★★★ Directed by #YuvalAdler Written by #YuvalAdler #RyanCovington Starring #NoomiRapace #JoelKinnaman #ChrisMessina Film Review by George Wolf Anyone who saw the original The Girl With the Dragon Tattoo knows if you get on the wrong side of a score with Noomi Rapace, she’ll have no problem settling it. As Maja in The Secrets We Keep, Rapace has a similar mindset. Settled into post-war Suburbia in an unnamed town, Maja and her physician husband Lewis (Chris Messina) run the local medical clinic while raising their young son, Patrick. On one fateful afternoon, the Romanian-born Maja is shaken to her core by the sight of a man (Joel Kinnaman) she believes committed heinous war crimes against her and her family years before. After setting a successful trap, Maja kidnaps the man and holds him captive in her basement, finally detailing to Lewis the horrifying ordeal she has never spoken of. Director and co-writer Yuval Adler sets an effective hook despite some forced visual cues (a literal bubble bursting, North by Northwest on a theater marquee). Rapace delivers the right mix of confused trauma, making Maja’s indecision between murder and interrogation ring true (much more so than the petite Rapace’s ability to maneuver the dead weight of Kinnaman). Is the suburban hostage a Swiss immigrant named Thomas, as he claims, or is he the former Nazi Karl, whose war crimes haunt Maja’s dreams? Adler seems to sense the need to distance the film from Death and the Maiden (and, to a lesser extent, Big Bad Wolves), but as events move further from the basement, an air of B-movie pulp emerges. A visit from the neighborhood cop seems to exist only for contrived tension, while Maja’s burgeoning friendship with her captive’s wife (Amy Seimetz) and daughter can never quite move the shadow of secrets over the entirety of picket-fence Americana the way Adler intends. And despite a terrific performance from Messina, Lewis lands as a frustrating and sometimes distracting presence. While Lewis’s struggle to believe Maja – even without a confession – is one of the film’s most resonant strengths, the bigger struggle concerns the film’s commitment to defining Maja on her own terms. When it does commit, The Secrets We Keep rewards the investment. But when it cops out, there’s little here we haven’t already been told. #GeorgeWolf

★★★ Directed by #JuanDiegoEscobarAlzate Written by #JuanDiegoEscobarAlzate Starring #ConradoOsorio #YuriVargas #AndreaEsquivel Film Review by Hope Madden As colorful as a dream, Juan Diego Escobar Alzate’s feature film debut Luz: The Flower of Evil looks like magic and brims with the casual brutality of faith. Set inside a religious community in the mountains of Colombia, the film drops us into ongoing struggles with the group’s religious leader, El Señor (Conrad Osorio). No one knows the devil as he does, he reminds his daughter Laila (Andrea Esquivel). She lives contentedly, devoutly, along with her two adopted sisters. El Señor and the villagers consider the trio angels—just as they believe the little boy chained up out back is the Messiah who will deliver the community from its recent calamities. Though never entirely detailed, the internal logic of the film and the community is clear enough to feel simultaneously familiar and horrifying. The way the filmmaker wrestles with what is and is not real, with forgiveness and the morally ambiguous nature of man, and with our tendency to blame God or the devil for our own shortcomings is frustrating and intoxicating. Alzate gets maximum impact for minimum budget thanks in large part to Nicolas Caballero Arenas’s cinematography. His breathtaking visuals add spooky richness, turning this Western of sorts into a beautiful, lyrical, macabre Columbian folktale. Lovely as it is, the film echoes of loss. The title itself conjures what is absent. As time wears on and the “angels” lose confidence in their father figure, remembered stories of the late mother figure Luz (Spanish for light) take the space for them that El Señor’s tales of God take for the rest of the community. Luz: The Flower of Evil surprises as often as it relies on expectations to deliver its message. The film is more atmospheric than cautionary, its resolution a fitting end for characters’ whose own logic doesn’t likely reflect that of the audience. It is a vision, from its opening musical notes to its closing image, though, that marks a filmmaker worth discovering. #HopeMadden

★★ Directed by #Lankyboy Written by #ChrisBall #DylanGriffiths #KurtisDavidHarder #NoahKentis Starring #ChrisBall #MaddiePhillips Film Review by Rachel Willis It’s hard to sympathize with a catfish – someone who pretends to be someone else online to develop a misleading relationship. Yet, in the film, Summerland, directed by Lankyboy (the nickname for directing duo Kurtis David Harder and Noah Kentis), we’re asked to do just that. Bray (Chris Ball), who is pretending to be Victoria online, has made a connection with Shawn (Dylan Playfair) via a Christian dating site. Bray/Victoria has plans to meet Shawn at the music festival, Summerland. Along for the road trip to Summerland is Oliver, Bray’s best friend, and Oliver’s girlfriend, Stacey. The problem? Bray has been using Stacey’s pictures to construct Victoria online. Once the trio gets to Summerland, will Bray be able to find Shawn before he finds Stacey? Miraculously, as the film progresses, we do begin to sympathize with Bray. As a gay teenager, he is not accepted by his parents and struggles with his identity. He wants to meet someone, to have a relationship, and be himself. Despite the fact he has lied about his identity, he’s managed to be as open with Shawn as he has with anyone. However, the film doesn’t let Bray off the hook entirely. We’re repeatedly reminded that he’s constructed a relationship around a lie. We must ask ourselves if some lies are forgivable when the liar struggles with what it means to be himself. Most of the film is centered around the road trip to Summerland. Bray is anxious to get there so he can finally meet Shawn in person. Oliver wants to enjoy the journey. Stacey is rebelling against a stepdad she doesn’t like. Lankyboy wants their movie to be quirky, but it’s a conventional road trip/relationship movie with some weird extras thrown in. Those weird moments are forced, don’t contribute much, and end up making a short movie feel intolerably long. There are also far too many montages for such a short film. The actors aren’t terrible in their roles. They’re not the worst trio to spend time with on a road trip movie, and the film does have one or two funny moments. But too much of the movie is focused on what it wants to be rather than effectively embracing what it is. Unfortunately, what is ends up being is an unmemorable experience. #RachelWillis

★ Directed by: #DanielBowhers Written by: #DanielBowhers Starring: #JoshOlkowski #LaurenMacDonough #DaveMarum #NickBrandreth Film Review by: Madison Ford Ten, Thirteen, Twelve, is a short supernatural, psychological thriller directed and written by Daniel Bowhers. His work prior has focused primarily on visual effects, with over 20 credits to his name. The concept for Ten, Thirteen, Twelve, was created by Bowhers and Nick Brandreth who also plays The Shepard and worked on post-production. The film follows Sarah (Lauren MacDonough) as she suffers from supernatural nightmares which appear to become reality in this 13-minute short. The film has excellent cinematography and makes great use of drone footage from Adam Montoya, he captures brilliantly the stunning woodland landscape filmed in Rochester, New York, US. The beauty of the location is interjected less than 30 seconds in when a moment ramps up the action and sets the course for the rest of the film. The aesthetic of the woodland is by far the best part of the film. All three actors, Josh Olkowski, Lauren MacDonough, and Dave Marum are relatively unknown, with MacDonough making her debut in 2018 and Ten, Thirteen, Twelve, being Marum’s only acting credit. Olkowski’s role features heavily within the supernatural, bringing both human and non-human elements together. The execution of the CGI (Computer Generated Imagery) didn’t quite hit the mark for me, but due to being short and with a much smaller budget than big blockbuster movies, it can be mostly forgiven. The raw material of the film had the promise to be great, but the execution of the narrative mixed with back and forth editing made it hard to follow. I found myself still confused by the end of the film as to what really happened. This, however, is surely what the creators would want after having produced a psychological thriller, which is all about the mind and posing questions. Ten, Thirteen, Twelve, features the song ‘Danny Boy’ which has connotations of rural land and nostalgia, with many generations of people knowing this song well. ‘Danny Boy’ was originally written and composed by Frederic Weatherly in 1913 and first performed in 1915 by Elsie Griffin. This small reference ties the film to the Irish roots of the song which is played in a pivotal moment in the film. ‘Danny Boy’ could reflect a theme of Irish heritage and folklore, a potential influence for the aesthetic of the creature (The Shepard) alongside influence from mythology. The CGI parts are definitely the weaker components of the film, however, with the initial concept being pretty good there's potential that with a greater budget this film could master the supernatural. As it stands Ten, Thirteen, Twelve, follows a confusing edit and hard to follow plotline but with a limited directorial repertoire, Bowhers uses his visual effects knowledge to create a short that leaves you with endless questions. #tenthirteentwelve

★★★★★ Directed by: #NicholasZafonte Written by: #JDSinger, #NicholasZafonte Starring: #SamanthaSoule, #JoshTyson Film Review by: Alexander Erting-Haynes No Retreat is a comedy-drama written by J.D. Singer and Nicholas Zafonte, the latter of whom also directs. It tells the story of two friends from college who are reuniting for a weekend retreat to relax and write together. However, it quickly becomes apparent that the weekend won't be so productive as old issues between the pair begin to arise. It's an effective slice-of-life setup, the premise providing a blank canvas for the writers to paint intricate characters with a complicated relationship on. From the first shot in which the two characters, Sean and Emily, wordlessly enter the house, it is apparent that there's an air of tension between them. As the first evening progresses and dialogue is introduced, this can still be felt through the jovial interactions between them. While they laugh together, lines are slipped in that denote a bitterness to Sean, a past that hasn't been let go of and a tenderness to Emily, a pitying eagerness to maintain the friendship. It's fantastic script-writing that puts faith in the audience to unpack the complicated relationship without having to have anything spelled out. On the second day, they attempt to hash out some ideas. However, with Sean refusing to work proactively, they go on a walk together where they philosophically muse on creativity and the different kinds of artists in the world: those who do and those who are too afraid to. It's brilliant subtext that organically inspires analysis of the characters on-screen, once again with subtlety. It's when they get back to the house, however, that the tensions between them rise to the surface. After the first half of the movie, in which their relationship is slowly observed, it's here that it is finally dissected. An explosive argument between them allows the characters to put aside niceties and spill their true feelings; it proves for utterly compelling viewing that feels as cathartic for the audience as it does for Emily and Sean. Moreover, No Retreat is really quite funny. From Sean's dry humour to Emily's quick-witted responses, the comedy plays out as a sort of game of tennis in which the ball's constantly in play until it's not and that's only because they're not playing anymore. While it isn't an out-and-out comedy, trading a lot of its laughs for reflection and contemplation, when the jokes are wheeled out they land. This is helped tremendously by the performers, Samantha Soule and Josh Tyson. Their delivery is brilliant, helped by each others' ability to sell their counterpart's jokes with convincing laughter, and when the film isn't aiming for laughs, their relationship feels real. There's an admirable display of naturalistic acting from both of them and the aforementioned argument is delivered with utter believability. The film also looks incredible. Utilising one location and two performers, Zafonte manages to hide the modest budget while not leaving aside visual flourishes. Beautiful shots of sun-kissed forestry and sparingly used tracking shots that are pulled out when creating a feeling of momentum in the more kinetic scenes make for a dynamic feeling movie that never shows its budget. No Retreat is fantastic. It's affecting, it's confident, it's beautifully written, it's wonderfully shot and it's sold by two central performances that couldn't be substituted. It's the sort of empathetic film that shows the worst in its characters but never judges them; instead it invites you to see a little of yourself in them. Singer and Zafonte have created a movie that you don't just see; you feel. It provides a weekend away with two brilliantly realised characters - one that you'll fondly look back on. #AlexanderErtingHaynes

★★★★ Directed by: #AnnemarieLibbers Written by: #DirkGuntherMohr Starring: #DirkGuntherMohr #GiuliaDunes #AnnaVanDijk #JoostBuitenweg Short Film Review by: #ChrisBuick In 2017’s Dutch drama Capo di Famiglia, the low budget but extremely high-quality drama brilliantly put together by the inspired writer/director partnership of Mohr and Libbers, we saw Vincent de la Rosa (Mohr), the younger of two sons of the then family patriarch Alfred, being told on his wedding day that he, instead of his older and expectant brother Jimmy, would be the one to carry on the family business and protect its legacy. Now, in this deservedly multi-award-winning second outing, Capo di Famiglia II marks the next chapter in an increasingly captivating and complex tale of family, duty and responsibility. Picking up some years after the events of the first film, Vincent has now fully adopted his place as “head of the family”, flexing all the power and respect that comes with such influence. But his position also welcomes pressure, consequences and enemies looking to bring him down on all sides, leading Vincent to start placing his mistrust, anger and paranoia everywhere, the cracks in his once seemingly perfect life now slowly widening. Having achieved so much in part one, it would have been very easy and probably enough for Mohr and Libbers to try and simply do the same again. But it’s clear that with Capo Di Famiglia II, these two are not filmmakers content with simply resting on their laurels, instead trying at all times to push their story and its characters into new and exciting territories and they do so here with aplomb. Of course, a lot of what drove much of the success of the first film is still there, but every facet of the filmmaking process feels like it’s been consciously and remarkably taken to the next level. As was the case with the first film, Capo Di Famiglia II is at times actually stunning to look at, the use of colour and lighting in particular working wonders to accentuate the films fluctuating mood and tone. There is also still the indelible sense of drama and intrigue which served the first film so well, but here its allowed to take us in new directions and give the films well-written characters a well of nuance and depth. An again, much like the first film, those characters are safely placed in the hands of a host of fine acting talent that really bring each unique player in this tale of relentless twists and turns to life. There are a couple of substitutions, most notably Giulia Dunes who takes over from Nastassia Firestone as Vincent’s wife and while Firestone certainly excelled then, it is a role that itself has differed a great deal here and Dunes’ fills every space of a character that now carries the majority of the films emotional heft. Mohr himself has managed over both parts to fully showcase not only his immense writing talent, but also incredible acting versatility, the darker parts of Vincent that were only just coming to the surface in part one are fully exposed here, and Mohr’s performance really embodies the weight of a man burdened by immense expectation and responsibility. Capo Di Famiglia II is a fine example of using strong foundations to make something even bigger, bolder and better. If Mohr and Libbers can do it again like we expect they can, part three should be incredible. #ChrisBuick

★★★ Directed by: #GregoryHatanaka Written by: #NicoleDAngelo, #GregoryHatanaka and #ChrisSpinelli Starring: #NicoleDAngelo, #ChrisSpinelli, #ShaneRyan and #ScottButler Film review by: Brian Penn The opening frames of Heartbeat are frankly not promising. A girl home alone is spooked by a sinister voice on her mobile. She wanders into the garden and the picture fades to black and white; a glinting cut throat razor rains down countless blows as the red stuff splashes all over. It felt like a really bad B-movie that ran before the main feature; and you instantly regretted arriving early. But it slowly improves and a well plotted story begins to emerge. Investigative reporter Jennifer (Nicole D’Angelo) has written an expose on local company Rigby Food Distribution. It has apparently triggered a series of murders linked to the company. Detective Santoro (Chris Spinelli) has been assigned to the case, and is convinced Jennifer has an informant supplying her with leads. Meanwhile conspiracy theorist Rick (Shane Ryan) is following Jennifer. He is convinced she knows too much and her life is in danger. Just to complicate matters still further Jennifer’s ex Torsten (Scott Butler) is trailing her in search of another chance. Nobody can be trusted as the killer slowly begins to close the circle. Director Gregory Hatanaka falls back on cinematic clichés that haven’t worn particularly well over the years. The freeze frame followed by an extreme close-up drags the film into comic strip territory. Voice overs featuring the whispering assailant seemed to magnify the issue. Only the victims could see their attacker, which was overly predictable and crying out for a more novel approach. There was also a generous helping of ham served by some members of the cast. In spite of these obvious flaws the film is saved by two key ingredients; a gently winding plot that keeps the viewer engaged, and the photogenic presence of Nicole D’Angelo who makes a convincing femme fatale.

★★★★★ Directed by: #ShivamSharma Written by: #ShivamSharma Voice-over by: #AmoghShandilya Short Film Review by: Shrubaboti Bose Depression is one of the most common mental health issues that a vast number of people has to deal with on a daily basis. Nowadays, we have seen a surge in the amount of people seeking professional help to get it treated. Yet, it is so stigmatised in society that those suffering from it rarely feel safe or comfortable enough to try to talk about it even with their close ones. This short film makes an important statement about the necessity of discussing mental health issues with a wider audience. Despite the short length of the film, the narrative is well-paced and the poetic voice-over delivers a powerful impact. Coupled with a skilfully edited montage of different shots of various elements of mundane regular life, such as the headphones, the walls, a heap of unwashed dishes piled up in the sink, the refrigerator, a running tap and so on, the music plays in the background providing a perfect foundation for the narration to be launched upon. This makes the otherwise abstract combination of images, sentences and words more nuanced and significantly emphasises on the experience of absolute detachment and withdrawal from the world. Life loses its charm and every thing that once brought them excitement and happiness suddenly becomes dulled. This is what makes it so challenging to fight to stay alive when one has barely any will left to survive. The problem with mental health issues is that it is quite invisible, your efforts to fight it off remains unacknowledged until you come out and share about it. It is a psychological battle that rages inside your head at all times, consuming each ounce of your energy but it is often likely to go unnoticed by those in your immediate presence. People with depression start doubting their own judgement when plain logic fails to justify or give adequate reasons as to what is alienating them from the rest of the world and instead ingrains in them a sense of guilt and shame for being a ‘burden’ to others. This thought process further pushes them to isolate themselves and it becomes easier to say “No dude, I’m a little busy today.” than trying to explain what’s wrong with them or asking for help. What this short film does is it carefully attempts to bridge the gap between those who suffer or need help and those who wish they could help them. It is clear that most of us have well-wishers who would not deliberately ignore us knowing what we are going through. They cannot help or support simply because they are kept in the dark. Keeping that perspective in mind, this film tries to enable them to meet one another halfway. Since when depressed, it is harder to reach out, sensitising people and spreading awareness about the nature of mental illnesses is the only way that can encourage us to proactively look out for signs in those who are struggling and give them the safe space that they desperately need. In spite of the budget production and time constraints, this film has done an excellent job in capturing the essence of depression while also remaining subtle and poetic in its deliverance.

★★★★ Directed by: Orko Mukherjee Written by: Oko Mukherjee Starring: Lani Cerveris-Cataldi, Hannah Marijon, Curtis Caldwell Film Review by: Jason Knight An act of generosity can change a person's life forever. Mukherjee's touching drama Turtle Island explores how much people need one another and that with love one can find success. Irene (Marijon) has just published a book titled Turtle Island, which is about the story of her life and explains to a large audience how it came to be. A Native American named Andrea (Cataldi) rescues Irene and her mother from poverty by taking them to live with her at her farm. Later her mother passes away and its just the two of them. Eventually Irene meets a man (Caldwell) and decides to leave the farm with him. How will things turn out? The film partly explores Native American values and traditions. Andrea constantly wears traditional clothing, plays a Native American flute and tells stories related to her people. And it is explained that 'Turtle Island' is a name invented by Native Americans in order to describe North America. From the start, viewers are introduced to protagonist Irene and her success as an author. From that point on, they will most likely be intrigued by her story and will want to find out about her, Andrea and how she managed to get to where she is now. And they will not be disappointed by what they discover later. Although at times the acting gives the impression that it could had been more realistic, the performances are generally favorable. Marijon is likeable as a young woman trying to find her path in life and Cataldi is convincing as a down-to-earth woman looking out for Irene and trying to guide her. And Caldwell does a good job in his supporting role as a man who charms his way into Irene's life. The film also includes brief, but beautiful animation sequences involving fireflies in the forest and accompanied by a fantastic score and the audience will probably be mesmerized. Throughout the movie, viewers will have the pleasure of hearing great music and magical tunes, primarily the ones coming from the flute that Andrea plays. Turtle Island is a heartwarming film. It is a story of love, struggle and shows that by accepting support, being strong and believing in oneself, one can achieve. #JasonKnight

★★★★ Directed by: #RichardHLyford Written by: #RichardHLyford Starring: #RichardHLyford, #BarbaraBerger, #AlanHoelting Film Review by: Oliver Smither As the Earth Turns is an independent silent that calls on the desperate need for peace at a time of continued conflict. This film, from the mind of Richard H. Lyford truly encapsulates his prowess as an independent filmmaker, uninhibited by the resources of his time. As the Earth Turns is 45 minutes of commentary on both society and the world as a whole, which is as relevant, if not more relevant now than at the time. The themes of war and climate change are as much a part of the infrastructure of our society today as they have ever been. This film acts as a criticism of the conflictual nature of humankind. As the Earth Turns follows a slightly mad scientist, Pax, so desperate for peace that he is willing to incite extreme climate change in order to prevent the war and all future wars. Given the fact that this is silent picture, there is no spoken dialogue, however there is still a script. The script is presented more as selective subtitles, with most scenes being preceded or followed by a quick block of text. Moreover, the fact that this film is silent means that the script is kept quite simplistic and more of an assistant to allow viewers to follow more easily. Lyford did everything, producing, editing, writing, directing and playing the scientist protagonist Pax. Evidently without any computer to help him, he created everything in his basement. He built the miniature models and sets and set off miniature explosions. All of this makes producing As the Earth Turns even more of a remarkable feat in this era of filmmaking. As for the performances here, Lyford actually has very limited screen time, however without words and voice he delivers a crazed performance which is strictly down to the incredibly expressive nature of his face, almost contorting in concern, curiosity or madness. Barbara Berger and Alan Hoelting give credible performances in the roles of Julie Weston and Arthur Verrill respectively, taking the roles of investigative reporters to greater heights in the search for the omnipotent Pax. The real powerhouse of As the Earth Turns is the music. Ed Hartman, the contemporary composer who both scored and performed the music, supplies the film with an era-appropriate accompaniment that only enhances its story. Further proving that dialogue isn’t everything if an outstanding score is its replacement. In many ways, the fact that this film was ‘lost’ for over 80 years is a bit of a gift, that now we can appreciate Lyford’s As the Earth Turns as the forward-thinking independent film that he intended it to be, furnished with a dominant and befitting score.

★★★★ Directed by #AntonioCampos Written by #AntonioCampos #PauloCampos Starring #TomHolland #RobertPattinson #RileyKeough Film Review by Hope Madden and George Wolf “Lord know where a person who ain’t saved might end up.” Indeed. The constant fight to overcome the worst in ourselves lies at the heart of The Devil All the Time, director Antonio Campos’s darkly riveting realization of Donald Ray Pollack’s best-selling novel. Bookended by the close of World War II and the escalation in Vietnam, the film connects the fates of various characters living in the small rural towns of Southern Ohio and West Virginia. Arvin (Tom Holland), the son of a disturbed WWII vet (Bill Skarsgard), fights to protect his sister (Eliza Scanlen) while he ponders his future. Husband and wife serial killers (Jason Clarke and Riley Keough) look for hitchhikers to degrade, photograph and murder. A new small town preacher (Robert Pattinson) displays a special interest in the young girls of his congregation. It’s a star studded affair—Mia Wasikowska, Haley Bennett and Sebastian Stan joining as well—but every actor blends into the woodsy atmosphere with a sense of unease that permeates the air. No stars here, all character actors in service of the film’s unsettling calling. Pollack’s prose created a dizzyingly bleak landscape where Flannery O’Connor and Cormac McCarthy might meet to quietly ponder man’s inhumanity to man. Campos unlocks that world courtesy of Pollack himself, who narrates the film’s depravity with a backwoods folksiness that makes it all the more chilling. As rays of light are constantly snuffed out by darkness, Campos (who also co-wrote the screenplay) uses Pollack’s voice and contrasting soundtrack song choices to create a perverse air of comfort. Redemption is a slippery aim in and around Knockemstiff, Ohio, and grace is even harder to come by. With a heavier hand, this film would have been a savage beating or a backwoods horror of the most grotesque kind. Campos and his formidable ensemble deliver Pollack’s tale with enough understatement and integrity to cut deeply, unnerving your soul and leaving a well-earned scar. #HopeMadden #GeorgeWolf

★★★★★ Directed by: #ChasePearson Written by: #ChasePearson Starring: #RayBergen #KathyMcCort #TimothyJCox #ColleenSproull #KateMcGarrigle #ErinPatrickMiller Film Review by: Madison Ford The Jungle of Accounting is a witty, documentary-esque short film directed and written by Chase Pearson. He recently made his directing/writing debut with Cash Only (2019) and this short film will leave you (and certainly me) excited to see more from him. The film follows a couple (Charles and Maryanne Bailey) who take a trip down memory lane to discuss past accounting employees. At only 11 minutes, The Jungle of Accounting packs a lot in, with quick edits and a voiceover guiding you through, it feels too short! The dynamic is great between Charles and Maryanne Bailey, played by Ray Bergen (older Charles), Timothy J. Cox (younger Charles), and Kathy McCort (older Maryanne) and Colleen Sproull (younger Maryanne) respectively. The four actors have gained numerous acting credits, all making their debuts over the last 20 years with Cox having over 130 acting credits to his name. The characters are presented well and are convincing of a married couple, something which can be hard to achieve, especially in a short, with limited time to do so. The other characters in the film are also well portrayed, they are constructed sufficiently despite being in short bursts and within quick succession of each other, they leave a lasting impact. The Jungle of Accounting almost feels like an extended very 80s advert, with the use of voiceover (Mike Drew), dramatic music, and matching edits it presents this funny and exaggerated short’s tone perfectly. It feels very reminiscent of The Office (both US/UK versions) with small mundane issues presented as hyperbolic and interviews matched with complimentary footage homes in on the experience of office life. The aesthetic is joyous, with a faded colour palette of yellow and blue hues, the costume and the décor really capture the feel of the 80s. It brings a delightful nostalgic feel, even for those not around in the 80s, watching this, you will feel like you were a part of it. Cole Raser provides an excellent assortment of sound here, adding great timed instrumental beats to match with the comical dialogue, as well as few well-placed, well-known tracks. Pearson benefits from using dates on screen to highlight time period and add bonus context to the scenes. The film meshes together a droll voiceover from Mike Drew, well-timed edits, and past and present set footage to tie this film nicely in a concise yet wonderful way. The flow of the film is exceptional, and drama is built up until the very end, with the final title card packing a comedic punch before the credits roll you will be left wanting more. The entirety of this film is delightful and brings Pearson’s script to life in a very highly entertaining short film.