayneWalsh Written by: #SeanBlacknell, #WayneWalsh Starring: #DavidGraeber, #DianeCoyle, #ChrisGoulden, #BarbJacobson, #SteveBottrill Film Review by: Alicia Moore The Cost of Living is a documentary, written by Sean Blacknell and Wayne Walsh, which explores the idea of a basic income being implemented in the United Kingdom and if it has the capability of remedying the current socio-economic state of Britain. The overall writing of this documentary is absolutely wonderful, possessing many lines that strike the heart and heighten the senses. This film came to me as a wake up call as the in-depth information provided to audience members isn’t necessarily something that one would hear from news services on a daily basis. No one is blind to the increase in poverty and homelessness in the U.K. but, without the solid facts stated by professionals like the individuals in this film, it is difficult to understand why such an increase is occurring and, in turn, difficult to find ways to take action. The Cost of Living covers all bases in regards to the idea of a basic income, as well as invokes immense feelings of empathy – especially through the short narrations between interviews linking to the topic. “Survival, at the very least, shouldn’t have a price tag.” The contrast between newly recorded interviews and the input of dated film and advertising footage is tremendous; it holds a lot more meaning than what initially meets the eye. An estimated 14.3 million people in Britain are in poverty; these rates fell following 2010 after the recovery from the financial crisis, but statistics show that those rates are rising once again. In 1979, around only 14% of the British population lived in poverty, showing just how much the older images mean in the context of this documentary. We are slowly slipping back in time, to the beginning of the 1900s, when poverty became so drastic that the Welfare State was introduced to aid lives. A very current and growing problem isn’t always black and white, but the images shown of the history that our population is starting to echo definitely are. British citizens are the centre of the conversation surrounding a basic income so to have a diverse inclusion of members of the public speak about the issue, alongside other professionals closely connected with the situation, brings expansive character to the documentary in its entirety. This makes audience members feel vastly included within the discussion, appealing to them directly but also in an ‘indirect’ sense through these interviewees. This choice gives viewers a chance to form their own views on the topic throughout the film, helped created by tactile counter arguments being voiced by all participants, as well as giving them a truthful insight into some of the public’s already formed views on the matter. With a wide range of perspectives, personal and factual opinions and mountains of credible knowledge, the Cost of Living is an incredibly insightful and brilliantly made documentary. Many individuals from across the globe can learn a lot about the current socio-economic status of Britain from this, as well as what may be held in the future for the country. This documentary is a must watch for those who want to understand more of the situation; it provides a great sense of drive to work towards a better tomorrow and thereafter.

★★ Directed by #DamienLeVeck Written by #DamienLeVeck Starring #RyanGuzman #KyleGallner Film Review by Hope Madden Almost a decade ago, Colin Minihan and Stuart Ortiz locked a couple of fraudulent online “ghost hunters” inside an abandoned hospital in the entertaining flick Grave Encounters. It wasn’t the best “supernatural huckster faces honest demonic peril” film of that year—that award goes to Daniel Stamm’s impeccably cast The Last Exorcism. So, fast forward about a decade and writer/director Damien LeVeck (that is a horror name, my friends) gives us a mash up of both of those movies. The Cleansing Hour is actually a full-length version of his 2016 short of the same name. In the feature, boyhood friends Max (Ryan Guzman) and Drew (Kyle Gallner) use what they remember of their Catholic school days to fake weekly online exorcisms. Star of the show Max is a hottie and a bit of a d-bag. Dressed like a priest, he’s in it for the fame and groupies, or as he likes to call them, disciples. Drew is the brains behind the operation. But they’ve hit a plateau. Their viewership isn’t growing as fast as they’d like. Maybe Max is looking at other opportunities. Maybe Drew should just marry longtime girlfriend Lane (Alix Angelis) and get an honest job. Or maybe a real demon will show up for their next episode. LeVeck and crew mine that oh-so-Catholic nightmare of shame and confession well. Performances are fine, Guzman’s pretty, but there’s so little new being said here that the film grows tedious long before its 95 minute run is up. The Cleansing Hour plays too much like a film made by someone who’s seen a lot of horror movies but lacks an original voice. Storylines fall back, not on primal scares or universal areas of dread, but on ideas from other movies. LeVeck’s film offers a few speeches concerning the evils of the Catholic church (nothing inspired or vital, mainly obvious and hollow), points to our unholy dependence on technology, and shows anxiety about how tech both connects us and brings out the worst in us. Also, an ugly voice comes out of a pretty face. Familiar stuff, that. Most problematic (but least surprising) is the twist ending that’s so tired by this point, the idea was just mocked in another horror movie that opened last week. There’s nothing awful about The Cleansing Hour. It is perfectly serviceable low budget horror. You could watch it. Or you could find any one of the movies it steals from instead. #HopeMadden

★★★★ Directed by: Evan Bergman Written by: Hamza Khan Starring: Lohrasp Kansara, Maria Castillo Film Review by: Jason Knight What goes through a person's mind while they are literally trying to save the life of a loved one? This tragic story stars Lohrasp Kansara and Maria Castillo as a couple who appear to be happy together. Abraham (Kansara) is a successful businessman and Libby (Castillo) is a teacher with ambitions. However he returns home one day to find her lying on the floor. She has taken an overdose of pills. As he frantically tries to revive her, he begins to see hallucinations of himself as a third person. The hallucination represents his conscience and he explains to the real him that this is all his fault. The main focus is Abraham holding Libby in his arms, trying to save her life and comprehend why she decided to take such an action. A series of flashbacks provides answers regarding the couple's past happiness and how later they began having differences and he was ignoring her when she was feeling unwell and sad. His conscience tells Abraham that it was his indifference towards her that led to the present situation. The performances are very good. Kansara is very convincing as an optimistic man who is determined to succeed. Unfortunately he is also ignorant and does not seem to care about other people's problems. However is clear that he deeply cares about his girlfriend, as he cuddles her and weeps. Castillo is equally impressive as a well-meaning and intelligent person, who sees things that her boyfriend does not. One must not overlook the beautiful piano music, a great contribution by Yasmine Jhabvala. Day Zero is a sad film and it is rather distressing watching Libby as she slips away in Abraham's arms. But it is with this scene that the viewer sees the devastating consequences of ignorance. It is must be acknowledged that the film ends with a message asking people to seek help if they are experiencing mental and/or substance use disorders. With this in mind, Day Zero can be perceived as a warning that if one has such issues then they should never go through it alone and the people around them must reach out to them. Watch the full movie below: #JasonKnight

★★★ Directed by: Mike Morelli Written by: Mike Morelli Starring: Johnny Smith, Erica Nicole Rothman, Timothy Paul Chivalette, Timothy Day Slisky Film Review by: Jason Knight The title is a little provocative isn't it? It gives the impression that this feature contains material that is likely to offend. Does it then? Absolutely! The title describes the protagonist and many of the supporting characters rather accurately! So what is the plot of Mike Morelli's outrageous dark comedy? Jordan (Smith) is a lazy, aimless young man, whose biggest pleasure seems to be 'chenko', a drug he is addicted to. He lives with his father (Slisky), who watches porn and is himself addicted to other substances. He also has a baby living in his house, who he fathered with his girlfriend Janee (Rothman), who works at a hair salon. The story takes place over the course of a day and basically follows Jordan as he gets himself into rather...awkward situations, while desperately trying to get his hands on more and more chenko. Just how offensive is Sh*thead? It is full of eccentric characters, who between them behave in the most irresponsible, grotesque and violent ways possible. To give a couple of examples: in one sequence, Jordan's friend Harvey (Chivalette) places his foot inside a toilet and in another a woman gives birth in a rather unconventional manner! There is also a police officer who prefers the use of his gun and baton in order to uphold the law! The protagonists are hardly likeable (with the exception of Janee) and the 'F' word is heard quite often and the same goes for the word 'chenko'. This film certainly does not pull many punches in its ability to shock and disgust! Watching this movie is like watching a very long music video! It was shot and edited in a frenzied style, features animation and the cinematography almost gives the impression that it was filmed decades ago. It is filled with various awkward camera angles and the soundtrack is interesting and amusing. The viewer will also find themselves quite often looking at the closeup of a television screen, showing all sorts of crazy stuff. Praise should go to a scene towards the end, where Jordan is floating in space. The effects and animations in that sequence are truly pleasing to the eye. The performances are 'not exactly great' but good enough none the less. Again excluding Rothman (who portrays a decent person), it would be fair to say that the actors do a good job in appearing rude, angry, stupid and under the influence of grugs. This film does not take itself too seriously, therefore the goofy acting adds to the film's crazy content. This movie could be interpreted as a satirical view on drug addiction. From start to finish people are constantly taking drugs or are planning to. The film also touches the issue of police brutality in the from of the violent police man. To summarize, what kind of film is Sh*thead and who would enjoy it? Due to its drug content it bears similarities to Trainspotting (1996) and Spun (2002), therefore whoever fancies movies of that nature or are looking to spent one hundred minutes watching a movie that consists of drugs, profanity, toilet humour, plenty of blood and violence and a variety of obnoxious and disgusting characters, then they should definetely give it a go! If not then they better stay away! #JasonKnight

Runtime: 94 mins Directed by: John C. Lyons, Dorota Swies Starring: Adrienne Barbeau, Marc Blucas Grimmfest Feature by: Darren Tilby Synopsis: Relationships are strained between two neighbouring farm families when one of them chooses to lease their land to a gas company. In the midst of growing tension, the land is drilled, and something long-dormant and terrifying, deep beneath the earth’s surface, is released. Grimmfest say: Two impoverished Midwestern farming families, slowly imploding under the weight of failing businesses, a sinister fracking company offering a Faustian bargain... The stage seems set for one of those Oscar-bait social realist dramas about a community being destroyed by an unscrupulous corporation with no regard for environmental issues – something in the manner of A CIVIL ACTION or DARK WATERS. And initially, that's how it plays. The filmmakers spend time carefully setting up the various family tensions, and creating a sympathetic and credible cast of characters. Then, with the arrival of the frackers, the slyly named “Patriot Explorations”, things start to take on a more ominous tone. Initially, the ill-effects seem grounded entirely in reality, a poisoning of the water table, the release of choking fumes into the air, and then, suddenly, startlingly, the tone shifts from Sam Shepard to H.P. Lovecraft, as the full horror of what has been unleashed by the drilling is revealed. Beautifully shot, with a real feel for landscape, location and community, nuanced and detailed characterisation, naturalistic dialogue, and strong performances all round, this is an emotionally engaging and genuinely unsettling, subtle and low-key; the gradually encroaching horrors all the more disturbing because the context is so well-drawn and authentic. Nice to see Adrienne Barbeau given a role she can get her teeth into, too, rather than the usual cameo, trading on her horror icon status. What I'm Expecting: I'm a big fan of H.P. Lovecraft. So the thought of a social-political drama with a Lovecraftian underbelly is an incredibly exciting prospect for me. Other than that, though, I'm really not sure what to expect... A weird combination of The Host's pondering of environmental issues, the social-realism of Erin Brockovich and the inter-family feuding and isolated Midwestern locations that are so prevalent in Western films, perhaps? Regardless, colour me intrigued!

Runtime: 94 mins Directed by: Martin Guigui Starring: Natasha Henstridge, Lance Henriksen, Adam Beach, Chris Browning, Elijah Nelson Grimmfest Feature by: Darren Tilby Synopsis: A botched faith healing bestows supernatural Shaman powers on a bullied teenager. When his lifelong tormentors pull a prank that kills someone he loves, he uses his powers for revenge and goes on a bloody rampage to settle the score... Grimmfest say: It's a popular scenario for a horror movie, of course, one which has turned up in many different forms over the years, from Stephen King's CHRISTINE, to last year's Grimmfest hit, THE SHED: the put-upon outsider teen suddenly granted the power to take vengeance on his bullies, and corrupted in the process. But as the title suggests, THE UNHEALER offers an intriguingly fresh new spin: the power here is that of reflecting violence back on the perpetrator, so the fates of the various bullies are determined in part by the extent of their own cruelty, lending the proceedings, at least at first, an uncomfortably poetic sense of justice. Boasting some sharp and sly social observation, plenty of intriguing and offbeat character detail, a fine eye and ear for run-down small-town locations, attitudes and values, and an unexpectedly vicious streak, and featuring a sympathetic and winning lead in Elijah Nelson, and fine supporting turns from Natasha Henstridge as his defiant and supportive single mother and the inimitable Lance Henrikson as a sleazy, drink-and-drug-addled bogus faith healer straight out of the pages of a Joe R. Lansdale novel, this is a satisfyingly smart and surprisingly sour take on a perennially popular horror trope. What I'm Expecting: When a bullied misfit teen suddenly has shamanistic powers bestowed upon him, there can only be one logical outcome: the rapid and gruesome demise of his school bullies. The Unhealer, I'd imagine, will be the antithesis to the superhero movie; a twisted tale of morality and righteousness, perhaps with religious overtones and, of course, a distinctly nasty side. Either way, it's always nice to see Natasha Henstridge, Lance Henriksen and Adam Beach on screen, and I look forward to seeing what Elijah Nelson and Kayla Carlson, two young actors that I'm unfamiliar with, bring to their roles.

★★★★ Directed by: Kevin Cappiello Written by: Kevin Cappiello Starring: Brooklyn Allan Film Review by: Jason Knight Here is a clever little horror film, one that is bound to send a chill down the viewer's spine and make them look over their shoulder! A young woman works as a live streamer. She is in her darkened bedroom, playing games on her computer, being filmed by a webcam and other people are sending their comments to her, while she speaks through a microphone. She then receives an invitation by an unknown person to play a game called 'Black Orchid Challenge'. She accepts and things quickly turn sinister. The film is shown entirely through the webcam's vision of her inside her room and through her point of view as she looks at her computer screen and interacts with it. The woman is the only person seen in the film. The comments that other online users send to her appear on the screen and there are also effective uses of the split-screen technique. Generally, the film was made in such a way that it feels like the viewer is watching a regular streamer from their own computer. The film starts off innocently but it does not take long for the tension and suspense to build up. Once the heroine has decided to take part in that bizarre challenge, things rapidly turn into a nightmare. She sees terrifying drawings on the screen and strange occurrences take place inside her apartment! While all this is happening, other people are sending messages, trying to warn her! All these events create a nail-biting experience that does not lose its grip, right until the heart-stopping ending! As the main lead, Allan delivers a believable performance as a logical, cautious, down-to-earth individual who refuses to believe that her life might be in danger. Credit should also go to Sergio Kalisiak's artwork. The creepy drawings do a great job in giving the audience the creeps and informing them that things are about to get bad! And the beautifully animated sequence at the very beginning adds a great value. To conclude, if one is looking for a frightening, four-minute experience, then this well made horror story is definitely worth checking out! It is unlikely you will ever stay by yourself in a dark room again! #JasonKnight

★★★ Directed by #Veena Sud Written by #VeenaSud #SebastianKo #Marcus Seibert Starring #JoeyKing #PeterSarsgaard #MireilleEnos Film Review by Hope Madden Kids are stupid. There may be no more universally accurate sentence. But parents? Dumb and dumber. Writer/director Veena Sud retools the 2015 German film Wir Monster with a great cast, compelling complications, and that same awful truth. Kayla (Joey King) is not very popular, not very happy about her parents’ separation, and not at all excited for this weekend-long ballet retreat. When she sees her bestie Brittany (Devery Jacobs) at the bus stop and convinces Dad (Peter Sarsgaard) to pick her up, things turn ugly. There are any number of “how far would you go to protect your potentially evil kid?” movies—some great (Luce), some less so (Prodigy). What sets this one apart is mainly the cast, plus a somewhat sly delivery. Sarsgaard is wonderful, as always. He’s one of the most reliable actors working today, and he finds a way to humanize every character, add a bit of depth and some curious moral complexity. He certainly does that here, and with Mireille Enos (playing Kayla’s mom) as sparring partner, a great deal of backstory is communicated without being overtly detailed. King, a veteran weepy horror protagonist, delivers a clever performance as someone you’re honestly never certain about. Unlike trainwrecks such as Brahms: The Boy II, The Lie knows why the character should be so hard to pin down, and that reason is not a gimmick. It’s integral to the story. That story is sharply told, even if there are moments that leave you scratching your head. The police presence is something out of a TV drama, and not a very good one. But when all eyes are on this family dynamic, The Lie is often riveting stuff. The film is far more family drama/thriller than horror, but Blumhouse could do worse than introduce its Welcome to Blumhouse program on Amazon with this solidly crafted, impressively acted film. #HopeMadden

★★ Directed by: #RicardoFranciscoFernandez Film review by: Brian Penn Ever keen to approach any film with an open mind, I was not deterred by the narrative for this film. Blort Night for Power is a sci-fi horror cartoon about a homeless, unemployed game creator who gets abducted by two vindictive extra-terrestrials. They use her to destroy their enemies, the exotically dubbed Aehzuki De Annihilation, her husband Joand and the Zsaultaran Federation of Universal Love. A mix of genres created on an Ipad Pro is a challenge for the film maker and viewer. Nevertheless, technology in film will always have its place, provided the essence of good storytelling is not compromised. However, whilst the graphics are skilfully constructed the characters are deeply irritating and soon begin to grate. The game creator bears an uncanny resemblance to Carla, Captain Kremmen’s side kick in the glorious 1970s cartoon created by Kenny Everett. If you’re too young to remember cuddly Ken you might enjoy this film a lot more. Otherwise, this feels like an overblown, overlong computer game that really belongs on PlayStation. At 93 minutes the film is twice as long as it should be. To sit through artificially generated visuals for that length of time is a huge ask. The film tries hard to be funny but just assumes a smattering of profanity will do the job. The narrative makes one essential point about the computer game industry; an idea will only work if it portrays death and destruction with a suitable body count. But that in itself is hardly an earth shattering conclusion. It is surprising the film is a prequel which clearly indicates a degree of success for the brand. So ultimately ticks the bottom line because people must like it. But from a personal viewpoint I really can’t see why?

★★★ Directed by: #SourbhDoke Written by: Sourbh Doke Starring: #AshishBisht, #SanjayBalote, Sourbh Doke Film Review by: Amelia Eilertsen The first thing that stands out—and to an extent, causes a schism between emersion and the aesthetic eye—is obviously the budget. ‘Cheap production’ is an ugly term when dealing with independent films, it implies that the quality is lacking, so I will forgo using it. Instead, I’ll use the term ‘ambitious’. There is more to a film than the mise-en-scene or steady cam work. And despite the amateurish acting, and the technical aspects of sound design and lighting not being the film’s strong points, ‘The Guilty’ makes for a great think piece. The plot seems straight forward: a businessman, named Neeraj (portrayed by Ashish Bisht), who has the luxury of affording a commodity that many need for survival (water), gets imprisoned together with the lower-class, minimum wage water transporter he bribed, Gautam (portrayed by Sanjay Balote). The stakes are raised when they are each given a limited supply of water to last the month while in incarceration. It’s the classic two-survivors-one-bullet conundrum, but with social commentary to boot. Water becomes a character all its own as it juggles the roles of priceless commodity, eco-centric narrative device, tension builder, and survival tool. Greed, thereafter, becomes the second greater presence. So, when the expected happens, and Neeraj, the wealthy man who feels undeserving of being imprisoned for as ‘small’ a crime as taking only 20litres more than his permit agreed to, begins stealing from fellow cellmate Gautam’s water bottle, we aren’t surprised. Neither are we surprised when he accidentally kills Gautam in ‘self-defence’ knowing that it was his greed that pushed Gautam to violence; or the fact he had connections in high enough places to get him released from incarceration—a play never in Gautam’s cards. Rather, it is the film’s discourse around the nature of crime that piques interest. Crime has many ties to go with its shirts—whether blue-collar or white-collar. ‘The Guilty’ asks which character is guilty of the greater crime: is it the father wanting nothing short of the best for his daughter’s wedding—turning a blind eye to the consequences that could arise from his selfishness; or the father-to-be who was tempted into thinking he could provide a more comfortable life for his unborn child if he turned a blind eye? It’s a domino effect. If the first domino doesn’t topple, the last won’t fall, but that doesn’t mean a wind can’t stir between either end. Intent and execution may not be on equal playing fields, but writer-director Sourbh Doke gives audiences plenty of food for thought about today’s society, man’s sense of self-deserved privilege, and classist institutions. In this case, ‘The Guilty’ is a strong reminder that first impressions can sometimes be outdone by the last.

★★★★★ Directed by: #MarnieBaxter #NicolaStuartHill Written by: #MarnieBaxter #NicolaStuartHill Starring: #MarnieBaxter #NicolaStuartHill Film review by: William Hemingway Kids, ugh! Who'd have 'em? They're noisy, they smell and you can't get away from them. Then, when they've grown up a little, and they're at that age when they're constantly at one another, and they won't leave each other alone, wouldn't it be nice to just give them to someone else to look after, maybe just for an afternoon, so that you can relax and have time for yourself and maybe, just maybe, hear yourself think. Grace (Baxter) is a single mum who could really do with a day off. However, without any family support, she decides on a day out instead. A change is meant to be as good as a rest, right? So she heads to the beach with her two little darlings in search of some relaxation, or some fun, or at the very least a change of scenery. There she unexpectedly meets Jenny (Stuart-Hill), a single mum with two of her own, who seems on the outside at least, to be keeping things together just that little bit better. Jenny certainly appears to be better prepared for her day out at the beach; Her children have got tools for digging and making sandcastles, she's got a bin-bag so she can feel comfortable kneeling on the sand, she even has sweets which can be shared around. Anybody might think that she was showing off with her mothering skills in a 'look at me, I could run a website or a blog about this' kind of way. Thankfully she labels some of the other mothers in the area as kind of 'judgy' and Grace begins to feel more comfortable in her new found friend's company. The kids too, are getting on like a house on fire, so when the complicated issue of fish and chips rears its ugly head, and Jenny mentions that she has no money, is it any wonder that Grace agrees to leave her children momentarily, with someone who seems kind and caring and a kindred spirit, while she heads off for five minutes in search of a few bags of chips? This dilemma, at the crux of the film, digs deep into the notion of what motherhood means in today's world. Gone are the times when you could throw your children out of the house in the morning and expect them to come home dirty, tired and happy at the end of the day. Does the decision to leave her children alone, let them out of her sight, even for one single moment, instinctively make her a Bad Mother? We watch the fallout of Grace's decision as the film unfolds, told with incredible nuance and an honest reality that really hits home to the heart of the matter. The acting is superb, on all counts, and you can tell that the emotions conveyed on screen are being drawn from real, personal experiences. The script, too, shows a clear insight into the minds of parents and children, to a large extent between the sparring of the siblings, but mostly through the need for connection amongst the adults and the willingness to believe in the kinship of shared circumstance. The sound editing works wonders on the sparseness of the beach with the crashing of the waves being both calming and threatening depending on at which point you listen to them, and the direction with its mix of close-ups and long shots keeps us guessing as to whether we should let others near or hold them at a distance. It is a credit to the film-makers that the whole situation feels entirely real throughout. The way the children interact, the small intricacies of character, the rubber-banding of trust and scepticism, all serve to draw the viewer into the situation and really involve themselves in the undertakings on that empty beach. When a bin-bag can take on its own story and change character and intent dramatically throughout the course of ten minutes, and two young girls can shift from pop starlets to Kubrick horror twins within the same period, you know you are dealing with something special. The questions posed by Bad Mother will stay with me for a long time to come and I can't even comprehend how things might appear from a mum's point of view. Watch it, share it, talk about it, be okay with it, or not, but either way we can all learn from observing a Bad Mother.