★★★★ Directed by: #JamesKicklighter Starring: #TobiasPicker #LuciaLucas Film Review by: Bruna Foletto Lucas The Sound of Identity is a feature-long documentary that tells the story of Lucia Lucas, the first transgender opera singer to perform as Mozart’s Don Giovanni in a mainstage opera – and she does that in Oklahoma, one of the most conservative states in the United States! The director James Kicklighter assembles a crew that is nothing short of recognition – the Emmy-winning production company, local from Tulsa, Kirkpatrick & Kinslow Productions handled production alongside executive producer Josh Bachove. The cinematography, which goes back and forth between voyeuristic camera and stylistic interviews, was done by Jonathan Pope and the original score that hovers throughout the film was composed and conducted by Nicolas Repetto. Lucia Lucas is the face of the documentary, and she is followed through a period of six weeks from pre-production to post-opening night. Tobias Picker, Lucia’s mentor and legendary opera composer, is the mind behind the choice of Lucia as Don Giovanni – a licentious nobleman. The casting choice is what raises the stakes for Lucia herself, for Picker, and it is what Kicklighter highlights in his documentary. In the words of other actors, Don Giovanni is “awful” and “evil” but Lucia does not see it that way, she chooses to see the beauty in him and his personality and through her music she wants the audience to feel. There is purity in Lucia’s words and almost a naive vision of what her presence as a transgender woman brings to the role. There is a double-edged sword at play here that is explored at length in the documentary – on the one hand, it brings about a representation that lacks in the industry and people might be drawn to the project precisely because of the novelty it chooses to portray, but on the other hand, it might take away from Lucia’s performance. Through this issue, the documentary turns its attention to concerns around community, history and the love for arts. The history of opera is explored briefly in interviews, but what is left by Kicklighter and the interviewees is the struggle the art form is facing being one of the most expensive art spectacles to produce and one that doesn’t attract wide attention. The puzzle above is brought here again as Lucia’s presence might be key to bring new audiences to opera – but whether this will happen or not, one thing is certain: Kicklighter used this ground-breaking story to shine a light on the incredible talent present in the industry and The Sound of Identity might help to bring attention to the art form.

★★★★ Directed by: Lanre Olabisi Written by: Lanre Olabisi Starring: Carra Patterson, Rotimi Paul, Sawandi Wilson, Toni Ann DeNoble Film Review by: Jason Knight Time for an exciting thriller. Get ready for violence, blood, murder, plenty of profanity and hand-to-hand combat. These are the kind of experiences that Lanre Olabisi's rollercoaster ride of a film A Storybook Ending has to offer. The story focuses on a rather unpleasant situation: a couple (Patterson and Paul) have two criminals (DeNoble and Wilson) tied up inside their home after the latter broke in and attempted to blackmail them for money. Previously Paul's character had accidentally killed a policeman and the two thugs had filmed the incident on their phone. They now demand a large sum in return for their silence, while the law-abiding couple refuse and offer a significantly smaller amount instead. Things swiftly get out of control. There is not a single dull moment. The audience will become engaged with the story and characters and will be kept in great suspense as they watch the events unfold. Olabisi's dynamic screenplay is made out of interesting characters in interesting scenes with entertaining dialogue, filled with arguments, shouting and swearing and bound to get the viewer's attention. Patterson and Paul are very convincing as a well-meaning couple who just happened to get themselves into trouble. Wilson and DeNoble are outstanding and menacing as the aggressive, foulmouthed fiends and it is obvious that they are both having a lot of fun with their characters. Generally the four main leads do a great job in showing their character's emotions, bringing top qualities to this project. Although the film has dark themes such as crime and violence, it also has dark humour. The soundtrack includes three great pieces: the brilliant Carmen Habanera by French composer Georges Bizet, Problem Child by Roy Orbison and I'll Change My Way For You by Danny Stewart. These tracks are rather light-hearted and they bring an amusing tone to an otherwise serious and nasty film. The filmmakers and cast all deserve a lot of praise for their collaboration and efforts in making this widely entertaining film, which is well-worthy of people's time and appreciation. #JasonKnight

★★★ Directed by: #MigelDelgado and #JonJacobs Written by: #JamesRicardo Starring: #JonJacobs, #CharlotteLewis, #TinaWiseman, #TerryCamilleri, #IvelinGiro Film Review by Taryll Baker From Miami to Ibiza, a chronicle of the meteoric rise to Fame of DJ HOUND DOG and the terrible mess he makes of his love life. Featuring an all star cast of the Worlds Greatest DJ's. Irish born aspiring DJ, Hound Dog, lives in Miami. An avid fan of classic rock ’n’ roll music, juggling his romantic ventures whilst attaining a reputation in the clubs, and striving to weave a little Elvis and Buddy Holly into his DJ sets. This is a very chaotic film in the sense that it showcases the crazy thrill that is the dance music scene. Shot on grainy film with attention to the documentary style, DJ Hound Dog mixes together fiction and biopic, like the famous Elvis projects ‘Jailhouse Rock’ and ‘This Girl Can’t Help It.’ Although released originally back in 2003, the film remains fairly intact with a high-energy soundtrack (now streaming on major platforms) and cameos from now world-famous DJs. Shot on location in Miami and Ibiza, there’s a rough edge to the film. Lots of club action intercut with more mature scenes, and heart-racing electronic music pumping over top. All the actors are fantastic, with Jon Jacobs’s rugged and entranced Hound Dog in the lead, bumbling around the electric atmosphere, springing from one area to the next in hope of becoming something greater. The supporting team add a well needed sense of realism to the fictionalised story, and it’s honestly one of the better parts of the film. Where DJ Hound Dog lacks, the acting makes up for it. Speaking of, the story is invigorating, I’m sure, for the hardcore dance fan. But for the more average viewer like myself (though I’ve explored that scene before), this is a pretty tedious watch. The film, even with its director’s edit and restored music, feels dated — especially grounded in its early noughties setting. Think of the likes of ‘Kevin & Perry Go Large,’ but less focused on gross humour and more on a single character’s journey through the world of partying, all the while mixing in a classic 50s era vibe. Slogging at several points throughout, it’s safe to say that DJ Hound Dog is a well crafted and acted film, but it’s not the attention grabber it needed to be for general audiences. That said, I’m sure it has and will gain a cult following of loyal fans. Watch the trailer for DJ Hound Dog below. #TaryllBaker

★★★ Directed by #BenMole Starring: #SamGittins #JoeEgan #JenniferMartin Film review by Nathanial Eker Did you ever watch Rocky IV and think; 'this could really do with some nazis.' If so, you're in luck. The lovechild of an 80s sports movie and Sam Mendes' 1917, Behind the Lines: Escape to Dunkirk is a tonally dissonant microcosm of the hyper-masculinity associated with fighting for sport. It transforms the horrors of war into a literal sparring match between cartoonish forces so goofy they could give Mr. T and Hulk Hogan a run for their money. Yet, the film boasts a bizarre charm that forces the odd guilty grin at the sheer earnestness of its brutish bravado. Danny Finnegan (Sam Gittins) is a talented boxer who has been enlisted into the British army following the outbreak of WWII. He and a friend are captured while in France and forced into a prison with a handful of other British and French soldiers. There, he becomes the rival of a German officer, who demands he fight one of his men in the exhibition match of his life. Behind the Lines goes through a bizarre transformation throughout its ninety-minute runtime and ends up feeling like a completely different movie by its end. It is at first typical of the war genre, albeit with inconsistent acting and lower production values, and not to mention a dull script. However, everything changes when Danny is forced to box and the film suddenly transforms into a stereotypical sports movie, complete with slow motion punches though sadly without a training montage. The tone also shifts dramatically, and any semblance of realism evaporates along with the audience's boredom. As the script embraces its growing silliness, the actors relax into their roles too. Sam Gittins does a fine job as tough-but-fair Danny Finnegan, though the rest of the cast are a mixed bag. Jennifer Martin and Joel Phillimore are remarkably unconvincing and offer far from the emotional response one would expect upon seeing their closest friends and family brutally killed. The German characters fare little better, and offer only unconvincing accents and moustache-twirling levels of antagonism. Yes, the real Nazis were / are atrociously evil, but there's little nuance here beyond a caricatured portrayal and a basic understanding of their motives and actions, which feels a little uncomfortable. The group periodically sought to exterminate other races; they weren't the villains of an Adam Sandler film. Overly simplistic portrayals of real-world fascists aside, Behind the Lines ends up becoming bizarrely compelling, due in part to some tight writing and a charming sense of escapism despite being set during a harrowing real world event. Writer - Director Ben Mole manages to turn the latter half of the film into a simple-yet-exciting escape attempt based around the eponymous exhibition match. Unfortunately, despite some excellent fight choreography, sloppy cinematography fails to avoid showing the obviously fake punches stopping short of making contact, thereby destroying audience immersion. The film's editing also presents some issues as despite being well-paced for the longest time, the final fifteen minutes fly by at an absurdly frantic pace giving zero time for a proper emotional payoff. The bombastic soundtrack helps and is mostly used well, particularly during the fights though the core conflict resolves so laughably quickly that a good use of musical motifs can't soften the blow and make the ending feel at all earned. Behind the Lines is perhaps one of the most odd, yet somehow still enjoyable war films ever made. It reduces the conflict of World War II to a level of simplicity that would make Tarantino blush, yet it simultaneously captures the spirit of patriotic classics of the 50s and 60s, where heroes escaped the German forces in ridiculous ways and every Nazi officer was the same tall, thin caricature who maintained a begrudging respect for the sheer Britishness or Americanness of the snarky protagonist. Overall, Behind the Lines is conflicting. It's entertaining to a fault, though not always for the right reasons. You may find something to enjoy, but don't expect the level of despondent realism seen in most contemporary takes on the war. Expect German and French accents that make Dick Van Dyke's cockney sound half-decent.

★★★ Directed by: Colleen Brady Starring: Regina Armenta Film Review by: Jason Knight One person can make a big difference. Colleen Brady's short documentary Geronimo: Circus Trash Monster focuses on how Regina Armenta, a performance artist, came up with an idea that would help her community. This touching and inspiring project won Best Documentary Short and Best Message at the 2019 Top Indie Film Awards. Armenta lives in Kensington, Philadelphia and is skilled at a wide variety of performing arts, such as stilt walking, juggling and hooping. She noticed how bad the rubbish in her neighbourhood was and decided to take action by cleaning it up, while using stilts. This attracted people's attention and led to the creation of the Circus Trash Monster, which is a program that encourages individuals to pick up rubbish in the area in order to pay for performing art lessons with Armenta. The film is a pleasure to watch. Armenta comes across as very friendly and tells her story with great enthusiasm. The informatively explains her love for acrobatics and how Circus Trash Monster came to be. The audience becomes familiar with an individual who has worked hard in order to make a significant contribution to the world. What is seen in this piece of work successfully shows Armenta's achievements. The documentary includes many shots of her engaging in her impressive art skills and teaching them to her students. There are also shots of her and other people cleaning rubbish of the pavements. She is also seen talking at an interview and her voice-over effectively accompanies the images. And the addition of Amir Muhammad's beautiful score brings great qualities. Brady has created a truly uplifting documentary that may be short but carries a strong message: it shows the strength of the human spirit. That with passion and hard work one can achieve anything. #JasonKnight

★★★ Written & Directed by #SamAbbas Starring: #MarieBrewer #KateAdam #DanielBauer #TakiyaSBallard Short Film Review by: #ChrisBuick Originally released on IGTV, six-minute #shortfilm Marie documents a mere fragment of the sixty-three-hour labour (that’s right, sixty-three) of one Marie Brewer. Marie’s birth, as well as being an abnormally long and unfathomably arduous event, was in fact a home birth. Home birthing has increasingly become a more appealing and viable option for some mothers, many much preferring to be in the comfort of their own homes surrounded by their own personal team and loved ones as opposed to a perhaps more clinical and unfamiliar nature of a hospital environment, something especially relevant throughout the COVID-era (although Marie’s experience actually predates this) “A mother is always the beginning. She is how things begin.” But choices such as Marie’s are still met with a certain degree of societal and medical scepticism, home birthing itself still a concept surrounded by controversy, misconceptions and conflicting opinions. It is often deemed rather unsafe when compared to a hospital environment, as well as much less sanitary and in fact more expensive. However, it is the intention of Egyptian-American filmmaker Sam Abbas to destigmatise the notion of home birthing, as well as encouraging others to do their own research on the matter. Debunking some of these preconceptions is something Abbas and Marie manages to achieve to a degree. Certain research does in fact indicate that mothers can in fact feel more relaxed, more supported and importantly less fearful at home and it is these emotional facets rather than the medical or fiscal ones of Marie’s experience that the film really focuses on. Marie is constantly surrounded and aided by her team, whether it’s with a physically supportive hand or simply a reassuring one. Its heart-warming to see her with such consistent unwavering support, something that arguably is simply unachievable with a hospital delivery and it’s evident that Marie benefits greatly from this. But ultimately what Abbas wants to do is make us vicariously feel, if only an infinitesimal amount, some of what Marie feels. Abbas really tries to get across the ebbs and flows of the labour process, the uncensored discomfort, endurance and stamina involved with any birth, let alone one stretched out over two-and-a-half days, something very rarely depicted so vehemently in cinema. The films impactful and echoing two beat metal drum score, working as a ticking clock in our minds, really highlights this slow passage of time, making those six-minutes feel much longer but in the best and most intended way. Ultimately, we find ourselves begging mercy for Marie’s discomfort, and although we never fully get to the end, we would undoubtedly have also revelled in her joy when all was said and done. While Marie might not answer all your questions on the subject or even really attempt to sway you one way or the other, it succeeds in achieving its actual purpose which is to motivate those willing to seek out more information of the matter, so as far as Abbas is concerned, mission accomplished. #ChrisBuick You can watch Marie on IGTV here.

Film Festival Feature by Lawrence Bennie Bouncing back against truly unforeseen odds, the 4th annual Romford Film Festival is now underway at London’s Premiere Cinema in Romford. Housed within the town’s Mercury Centre, the Festival is showcasing almost 200 films, including 10 world premieres and 37 UK premieres over two screens in this treasured East London venue. Despite the partial reopening of cinemas across the country, Romford Film Festival is running smoothly as scheduled, with all screenings taking place live at the cinema. A lively selection of features and shorts have been programmed over the 7 days. The bulk of the festival programme is made up of screenings of feature films, normally preceded by two short films. Elsewhere, there are daily short film showcases and Q & A sessions after screenings, where directors, producers and actors will be answering questions posted by audiences on social media. With a wealth of international film-making on offer and a wide choice of genre, there’s certainly something for everyone to enjoy. Horror fans have plenty of frights creeping up with Marcel Waltz’s Blind (Saturday 15th, 8pm) whilst UK director Steven M Smith provides two tales of terror with Dead Again (Monday 17th, 8pm) and Doll House (Tuesday 18th, 12noon). Documentary buffs are spoilt for choice with numerous documentary films on the bill, including Ospreay: The Rise of An International Wrestler (Sunday 16th, 6pm) Everybody Flies (Monday 17th, 6pm) and Gaza Still Alive (Tuesday 18th, 6pm). Additionally, hosted within the festival is the Eurasian Creative Guild Film Festival with films from Eurasia and post-Soviet countries shown each day from 4pm-6pm. The dedication and hard-work of filmmakers, festival volunteers and venue staff draws to a climatic close with Tuesday night’s Award Ceremony (7:30pm-late) where 12 esteemed awards are up for grabs. In the accompanying programme, Festival Director Spencer Hawken provides a warm, optimistic and exciting welcome for both new and returning audiences: “This is truly is our best ever line up! We probably have the UK’s first physical film festival since the madness began…you don’t need to worry about the pandemic; we’ll keep you safe, we’ll keep you entertained and we’ll stretch your imagination with brand new content you’ve never seen before”. The RFF can be followed on Facebook, Instagram and Twitter with @TheRomfordFilmFestival. Tickets are £10 for a Day Pass and £4 per film. For more information and the full programme of screenings and events, please visit https://www.romfordfilmfestival.com/ Tickets and further details are also available at www.romford.premierecinemas.co.uk #LawrenceBennie

★★★★★ Stars Directed by: #FlorianSchott Written by: #FlorianSchott, #GirleyJazama Starring: #CamillaJoAnnDaries, #WafeeqNarimab, #AnnaLouw Film Review by: Alicia Moore Baxu and the Giants depicts a story of how rhino poaching triggers social change in rural Namibia. This story is presented to its audience through the eyes of a 9 year old girl, Baxu (Camilla Jo-Ann Daries,) and how her discoveries of such activities lead to change through compassion and empathy for the wildlife surrounding her. As well as this, compassion and empathy is shown by her brother (Wafeeq Narimab,) with Baxu on the receiving end, upon seeing her hurt by the killings taking place for profit. This short film is beyond powerful and will distinctly motivate all viewers to take part in the steps to worldwide change in regards to types of wildlife crime, like rhino poaching. From the first moment my eyes landed on the film’s opening scene, I was so excited to see a young, strong, female lead. Even without much information of the character at the beginning, it is already clear that Baxu holds a compelling and potent stance within the story. Camilla Jo-Ann Daries possesses immense acting talent throughout and has the ability to portray the core of her character with only her head held high and determination in her voice. Daries’ overall approach to the character is natural and lively which truly brings the film to life, but also fits perfectly with the acting presented by Wafeeq Narimab as Baxu’s brother. The sibling relationship onscreen is beautiful, bringing joy and a sense of a lasting bond to the story and plays a huge part in the plot too. If it wasn’t for both emotionally engaged performances, the impact of how change was eventually brought to the community may not have been as striking. The cinematography, by Kit Hoffmann, is a wonderful aspect of this short. It is also an important aspect as, because of the brilliant cinematography, many details through the lens can be witnessed and pieced together as the plot moves forward. Details of food, homes and landscapes all add engaging elements to the story. Following on from this, the camera is moved in specific ways to highlight certain features of the film – it follows character expressions and movements as if audience members are mirroring the movements of the centred person. I thought this was a subtle but absolutely astonishing touch to the scenes; it provides the short with a personal grasp on viewers, ultimately compelling them to take a leap and learn more about the horrors of poaching after feeling deeply connected with the characters in this way. Aiding the beauty of the camerawork and further cinematography, the colouring of this short film really stands out. The film is essentially split in two; some scenes take place within a normal reality and some take place within the mind of Baxu – her dreams, visions. In some films, a feature like this can easily become confusing if not introduced appropriately. But, thanks to the skill of colourists Willem Maritz and Kit Hoffmann, the differences between these two types of scenes can be easily spotted. The difference in colouring to specify what perspective the audience is watching from, adds even more to the personal atmosphere being acutely created throughout. Having the knowledge, as a viewer, that you are sitting within the mind of Baxu consumes you with the same emotions, abilities and responsibilities as the character. “And sometimes it just takes one person to make a difference.” Baxu and the Giants is simply magnificent. An incredibly impactful short film, spreading awareness on how wildlife crime corrupts our way of life and providing a source of motivation for more of the population to make a change for the better. No matter what age you are or what kind of life you currently live, you are able to make a difference in whatever you are passionate about. If you pour your heart into the cause and let your voice be known, you can make a change. * Be the generation that ends rhino poaching: visit baxuandthegiants.com

★★ Directed by: #JackCarter Written by: #JackCarter Starring: #HalGaunt, #TedCarter, #RobinBroadbent Film Review by: Lucy Clarke Many films aimed at or starring children are wordless or have limited dialogue. Think The Snowman, Shaun the Sheep or Belleville Rendez-vous. All these films heavily rely on physical comedy and general cinematic wonderment rather than count on explosive dialogue. It is rather bold to make a film without this crutch, but for many of these films, this precise lack of dialogue presents them with new opportunities. Director Jack Carter’s film Ham and Cheese is such a film, playing with childhood whimsy and ideas about transience. Each day, a young boy runs up the stairs, brushes his teeth, puts his toothbrush back in its cup, and bounds back down the stairs where his father and two brothers wait for him. On their way to school, they walk across a park, where the young boy meets an old man and his dog. Each day, the boy feeds the dog one slice of ham and one slice of cheese. The film quickly establishes a rhythm and a monotony to the boy’s life. As the child merrily slips into the routine of feeding the dog, the dog becomes increasingly frailer, a fact which goes unnoticed by the small child. Ham and Cheese is a capable film. However, it doesn’t experiment with the perimeters it sets out for itself. Except for two words of dialogue, this is a silent film. It’s a real challenge to craft something excellent without spoken word. The only real sound throughout the film is the continuous soundtrack, but this soundtrack is whimsical, and it borders on being cheesy. Experimentation here is critical, but Ham and Cheese isn’t ground-breaking. Neither does it explore physical comedy – something which is often used in this genre of the modern silent film. The cloned shots of the boy running down the stairs and brushing his teeth were almost certain to become monotonous, but without the depth of experimentation this film needed, the end result is a bland and boring one. Rather like the ham & cheese sandwich you get at the train station, with its plastic grated cheese and soft white bread – this film is entirely serviceable. It will sustain you, but it won’t excite you. But after you’ve finished this sandwich – indeed – after you’ve finished this film, you realise you wanted something more. Carter has made a serviceable film, but this project is lacking in experimentation. Ham and Cheese doesn’t quite cut the mustard.

★★★★ Directed by: #ChrisEasterly Written by: #BrianCox, #JasonGray, #ChrisEasterly Starring: #BrianCox, #JasonGray, #ErinSolanoCox, #JamieGray, #WalkerHaynes, #LewisWright, #KellyShipe Film Review by: Darren Tilby Lithium Phoenix - the most famous band you've never heard of! No, seriously. Lead singers J-Phoenix (Jason Gray) and Brian Lithium (Brian Cox) wrote some of rock's most famous tunes—and then had them stolen. Suddenly, rock bands from around the world were releasing very obviously rebranded versions of Lithium Phoenix's songs: did you know, Poison's Every Rose has its Thorn is just an illegally reenvisioned version of Lithium Phoenix's original (albeit less inspired), Every Flower has its Prick…yeah. So, in case you haven't guessed, The Rise, Fall, and Rerise of Lithium Phoenix is a mockumentary; think Rob Reiner's This is Spinal Tap, only it's 20-minutes-long and has some of the best character names I've ever seen - Jackie Bloodgood (Walker Haynes), Rusty Mullins (Will Mack) and Phoenix Leenix, to name a few. And it's a bloody good mockumentary at that! We follow the ups of Lithium Phoenix's past, the downs of its present, and the question mark hanging over its future, as J-Phoenix, Brian Lithium and a host of fans, roadies, "industry professionals", and even a badly underpaid Private Investigator, give their two cents on possibly the most unfortunate band never to have existed, in that staid, interview-based mockumentary style. Think the Office (UK or US versions), and you know roughly what you're in for. Terrific performances, boasting great laconic and wry humour, from the entire cast (but particularly from the real-life married leads) make this an entertaining watch that had me laughing-out-loud on several occasions (something which doesn't happen often), and I love the fact that both lead actors had a hand in the writing process. It works so well in movies like this, and the difference it makes is instantly noticeable. One could certainly argue the film's rather unoriginal, as it doesn't bring anything new to the table. Instead, Director Chris Easterly plays it safe, following the standard mockumentary protocol rather than attempting anything overly bold. But it works well, and while it doesn't bring anything new to the table, what it does bring is brilliant and can rival the best of them. As someone who isn't usually a fan of the genre (band-based movies, I mean), I very much enjoyed my time with this film, and at a mere 20 minutes in length, it's perfectly paced and more than worthy of repeated viewings. I think it's fair to say that Easterly, Cox and Gray have pinpointed my funny bone, quite proficiently. So do yourself a favour, find this film if you can. You won't be disappointed!

★★★★★ Written & Directed by: #LaurenceHills and #LucasFabbri Starring: #KitClarke and #RosannaAdams Short Film Review by Taryll Baker When a young man, alone and consumed by loss, saves a mysterious egg from being eaten in the woods he is thrown into an all-consuming cycle of madness and grief exploring moments of his past to the detriment of his present. Oh, I really had no idea what I was in for. Egg, written and directed by duo Laurence Hills and Lucas Fabbri, is THE most exciting short film of the year. Exploring the discomforts of pain and loss, the affects of seclusion and an isolated mind. Egg digs so deep that it becomes one of those rare, mysteriously engaging and intriguing pieces of art. Think David Lynch, think Alex Garland. It seems like this film is pulling from the dark corners of cinema history. Blowing off the dust, a ragged genre re-emerges with the impeccably crafted Egg. With no dialogue (apart from a single line, if I’m not mistaken), Egg manages to entice the eyes and entrap the mind for a whole twenty minutes, refusing to let go of its strong grip. Solely following one character for this duration is a difficult task, yet thanks to a truly spectacular performance from Kit Clarke, it seemed like an effortless one. Kit’s gradual descent throughout the film is admirably rich, showing great potential for further growth as an actor — and that’s not to say he’s not great already. I felt he had the likeness of Robert Pattinson here, and if he has attained that level of greatness now, I’m certain there are no ends to his talent. The absence of dialogue meant an emphasis on music, and, now having watched the film, there’s no one I would have picked over James Horton. Horton’s score helps carry the narrative in the most rewarding way. A similar style to that of Ben Salisbury and Geoff Barrow (whom have worked with Alex Garland in the past), the intoxicating electronic atmosphere created is a worthy supplement for the film. The stunning black and white imagery contrasts extremely well with the sequences in colour. Laurence Hills’s gripping cinematography is an awe-inspiring accomplishment, with every single movement being thoughtfully constructed. If you’re a fan of Lynch or even Garland, you will absolutely, without a doubt find Egg entertaining. The average viewer may not find any enjoyment in this, but I’m certain that cinephiles will adore it. Audio complementing visual in the best way, with solid direction and remarkable cinematography, Egg is a phenomenal achievement. #TaryllBaker

★★★ Directed by: Colleen Brady Starring: Kate Greenberg Film Review by: Jason Knight Here is a piece of work that is likely to appeal primarily to animal lovers, wannabe vets and those who are considering taking up aerial acrobatics. Colleen Brady's short documentary Geronimo: In Flight presents the life of Kate Greenberg, who works as a veterinarian and practices aerial arts. The film starts by introducing Kate as she describes her work at an animal hospital in the United States, where she treats a variety of animals. Approximately halfway through the attention turns to her chosen form of exercise, that being aerial acrobatics and she is shown performing impressive stunts using an aerial hoop. The documentary is very well structured. Viewers are presented with shots of various animals that are treated at the hospital, such as dogs, horses, moose and even camels. While Kate is interviewed regarding her job as a veterinarian, her words are used as voice-over, effectively accompanying the images. She describes what it's like working in this profession, what the challenges are and how she motivates herself to get the job done. In the aerial acrobatics section she describes the benefits that she gains by pursuing this activity. The slow motion sequences of her exercising are beautiful and present an image of blissfulness. The main subject here is of course Kate. Constantly smiling, she comes across as quite pleasant and appears more than willing to open up about herself. The way she describes the life of a veterinarian and hobby as an aerialist is very informative and one can comprehend that she is content with the choices she has made. Director Brady does a good job and Amir Muhammad's calming and mesmerising score is a great addition to this project, delivering tenderness to the images. This documentary is a pleasant and touching look at a person's life and achievements. It shows a happy individual making her contribution to the world, while at the same time making sure that she gains too. #JasonKnight