★★★ Directed by: #BrianPatrickButler Written by: Brian Patrick Butler Starring: #NickYoung, #AlexandraSlade, #MichaelCBurgess, #KathyrnScott Indie Film Review by: Corey Bulloch The post-apocalyptic dystopias that cinema can offer us feel a little less fictional these days, with deadly diseases and isolation becoming unfortunate regulars in our daily lives this year. However, with Friend of the World, writer-director Brian Patrick Butler just treads familiar ground with an unsubtle script keen to pontificate and world-building that leaves more confusion than intrigue. With engaging production design and performances, not all is lost though the film does meander through its thematic presentation with Butler’s direction lacking a clear focus. Following young filmmaker Diane Keaton (no relation) who in the wake of a devastating war finds herself in an underground bunker with the ultra-conservative, patriotic, paranoid General Gore, they both have to rely on each other to escape and survive the horrors of this new world. While Nick Young and Alexandra Slade bring their characters to life with charisma and acerbic tension, the issues with the characters go back to the script. Butler’s writing has them always feel like caricatures rather than characters despite the best efforts from the cast. Young’s performance is captivating as Gore chews the scenery with glee, his character reminiscent of a more unhinged Jack D. Ripper from Dr. Strangelove. Though his monologuing always seems distracted from the world the film is trying to build, grandstanding for the audience’s amusement. Slade is more grounded, with her rationale and refusal to take any of Gore’s shit but most of their scenes feel like Butler playing out ideological debates than actual character development. It’s conservatism vs liberalism, the generational gap between Keaton and Gore butting heads with Gore’s vulgar attitudes towards Keaton’s lesbian romance and experimental filmmaking. Keaton’s mutual disgust with Gore’s doomsday ideology but their arguments and physical threats to one another lack a real tension, both caught in this cultural projection and it’s difficult to get invested in the personal stakes of the story. Presentation-wise Friend of the World has its gripping moments, with the “zombies” of the film’s method of infection being disturbing and effective. Flesh merging against each other, C.J. Martinez’s makeup work on the film is stellar and makes the lore of this world come to life. Hallucinations and bizarre developments create some jarring tonal shifts but while the script fails to make sense of the film’s questions, the visuals provided are entertaining. Cinematographer Ray Gallardo keeps the action beneath the earth in black and white, with excellent use of lighting and visually crafting the morally dubious landscape the characters inhabit. The bunker seen throughout the film isn’t just the same dark hallway shot from different angles, there is a variety to Gore and Keaton’s journey though it still lacks a memorable personality. It feels that the strange happenings in the film occur just for the visual rather than to advance the characters despite remaining focused on Keaton and Gore for the majority of the runtime. There are plenty of elements at play in Friend of the World, some engaging and some banal but Butler can’t harmonise this into something worthwhile. Young’s performance keeps the film from becoming boring but you’re left with so few answers to the film’s constant ambiguity that it’s hard for the audience to maintain invested interest. #CoreyBulloch #Indiefilm

★★★★ Stars Directed by: #JamieSims Written by: #SamUnderwood Starring: #ValorieCurry, #SamUnderwood, #CalvinMThompson Film Review by: Alicia Moore ’A visceral and urgent reimagining of one of Shakespeare’s tragic love stories. Two people, both pushed to their own limits whilst trying to hold on desperately to each other, discover that love, too, can be just as destructive.’ Ophelia is a short film based on William Shakespeare’s Hamlet, capturing the same features of the story but with a more modernised twist to the visions expressed. It is a film that is entirely beautiful – beauty comes in many forms and this short seems to encapsulate a range of those different forms; the beauty in love, the beauty in the struggle of love, the beauty in an aching heart. Hamlet presents the same range of forms which has then translated brilliantly into Ophelia. Acting by Valorie Curry (Ophelia) and Sam Underwood (Hamlet) immediately strikes audiences with powerful emotion oozing from each scene. The onscreen chemistry between the two actors is spectacular; although a lot can be said with force through words, their presence next to each other simply speaks volumes. There is so much tension between the two characters, whether as a viewer you can feel it as negative or positive energy, and it is so strong that you almost expect to see a clear ball of tension personified between their bodies. Linking with this, both Curry and Underwood’s eyes put forward the character’s emotions with great passion. I adore seeing an entire world in the eyes of actors as they delve into their character’s lives and this short film may become one of my strongest examples to use when explaining the concept. Eyes are the window to the soul… even if that soul is a second of yours, seated next to your true form. The musical score, by Fredrick Lloyd, has a soft stance within this film. The soothing sounds appear calm when listened to on their own, isolated from the knowledge of the unfolding story, but in the context of the scenes the score used is wonderfully transformed into sounds of black and white – music that calms the body but ignites the thoughts that have been stored in the small, dark box at the back of the brain. As well as the music itself being an element of beauty, the scenes where no music is played pulls the underlying tension even tighter. The quiet breathing and shuffling of only the characters enhances each emotion being portrayed, it is a gracefully overwhelming experience. The film travels in a cyclic process, starting the same way it finishes – with tears and choked words. The same frame is used to start and to finish which pushes forward the reoccurring theme of destruction and breaking limits; the unfortunate yet predictable repetition of sobs while both hearts are still securely attached is made obvious with this flowing process. Ophelia is overall a fantastically made short film with highly intriguing aspects to be praised throughout its duration. From the direction (Jamie Sims) to the cinematography (David Tuttman) in its own separate light, it is a short that possesses prominent talent. If you are looking for a short film that is bursting with a mixture of fierce and tender emotion then this is definitely the one for you.

★★★★ Directed by #SophiaNahliAllison Starring #ShineseHarlins, #TybieOBard, #RaiganAlex Film Review by Amber Jackson A Love Song for Latasha is an experimental short documentary new to Netflix concerning the murder of Latasha Harlins. Latasha was a fifteen-year-old girl who was shot in a local shop over a $1.79 carton of orange juice in 1991. The event shocked local residents in Los Angeles and prompted the 1992 LA riots, but unfortunately the incident was overlooked by the majority at the time. Sophia Nahli Allison has directed this nineteen-minute film with those that were close to Latasha to create a lasting tribute for her. The film certainly does well to memorialise Latasha in the way that she should have been remembered. We hear personal accounts from best friend Tybie O'Bard and cousin Shinese Harlins (in the film as themselves) talking about Latasha’s potential and how all the promise that she had was ripped away. Hearing about what she could have been highlights how important it is to keep her memory alive. It is this poignancy of memory that makes this film great; Latasha is celebrated by those who knew her as kind and clever and this tribute is now available for a global audience to honour Latasha’s memory. Each scene certainly makes it feel like more of an intimate watch. Hard-hitting memories of the event shared by Tybie and Shinese, along with shots of teenage girls staring at the camera makes it intrusive for the audience. Most powerfully, we are asked to listen and remember. Certain shots played backwards is jarring and gives the impression that the film is trying to go back in time and recreate what happened so that the audience can bear witness. The animations and digital drawings edited amongst this makes the retelling more chilling as the audience cannot see the reality of the incident. This excellent film editing was much more effective than the use of acting and the film is turned into a greater tribute for Latasha. In the UK, we have not heard much about Latasha’s story when we should have. This documentary uses a focus on personal narrative for impact; those in the film talk about who she was as an individual, which immortalises her. It also uses these words to comment on the social issue of why murders like Latasha’s have become acceptable within society and have not received the justice and social awareness that they deserve. Latasha’s death was one of the catalysts for the 1992 LA riots, ultimately because no justice was served. The film informs us at the end that shop owner Soon Ja Du did not go to prison for fatally shooting Latasha, despite acting intentionally. What is poignant about this documentary coming to Netflix at this time is that we are still seeing situations like this replicated in the US, like Breonna Taylor’s murderers not being charged. A film like this is incredibly important in spreading awareness and bringing people together not only to remember, but to continue to protest. A Love Song for Latasha is a beautiful memorial for Latasha Harlins. It is also a reminder and a message to continue to fight injustice in the twenty-first-century. Tybie and Shinese are setting up The Latasha Harlins Justice Committee to remind others that, despite Latasha’s story being overshadowed in the media at the time, the people of LA remember what happened and will continue to spread her story. This documentary short is on Netflix UK now and is a must-watch. #AmberJackson

★★ Directed by: #DebajyotiGhosh Written by: #DebajyotiGhosh Starring: #PoulamiDatta, #TapasChakraborty, #PratyayBasu Film Review by Anna Martin An old man tiptoes to the kitchen in search of a snack, trying not to disturb his daughter-in-law who lounges in the adjoining room. Face in the open fridge, his plan is rumbled. The young woman (Poulami Datta) lets him know who’s the boss of the house (it’s not him), which does not go down well with the old man (Tapas Chakraborty). It is the ensuing emotional crisis that causes the titular lock-jaw, which the warring pair set about remedying with the help of a reluctant dentist friend (Pratyay Basu). The film is adapted by writer and director Debajyoti Ghosh from an unspecified short story by the celebrated Indian poet and writer Banaphul, also known as Balai Chand Mukhopadhyay. There are, we can imagine, worlds of depth and nuance in the story that have sadly not translated well here, and this film needed more of everything thrown at it to have much impact at all. The performances are charming enough for the stereotypes of age and gender they put forward - the domineering young woman of leisure and the dethroned patriarch - but the characters are lacking in depth, and it’s a shame that the subject of the shifting family unit is not explored further or more explicitly in the writing. The film’s YouTube entry describes this film as a comedy and there is humour here: the wildly over-the-top distress of the old man is presented in slow motion with epic music to surreal effect, firmly placing this character as the joke of the piece. Indeed, well-placed music throughout creates some tension and drama, as well as comedy, that is lacking in other areas of the production. The camera work is shaky, but this is a low budget piece which may be filmed – as with other Debajyoti Ghosh films – entirely on a smartphone, and there is some interesting editing which sets the pace of the action. What really lets the film down are the subtitles which are grammatically all over the place, leaking impact with every typo, and take some deciphering from the viewer. Ultimately, the end of the film sets up the story that never was: all the tension and humour that could have been unspooled along the way has been wasted, and the big reveal that we never knew we were waiting for does not have the impact it should. At least it’s a happy ending!

Runtime: 90 mins Directed by: Alastair Orr Starring: Liesl Ahlers, Sean Cameron Michael, Reine Swart Grimmfest Feature by: Darren Tilby Synopsis: Friendships are put to the test when nine former classmates on a reunion camping trip awake to find they're locked into explosive vests with countdown timers on them. The only way to get more time? Kill each other... Grimmfest Say: A slick and inventive spin on the old “kill one another to stay alive” scenario, this splices together aspects of BATTLE ROYALE, THE BIG CHILL, and every “teens-in-the-woods” horror film ever made into a knowing, witty, and surprisingly meanspirited little movie. The situation, once established, plays out as expected, with any notions of mutual cooperation quickly evaporating, as the various tensions and jealousies all break out and the characters quickly turn on one another. The twist here is that this supposed bunch of old friends don't really like one another that much to begin with; indeed, the thing that originally bonded them together is actually the same thing which has led them into their current sticky situation, so the mayhem is not long in coming. The result is fast-paced, cynical, and cruel; a film in which you find yourself not so much rooting for the characters, as wondering which of them will die next, and how flamboyantly brutal that death will be. In other words, it's a real crowdpleaser. What I'm Expecting: Did anyone see Severance, the Danny Dyer film from 2006? Well, I'm thinking part that, part Battle Royale and part Tales from the Lodge (another cool indie film I saw at Grimmfest last year). It will undoubtedly be a nasty piece of gore-ridden fun; a tribute, perhaps, to the "torture porn" exploitation films of the 60s and 70s. Or Triggered could throw us a curveball and we could, instead, be treated to an intense, mean-spiritted character study. Either way, this is one that I'm really looking forward to.

★★★★ Directed by: #SarahPhillips Written by: #SarahPhillips Starring: #LaetitiaLeon, #MurtazaAli, #LaNetiaDTaylor Film Review by Lucy Clarke In years gone by, science fiction previously has been dominated by exploration. Adventurers would shoot off into the stars to discover new life forms. Now science-fiction has become more dystopian and far more interested in the widening chasm between the haves and the have nots. From Bong Joon-Ho’s Snowpiercer to Neil Blomkamp’s Elysium, some may say that this trope is a little worn out. However, it is more pertinent now than it ever has been. While director Sarah Phillips’ short film, Supplements treads over familiar ground, Supplements is still an affecting film. The year is 2289, and the super-wealthy are separated from the rest of humanity. The wealthy live in Old Centauri, a city shielded by protective domes. The rest are left to haphazardly wander around the planet, trying to avoid the destructive solar flares that flicker across Earth. Kiirke (Laetitia Leon) is one such nomad, who after Meemaw (Roberta Moses)’s hand is burned by a flare, leaves for Old Centauri in an attempt to raise enough money to save Meemaw’s life. Unknowingly, her little fourteen-year-old brother, Jute (Murtaza Ali), tags along. Kiirke and Jute expect to get away with working to raise the necessary cash, but Old Centauri is a relentless city – and work at a garage won’t cut it. Instead, the city demands a blood price. While effective as a short film, Supplements is clearly part of something bigger. This short film is an intriguing start to a series, certain characters and plot points are left seemingly unfinished, a category that includes our antagonist, Dr Jean Mercole (La’Netia D. Taylor). Mercole seems to be an interesting character, and it will be intriguing to see where Phillips takes this character in later additions of this story, and these fifteen minutes leaves you hungry for more. While this trope is nothing new, Phillips has left her own mark on this project. Supplements borrows elements from the super-futuristic set designs of Hollywood sci-fi films and blends them with steampunk style and wild makeup; creating a vibrant and unique future world. As Kiirke embarks on her quest, the cinematography of dusty brown forests and swirling grey skies confirms that this isn’t the Earth we recognise. Still, these skies look familiar enough for us to realise we aren’t so far removed from this future. The score is also wickedly clever. For a few beats, the score is reminiscent of Mozart’s Requiem –filling the audience with dread – but suddenly the score shifts and becomes more fantastical. Like being in Old Centauri itself, it’s easy to get lulled into a false sense of security. Supplements isn’t rule-breaking, but it is a highly stylised and successful sci-fi film which begs for the story to continue. The story has just begun, and I’m left on tenterhooks wondering if Dr Jean Mercole will ever taste her own medicine.

★★★★ Written & Directed by: #EnahJohnscot Starring: #KangQuintus, #FaithFidel Film Review by: Lawrence Bennie Celebrating 14 years in 2020, Trinidadian-born Jenny Lee’s I Will Tell film festival welcomes “powerful, authentic stories that have been hidden, forgotten or ignored”. With writer-director Enah Johnscot’s powerful true-life drama, The Fisherman's Diary, Cameroon offered a top-drawer entry which proudly emerged as this year's Best Feature Drama. 12 year-old Ekah (Faith Fidel) yearns to attend school. When she learns of the story of Nobel Peace Prize Winner Malala Yousafzai, Ekah becomes even more determined. However, Ekha’s bitter fisherman father, Solomon (Kang Quintus), is vehemently opposed to his gifted daughter receiving school-based education. Backed only by her under-fire school teacher, Ekah finds herself with the challenge of defying her father or facing a bleak, unfulfilled future. It’s somewhat misleading title (and release poster) aside, Johnscot brings to the screen a strikingly naturalistic realisation of African village life. Leading the remarkably authentic performances, Fidel and Quintus (also the film’s producer) dazzle in a memorable father-and-daughter pairing. One central sequence sees Solomon brutally punish Ekha after discovering her defiance, only to be shown, in the next scene, tenderly treating her wounds in the absence of her mother. Yet, Johnscot resists sentimentalising the character of Solomon. At a glance, the basic plot may seem conventional with its Cinderella story of a talented young girl, held back by her impoverished background, dreaming of greater fulfilment. However, The Fisherman’s Diary never becomes a fairytale. Solomon disowns his daughter and, horrifyingly, marries her off to a local scoundrel, with Ekah’s teacher powerless to help her. Admittedly, Johnscot’s epilogue does wrap things up with a decidedly more upbeat resolution; a stirring testament to the power of human spirit over adversity. However, there’s an undeniably haunting reality behind it all; the innumerable young lives of past, present and future robbed of precious potential. It’s this controlling idea which makes The Fisherman’s Diary such an authentic and profound piece of film-making. Just as Ekah’s hero, Malala Yousafzai, has become an eternal empowering voice for female education, young Faith Fidel, in her award-winning performance, represents the lives of countless, oppressed young women to the point that it’s unbearable to contemplate. Yet, the film's message of hope and transcendence is never lost. Rough around the edges, lengthy and hard-hitting, The Fisherman’s Diary may not be an easy watch but is certainly one to catch; a poignant reminder of what good film-making is for. #LawrenceBennie

Film Feature Article by Chris Olson As the submission deadlines have passed for the UK Film Review Festival 2020 we have an exciting announcement to make! Every filmmaker officially selected will earn a percentage of the profits from the sale of Festival Passes. In an effort to help #SupportIndieFilm this year, we launched our very first Online Film Festival. It was something we had thought about, so when lockdowns started happening and the industry was grinding to a halt, we thought - maybe now’s the time. At UK Film Review, we wanted to give back to those indie filmmakers who had helped us grow our platform, which is why our festival included unique opportunities for every filmmaker who submitted a film. Everyone got a review if they didn’t already have one, or a Filmmaker Interview if they so chose. With just over a month to go, we will be spending time promoting the films which have been officially selected and asking everyone to start buying a Festival Pass so they can join in the fun and support filmmakers too. Festival Passes are NOW ON SALE - https://www.ukfilmchannel.co.uk/passes They are priced currently at £5 (this may go up nearer the date of the event - so get them while they are hot and cheap) and here’s how the spoils will be shared. 50% of the money made from Festival Passes will go into a pot for the filmmakers to share equally. The total will be divided by the number of films and dispersed fairly. 50% will go to the UKFR team and to cover festival costs. What we hope to create is an inclusive, social event which benefits everyone and establishes a precedent whereby Film Festivals give back to the films which make their events possible. In a time whereby opportunities for filmmakers to make money is so limited, we hope to make them ambassadors for our online film festival because the more they promote it, the more money goes into that pot. A festival pass will give access to every film in the festival, plus all of the special events and content. Like Q&As, a virtual pub, and more. It is understandable that many film fans are cynical when it comes to online film festivals, which is why we are doing our best to recreate the vibrancy and social elements of an in-person event. Should the world calm the f down by 2021, we may bring our event to cinemas too as we do genuinely want to support them also. A full programme for the UK Film Review Festival is in the works - once we finalise some of the special events, and more details will keep coming so be sure to follow us on Facebook, Twitter, and Instagram. And don’t forget - buy your Festival Pass here. #ChrisOlson #UKFRF

★★★★ Directed by: #SoumyaSuvraDas Starring: #SamudranilMukherjee #SomnathChakraborty #SoumyaSuvraDas #KheyaChatterjee #AnirbanGuha Film Review by: Alexandra James Mochhob opens with the day of Indian Independence, a day which commemorates freedom from British colonial rule. The audience are introduced to three male characters who are discussing the meaning behind the day of independence and soon come to the realisation that this is an alcohol free day. The three men do all they can to scout out any form of liquor on this dry day, even looking to the black market to quench their thirst. They travel around Calcutta looking through the abandoned factories in search of liquor. However, their search leads them to the actual workers who were forced out of their jobs without even a warning. Mochhob uncovers these forgotten people, cast aside and neglected and allows them to tell their story by giving them a voice. The entire film is pictured in black and white which creates a kind of melancholic feel to the piece, this feeds into the trauma of some of the workers who share their story. Those who have lost their jobs and struggle to survive in such a corrupt world. The locations were really interesting and unfiltered, it was fascinating to see these abandoned factories and shown how quickly everything can be taken away. Broken bottles were scattered all over the floor as the three men scour every room, it really hits home as to the turmoil that was inflicted onto the workers. This short film illustrates a lesson to the audience and demonstrates the importance of appreciating what you have in the here and now. Many people from all walks of life experience hardship and sorrow, this is represented clearly within Mochhob. However, it shows that we need to pay attention as well as reach out to those in need. The three men are forced to listen to the workers stories and recognise as well as appreciate what they do have. Gratitude is the vital message of Mochhob, a message which needs to be preached far more. The characters were extremely relatable and authentic in their performance. The story took an unusual turn halfway through from sadness to almost comical, it was great to see that there was a lot of depth and much more than what meets the eye to this short film. Ultimately, Mochhob is a well-rounded short film, it not only depicts an eventful story but is also thought-provoking, showing the audience the forgotten and neglected parts of society with which many would often turn a blind eye to.

★★★ Directed by #DarrenLynnBousman Written by #AriMargolis #JamesMorleyIII #DavidTish Starring #MaggieQ #LukeHemsworth Film Review by Seth Troyer From director Darren Lynn Bousman (Saw II-IV, Repo: The Genetic Opera) comes a vacation horror romp that will bring you some thrills and chills. Nothing more, nothing less. The highlight here is certainly the gorgeous island setting, which is a welcome departure from haunted houses and summer camps with bad reputations. The panic begins when a vacationing couple (Maggie Q, Luke Hemsworth) on a remote island realizes they remember nothing from the previous night. The rather chilling race to get answers showcases some intense visuals and surreal editing techniques that help add excitement to the predictable—if surprisingly brutal—twists. If you are a full on horror fanatic, you will probably have at least a decent time here. The film breaks no new ground but it hits its marks rather decently. The whole, “everybody knows whats going on except you” set up owes a lot to classics such as Rosemary’s Baby and The Wicker Man. It’s also not hard to imagine that the success of Midsommar was a factor in greenlighting this film. It similarly attempts to incorporate a modern theme or two, including a very light commentary on consent and free will, which if fleshed out a bit more could have added some potency and depth. Also sorry to be that guy, but in 2020, do we really need another film where island natives are portrayed as little more than villains who delight in the torture of the “civilized” Americans? It’s a hypothetical question, the answer is: no, probably not. What Death of Me lacks in originality it sometimes makes up for with intense visual flourishes and dream sequences, but by the third or fourth “was it a dream or did it really happen?” moment, the horrific scenes begin to lose their sense of danger and traumatic permanence. Because of this, the film starts to flounder a bit in the middle section, just before we reach the rather satisfying, bloody climax. It’s way off course from being a masterpiece, but for fans of the genre stuck inside during these COVID-19 days, you could do worse than this film that teleports you to a beautiful island for a few bloody thrills. #SethTroyer

★★★★ Directed by: Norman Stone, Tim Neeves Film Review by: Jason Knight Opioid addiction ends and destroys lives. It is a very serious problem that needs to be dealt with with great determination. Narrated by acclaimed actor Ewan McGregor, this informative documentary won Best Documentary and Best Director Documentary at the Lonely Wolf: London International Film Festival. It's main focus is the Neuro Electric Therapy, a treatment for drug addiction that was invented by Scottish surgeon Dr Meg Patterson in the nineteen seventies. This treatment involves the use of electrical currents that hopefully puts an end to one's desire to use opioids. This powerful documentary begins by showing the current devastating situation of addicts in the United States. It then introduces this unique treatment, also known as N.E.T., which is not used there. The filmmakers then begin an experiment: they bring together five male volunteers, who each have addictions to various substances, and they bring them to a facility , where they all receive the treatment. The main goal is to prove that this method works and should be accepted globally. The film consists of news footage, individuals being interviewed such as ex-addicts, police officers, paramedics, experts and Dr Patterson herself. As the film progresses, the audience learns a great deal about the five men who are receiving the treatment and will most likely want them to get over their addictions and move on with their lives. The filmmakers also included wonderful shots of cities and landscapes. All of the shots have been effectively put together through methodical editing. McGregor does an amazing job with the narration. His voice is clear and he explains the events with enthusiasm, helping the viewer understand what is going on. If one is watching this feature, without having heard of the N.E.T. before, then they will be thoroughly informed about how it came to be and how it works. The facts are explained in great detail from start to finish. After ninety minutes, it leaves the viewer with valuable knowledge. This documentary is shocking, touching and raises awareness about opioid addiction and offers hope that an effective treatment exists. #JasonKnight

Filmmaker Interview by Chris Olson We loved your film The Time We Have. What's the journey been like for the film? The journey was full of unexpected surprises. First of all, we didn’t think that it would take thirteen years to make the film. When we met Caitlin early in 2005, she had already been through five years of invasive medical treatments for metastatic bone cancer and made the decision to stop getting scans in order to live the rest of her life as normally as possible. We had the idea that she might not live beyond a month, but then found ourselves filming through the spring, summer, and fall, as Caitlin did the usual things that a suburban American teenager does—she went to the senior prom, graduated from high school, and spent the summer hanging out with her family and her best friend. We never expected that she would be featured in People Magazine or that she would get to chat on the phone with her celebrity idols, Amy Lee and Johnny Depp. The whole family was so welcoming, especially to our director, David Drewry. And Caitlin was always relaxed, completely herself in front of the camera. In the years after she passed away, as we edited and re-edited the film, she was always with us. We felt honoured to be a part of such an intensely private experience. For those who don't know, how would you describe the plot of the movie? We struggled over how to tell this story without being sentimental or exploitative. I can’t tell you how many times we declared the film was finished, only to look again and know that we hadn’t told it right. Initially, we conceived of the film as a follow-up to Healing Words: Poetry & Medicine, a documentary we had made for PBS. We were planning to highlight Caitlin’s use of journaling and poetry writing as part of her palliative care. But as we got to know the family better and came to feel in a deeper way what Caitlin was going through, we realized we were in the presence of something profound. Yes, poetry was an important part of her story, but it was just part. Caitlin’s life—the wholeness of her self—as she faced her terminal illness with courage, grace, sarcasm, silliness, anger, resignation, finally got through our thick skulls. We then scrutinized every scene with the question, Is Caitlin here? Once we did that, her real story began to emerge. With documentaries, there’s a temptation to follow the chronological narrative. We knew all along that Caitlin would die but we didn’t want our film to be morbid or depressing. She was so gutsy and her parents had such a strong faith that we couldn’t let death win in the end. We wanted to showcase Caitlin’s accomplishments and how she maintained her spirit—her quirky, teenage self—in spite of the inevitable. So we moved a significant scene, Caitlin’s near-death experience, from the end to the mid-point, so that the second half of the film would focus on all she did with her last year. This allowed us to create the feeling of uplift we wanted, the triumph of the spirit which Caitlin deserved. You were the Producer and Co-Editor for this film. Why did you want to tell this story? Simply put, Caitlin wanted her story told. Life had dealt her a terrible blow. Our film would carry her story beyond her intimate circle of friends and family. We were invited, and we accepted. Caitlin deserved at least that much. There’s another reason we learned along the way. At one point in the film, Caitlin’s father asks why so much the attention is given to people who beat cancer: “What about the ones who don’t win their battle against cancer? What about them? Were their struggles not worth mentioning?” This is a humbling question that should make us all reassess what heroism means. We all love a story where the hero vanquishes the enemy and raises a fist in victory. The same is true for cancer stories—we love hearing about the lucky ones whose cancer goes into remission. But what about the heroism of those whose cancer spreads despite the best medical treatments? In making the film we learned that it’s not the outcome, but how we face our challenges that gives grace and meaning to our lives. Caitlin showed us how an unknown teenager from the suburbs had the strength to confront her terminal illness head-on. What have the lessons been? How are you stronger as a filmmaker now? I think my director and co-editor, David Drewry, would agree that we learned how to put together a feature-length film by making this one. David is fabulous at building scenes, as you can see in his collage-style impressionistic treatment of significant moments. I’m a creative writing professor and am used to teaching students how to write short stories within the time constraint of a fifteen-week semester. So this was our first experience with the long-form. I’d like to give a shout-out to John Yorke’s Into the Woods for explaining something that helped us when we had hit a roadblock. Yorke talks about motivation, a basic concept all story-tellers know. But the phrasing he uses really clicked: “Characters have both a want and a need, and they are not necessarily the same thing.” This was a lightbulb moment for us—Caitlin wanted to live, but what she needed was to make something of the time she had. This allowed us to finally construct the narrative and to give the story the uplift we needed. Who would you love to make a movie with and why? I don’t have a particular filmmaker in mind I’d like to work with. I usually write poetry, so the pleasure of filmmaking came as a surprise. Yet now I see that the elements of poetry and film are somewhat similar: they both use a sequence of images to build a story or convey emotion. The difference, however, is that filmmaking is a collaborative art. What’s important for me is to work with someone who has a collaborative temperament, an aesthetic perception in sync with mine, and technical expertise. I’m drawn to telling intimate, personal stories that don’t necessarily have an activist message. What's next for you? My next project is to create a YouTube channel of short poetry and healing videos, using beautiful, unused footage from a cross-country trip we made years ago, filming well-known poets who wrote about the illnesses they had suffered. Each video will feature a single poem or idea about healing, accompanied by visuals and music, to give the viewer insight, inspiration, and hope. What advice would you give to a new filmmaker? Use the most current technology available, even if you can’t afford it. We started filming when widescreen and HD were just coming into common use and if I had known how many years it would take to finish, I would have spent the extra money. In the end, we needed to have the film upscaled anyway, which was an expense that would have been better spent at the outset. Speaking of money, be prepared to run out of whatever funds you have and to pay out of pocket if you really want to finish your film. It’s an expensive, under-funded art. And don’t take thirteen years to finish. What would you say if you were a dolphin? My life would be so blissful I wouldn’t need to say anything! #ChrisOlson