The Grimmfest Online Edition will present over 20 feature film premieres, two short film showcases, Q&As, seminars, an exclusive audience with one of the genre's foremost movers and shakers, the inimitable Mick Garris (MASTERS OF HORROR, STEPHEN KING’S THE STAND), and extra exclusive content for full pass holders; across five days in early October (7th - 11th Oct). The festival will open with the European premiere of John Hyams' harrowing psychological thriller, ALONE, featuring a powerhouse performance from Jules Willcox as a grieving widow who finds herself caught up in a savage game of cat and mouse with Marc Menchaca's ruthless and relentless misogynous psychopath. A focus on iconic female horror stars will feature Adrienne Barbeau (THE FOG) confronting a Faustian pact with a fracking company in the European Premiere of UNEARTH. Grimmfest favourite Pollyanna MacIntosh (THE WALKING DEAD) revs up for the European premiere of girl-gang biker revenge flick REVENGE RIDE and, 34 years after TEXAS CHAINSAW MASSACRE 2, Caroline Williams returns to Stretch's midnight DJ slot for the European Premiere of vampire flick TEN MINUTES TO MIDNIGHT and writer-director Brea Grant and actress Angela Bettis team up for the blisteringly brutal hospital-based black comedy 12 HOUR SHIFT. There’s also Fiona Dourif as a troubled psychic facing malevolent Malaysian mysticism and her own dark past, in the World premiere of haunted house shocker, THE MEDIUM. There's more female-centred horror, as a wheelchair-bound woman finds herself trapped in an isolated house with a rabid dog, in the tense and claustrophobic ROPES, and an alienated young housewife begins to fear she's a malfunctioning android in the icy I AM REN, both UK Premieres. Elsewhere, and in direct contrast, Grimmfest presents a trio of films exploring the darker side of masculinity. Paranoid jealousy leads to a total meltdown, as a commitment-phobic schlub and his long-suffering girlfriend return to his family home only to encounter a bizarrely obsessive boyhood friend in the UK Premiere of the darkly comic IT CUTS DEEP. A desperate need for friendship leads an alienated middle-aged loner into an increasingly disturbing relationship with a VHS tape, in the European premiere of the unsettling RENT-A-PAL; while a laconic bar-room shaggy dog story escalates into a gory and claustrophobic Noir nightmare, in the UK premiere of THE OAK ROOM, from Grimmfest favourites Cody Calahan and Chad Archibald. Grimmfest continues to champion independent voices in horror, with a selection of soon-to-be cult classics. Chad Ferrin screened at the very first Grimmfest, so Grimmfest are pleased to be welcoming him back with the European Premiere of the genre-savvy H.P. LOVECRAFT’S THE DEEP ONES, a mischievous fusion of Lovecraft and Ira Levin, by way of Corman and Charles Band. FATAL ATTRACTION meets THE BLOB as misogynous sexual mores encounter old school EC Comics style poetic justice in the World premiere of B. Harrison Smith’s THE SPECIAL. There's a night on the town you'll never forget, in the UK premiere of synapsis-sizzling South African psychedelic drug-trip alien possession movie, FRIED BARRY. Body jacking parasites disrupt a polite dinner party with gory consequences in the European premiere of outrageous black comedy AN IDEAL HOST. THE BIG CHILL meets BATTLE ROYALE as a college camping trip turns into a fight for survival in TRIGGERED. And an African American family on the run collides with cannibal Klansmen in the World premiere of DEATH RANCH, Charlie Steeds' delirious tribute to Seventies grindhouse and blaxploitation cinema. Seventies cult cinema is evoked, too, in the UK premiere of URUBU, Alejandro Ibáñez Nauta's homage to his own father, Spanish genre legend Narciso Ibáñez Serrador, whose most famous and notorious film, COULD YOU KILL A CHILD? is ruthlessly reimagined for a new generation. Nimbly surfing the wave of retro-80s nostalgia, the World premiere of THEY REACH, pays pitch-perfect homage to the US teen-orientated genre cinema we all grew up with, while the UK premiere of THE UNHEALER offers a more contemporary take on the high school horror film and some fine supporting roles for Lance Henriksen and Natasha Henstridge. The Online format has also opened up possibilities for additional programmes, so Grimmfest is taking advantage of our newfound scheduling flexibility to add some additional, exclusive content that will only be available to full festival pass holders. Features include a ruminative reimagining of the old school “demon child” movie in the UK premiere of emotionally devastating STRAY. A timely documentary celebration of what binds us together as a community, in THE HORROR CROWD. Tables are turned to terrifying effect, in the UK premiere of the visceral and confrontational ANONYMOUS ANIMALS. Long-form shorts include the UK premiere of BLUE & MALONE in which a weary journalist has an eye-opening encounter with her own past, there's an encounter with the in-laws from hell in the UK premiere of PATRICK IS OUTSIDE, and we've squirm-inducing body horror in the stomach-churning HUNGRY JOE and the utterly nightmarish THE ALTRUIST, which receives its UK Premiere. Grimmfest will also host an exclusive panel on Iconic Women in Horror, featuring some of the stars of this year's selected films, talking about their careers. Guests are already lining up for Grimmfest 2020. Lance Henriksen (ALIENS), Pollyanna McIntosh (THE WALKING DEAD), Caroline Williams (TEXAS CHAINSAW MASSACRE 2) and Adriene Barbeau (THE FOG) will all join us for Q&As, with many more yet to be confirmed. Grimmfest 2020 will also host two short programmes packed full of premiere screenings. Details will be announced soon. Steve Balshaw, the chief programmer, said: "It's been a challenging process translating the Grimmfest experience into an online festival, that people can enjoy from the safety of their own home, but we're truly proud of this year's line-up. We've secured some fantastic feature and short film premieres, and we'll also have guests galore joining us via live linkups for Q&As and seminars”. Simeon Halligan, festival director said: “We can’t wait to unleash this wonderful selection of movies on Grimmfest fans. Online, at home, but together in spirit. We hope everyone joins in, watches all the films and connects with all the amazing filmmakers. This year, you won’t be able to chat with them at the bar, but you can ask them questions as part of our ‘Live’ online Q&As. So, grab your popcorn and settle down at home, for five ‘full-on’ days of brilliant movie premieres. It’s gonna be a blast!” Grimmfest 2020 full festival ‘Online’ passes are available now, from www.grimmfest.com

★★★ Directed by #PaulavanderOest Written by #CarolineGoodall Starring #ClaesBang #OlgaKurylenko #BrianCox Film Review by George Wolf You know those films that make you think, “Man, I bet this was a great book”? The Bay of Silence is one of those. It has the intrigue, the mystery and the performances to hold your attention, but it feels as if something’s missing. Something like several pages, or even a chapter or two from Lisa St. Aubin de Terán’s 1986 novel. Design firm exec Will (Claes Bang) and photographer Rosalind (Olga Kurylenko) are enjoying an idyllic getaway in Italy, where Will pops the question with a pull tab (don’t worry, he’s good for a real ring). An opening prologue gives us a glimpse of some trauma in Rosalind’s youth, but it seems like Will, Rosalind and her 8 year-old twin daughters can look forward to happiness as a blended family. Months later, a very pregnant Rosalind falls from a balcony. Though baby Amedeo is delivered healthy, Rosalind has changed. She’s convinced that she actually delivered another set of twins, and that everyone involved (including Will) is in on the deception. Ros returns to her photography and her erratic behavior continues, until Will returns home to find his wife, the children, and their nanny (Shalisha James-Davis) all gone. Will turns to Rosalind’s mother (Alice Krige) and manager/former stepfather Milton (Bryan Cox) for answers, but the mystery of Rosalind’s past, present and future only deepens. Are we dialing M for madness of murderousness? Director Paula van Der Oest (Oscar nominee for 2001’s Zus & Zo) nails a Hitchcock vibe in spots, but the adapted screenplay from Caroline Goodall – or an editing hachet job order from the studio – leaves too many dangling threads for a completely satisfying payoff. Rosalind’s fascination with twins is just one of the questions nurtured and then forgotten, apparently in service of a quicker trip to the resolution which is telegraphed pretty early on. The cast is uniformly splendid (especially Cox, natch) and the locales ooze sophistication. But while The Bay of Silence qualifies as perfectly acceptable adult fare, you can’t help wishing it would have said a little more. #GeorgeWolf

★★★★ Directed by #AmandaMcBane #JesseMoss Film Review by George Wolf Imagine what you get when you bring over a thousand 17 year-old boys together to play politics. Fight Club with zits? You get Boys State, an annual exercise into the “civil discourse” of state government. An American Legion program since 1935, Boys State (and its corresponding project for girls through the Legion Auxiliary) gives selected high school juniors the chance to build a representative government from the ground up. From legislative sessions and deal-making to party platforms, elections and even a talent show, the kids are immersed in it all. In the Sundance Grand Jury prize-winning Boys State, directors Amanda McBaine and Jesse Moss immerse us in it, too. The result is an endlessly fascinating and thoroughly entertaining mixture of shock and awe. Employing a predominantly verite approach, McBaine and Moss settle on four main boys to follow throughout the weeklong experience. We see glimpses of those who just came to play (“ban pineapple pizza!”), but our quartet means business. While Ben and Rene are elected opposing party chairmen, Robert and Steven are both after the big prize: Governor of Boys State Texas. The boys’ different backgrounds (Rene: “I’ve never seen so many white people!”) create truly compelling characters who provide just one of narrative contrasts that draw you in, slowly deepening your investment until you’re hanging on every motion and debate. As the party members draw their platforms with an eye toward victory… check that…I mean DOMINANCE in the general election, it’s equal parts horrific and inspirational. Boys openly betray their principles for populism, jockey to acquire more power and gleefully pounce when they smell a negative campaign that might stick. They quickly learn the well-worn lessons of a fickle and often hurtful enterprise, either adapting or falling away. The rampant testosterone can’t go unnoticed. Neither can multiple examples of how badly more women are needed in all levels of government. And when all is said and done, one of our principles has to admit another is “a fantastic politician.” Is that a compliment? That may be a complex question, but only a few of these boys will watch this film again in 20 years and feel damn proud of who they were at 17. Or maybe they all will. Boys State fuels both the cynicism and the hope required to make either road seem possible. Your move, Girls State. #GeorgeWolf

★★★ Directed by: #Kevin Meggs Written by: #Kevin Meggs Starring: #Aaron Browne #Isobel Lynch #Fran Meggs #Eddie Meggs Film Review by: Joshua Calladine The first thing to say about any film at this point in a director's career is that if it shows promise, which When Pigs Fly does, it is worthy of praise. The second thing to mention is that praise is not worth much if it comes lightly, and at this point, an early point, criticism is worth a lot more. The camerawork is admirable, with well-timed edits for comedic effect. It seems director Kevin Meggs has seen his fair share of cartoons and understands that the dramatic close-up is a key method for displaying dramatic comedy and emphasising comic timing. However, one fault will stand out to the viewer when watching When Pigs Fly, a fault that is so often the undoing of an otherwise well-put together and entertaining independent film. That fault is sound design. Inconsistent sound levels draw the viewer out of the word of the film more than any other flaw. Sound is actually more convincing than visuals when it comes to creating a film that feels like a film. Similarly, the stock soundtracks of bygone films can be funny for a short time, but feel cliched after so many general listenings in the wider world, and will always be limited to their sources. Isobel Lynch in the female lead brings a solid and characterful performance to the role of the rebellious daughter, promising in the naturalistic acting, but still a little stiff at times. The dynamic between the family as a whole is as entertaining to watch as it is invitingly earnest, but could benefit especially from more directorial force. At sixteen minutes long, it is quite safe to say that the film could have have been improved with more and stricter cutting, and the humour would have a longer-lasting effect this way also. But as it stands, the comedy is often fast-paced. The film is overall a very promising short from a young independent Irish film-maker, and showcases the abilities of the young actors well. It bodes well for future releases from this director, especially with greater maturity and film-making experience. With these two things, the films Meggs and company generate in coming years could be brought to an entertaining peak.

★★★★ Written & Directed by: #CalumYoung Starring: #KieranEgan, #CalumYoung, #WilliamSowden Short Film Review by Taryll Baker Graham has missed his last train home and is now stuck at the station, he falls asleep but awakes to find an old steam train waiting for him, he debates for a while about whether or not to get on board. Firstly, a fantastic opening scene. With an ominous tone, a slow and steady zoom in on a dark and gloomy tunnel, the sound of a mysterious steam train rings out, abruptly cutting to black before it is revealed by the daylight. Straight away the viewer is pulled in — and that’s very hard to achieve within the boundaries of the short film. Following the black screen, we find Graham in a pub with friends. With no money left, he has to catch the train but it leaves in 5 minutes. Graham rushes to the station but alas, it’s too late. An encounter with a worker on the platform sees him waiting there overnight… until the steam train we heard in the opening pulls up slowly. This is where things get interesting. Calum Young’s directional approach is superb. The lifeless aura around the train sparks up questions for debate. I think what I take from it is also what most others would; A drunk man sprinting to a station at night, falling asleep on a bench, and then stumbling perhaps unknowingly onto a “train.” It seems to be a more structured look at unfortunate, accidental deaths. The layers are present, and though not absolutely bursting with detail, it’s perfect for this running length. As this is a college project, the acting understandably isn’t at a high standard, however it isn’t distracting. We mainly focus on Kieran Egan and Young’s characters, so it’s never an issue. That said, I must praise the skill that Siren has on show. This is a solid watch. It has all the elements of a great film, minus some cleaner production such as colour grading and smarter cinematography. But as college projects go, Siren is brilliant. So within 6 minutes, Young’s short film manages to grasp the interest of the viewer, introduce a main character successfully, and take that character on a short internal journey, all the while offering up some questions for the viewer in a satisfying end. It’s not the “blockbuster” of the short film world, but a very fine and entertaining film in its own right. Watch the trailer for Siren below. #TaryllBaker

★★★★ Directed by: #SoniaKHadad Written by: Sonia K. Hadad and #FarnooshSamadi Starring: #SadafAsgari, #HadisMirAmini, #MasihKazemi Short Film Review by: Corey Bulloch Ever had something in your school bag you shouldn’t have? Chewing gum? firecrackers? pet snake? How about an eightball of cocaine that you’ve been forced to take to school on the day of a critical exam? Sonia K. Hadad’s simplistic thriller is that universal anxiety expertly wielded to tell a story that both gets hearts palpitating but also offers a delicate look into Iranian customs. Our main character, a hard-working but suffering student portrayed brilliantly by Sadaf Asgari is studying for an important exam when her drug-dealing father coerces her into being a mule for a handoff. Running late and the buyer nowhere in sight, this student is forced to go to school and complete her exam while still in possession of the small package of cocaine and just as it seems everything is under control, a teacher announces a surprise bag check. The brilliance to Hadad’s direction and script, co-written by Farnoosh Samadi is how inclusive this story feels to the audience despite the specifics of the story. The anxieties of the student are relative to the drugs but exam stress, familial pressure, being late, being caught out are all fears we’ve had, especially in school. It’s during this bag check that Exam transforms into a nail-biting ordeal as Hadad really flexes her directorial skills in a multilayered sequence elevated by subtext, editing and performance. This teacher brought to life in such a chilling manner as she slowly goes bag to bag working our way up to our main character while she subtly tries to open her bag and hide the incriminating package. Hadad and editor Ehsan Vaseghi ratchet this tension up piece by piece not just by cutting to quick shots of hands scrambling at bag clasps or Asgari’s uneasy expressions. Though Asgari’s skill in telling this character’s emotional journey through minimal dialogue especially the later physical elements is really impressive. Vaseghi’s work in creating tension through the slow buildup of this teacher working her way through the room is delightfully agitating with how each search informs the culture. Exam focuses on globally relatable ideas and themes through a specific lens and the lens is a young woman’s place in contemporary Iran. As phones and perfume are plucked from bags with looks of contempt and soft giggles, it's not until a pair of hair straighteners are pulled from a bag that a real shift is felt. Remember the question at the beginning, phones, perfume, hair straighteners all things that would seem normal to have, nothing dangerous and mostly objects one would expect to find in a woman’s bag but Hadad makes it clear that in Iran it is a different story. If mundane objects such as these are inspiring such tension and vitriol what will happen if the drugs are discovered? The danger and desperation our character finds herself in becomes more engrossing as the stakes are subtly raised through this backdrop of these customs. With stunning performances, direction, and editing which is all enhanced with Alireza Barazandeh’s terrific cinematography, Exam is a gripping film which finds great thematic depth in its narrative simplicity. Hadad doesn’t make a definitive statement in the end, no damning message about drugs or how Iran regards women but lets her character’s experience both ubiquitous and specific be reflective upon the audience. The terror, the tension, the painful aftermath, all of it a reality that is lived in and Hadad’s direction has us live through it as well, making us meditate of all these little moments that lead us there and what could happen next. #CoreyBulloch #shortfilm

★★★ Directed by #EgorAbramenko Written by #OlegMalovichko #AndreiZolotarev Starring #OksanaAkinshina #PyotrFyodorov Film Review by Hope Madden For low-key, throwback sci-fi horror, Sputnik is a fine time. A Russian film, Sputnik takes us back to Soviet Union circa 1983 in all its concrete walls, dirty snow and drab greys. Comrade Tatyana Klimova (a formidable Oksana Akinshina) is brought to a secret military facility to consult on a strange case: Cosmonaut Konstantin Veshnyakov (Pyotr Fyodorov) has partial amnesia and can’t fully explain his mission’s failure. First of all, I love that these guys always call each other by their entire first and last names, usually with the prefix Comrade. It requires that they get right to the point, otherwise conversations would become just too long. Little details like these, along with a convincingly oppressive set design and performances of understated perfection, convey the repressive, even terrifying conditions of the time. It’s a fascinating atmosphere to evoke when introducing something as wondrous and horrific as the film’s little monster. That’s right, Cosmonaut Konstantin Veshnyakov did not return from space alone, but separating the Soviet hero from the alien visitor is proving very difficult. Part Venom, part Alien and all manner of Russian, the film pulls in images and ideas that feel familiar—sometimes too familiar—but the execution maintains your interest. Akinshina stoic and unimpressed doctor is at the center of a film concerned with heroism and adaptability. Comrade Tatyana Klimova carries with her an unerring and unemotional sense of what’s right, which is often at odds with the sense of purpose that drives this mission. It’s a solid emotional center for the film, but let’s be honest, who wants to see a monster movie unless there’s a cool monster? There is! Director Egor Abramenko, working with FX and puppetry, creates something almost del Toro-esque. All phalanges, tail and teeth where teeth ought not be, the creature creepy design scores Sputnik plenty of points. As true to the period as the subdued tone feels, it also robs the movie of a sense of urgency. But Abramenko weaves in elements of an indie drama that work better than they should to round out this picture of Soviet heroes and monsters. #HopeMadden

★★★★ Written & Directed by: #LancePolland Starring: #ScottSell #JessicaMorris #HansHernke #AugieDuke #MinchiMurakami Film Review by: #ChrisBuick In Lance Polland’s Another Plan from Outer Space, in the year 2024 when civilization has not only sent people to Mars but has indeed began to flourish on it, five astronauts find themselves and their ship falling out of the cosmos, crash landing in some unknown location with nothing but desert seemingly around them. Led by Captain Jackson (Sell), the team begin gathering what they can in an attempt to summon rescue, but soon realise they have a tough fight for survival on their hands from the elements and more. It might be fair to say that Polland’s film does not exactly start as it means to go on. Another Plan from Outer Space begins by alluding to the sentiment that mankind’s mission it seems (in the US at least) has always been to try and conquer space, something he could be right about as the film opens with a number of real-life addresses on the matter from presidents both past and unfortunately present. But these are themes that Polland merely flirts with, a small titbit for you to ponder as Polland, rather than trying to wax lyrical about the wonders of space and the aspirations of astronauts, instead takes us into a different kind of space adventure via an unexpected but perhaps more interesting, stripped back survival drama, one that doesn’t necessarily go the way one might expect as we watch this initially airlock tight crew begin to fall apart. A great deal of what makes this film a success is a clear and inspired level of ingenuity and working with that you have. Substantial budget restrictions are evident throughout, settings sparse and re-used often. But this is a film that knows how to get the most out of its resources, props and costumes are very simple yes but never laughable. In fact, that whole ethos is a big part of what gives this film its unavoidable charm, helped by its warm and fuzzy old-school sci-fi vibes that fans of classics such as Lost in Space and Star Trek will eat up. The black and white aesthetic is of course an obvious component to point to in that regard as well, but it all comes together remarkably well when combined with an ever familiar theremin-heavy backing score and those simple yet effective practical effects. Polland also takes a great deal of care and time in establishing his world, his characters and their dynamics, the first third or nearly half of the film being something more of a hangout movie peppered with a few sci-fi elements before moving more in that direction. It takes a moment to perhaps warm to our ensemble as well, some maybe even a couple more but it’s a decent overall cast performance that wins you over in the end. This slow-burn style could be something that may be the catalyst for disinterest among some more impatient viewers but many more should appreciate that this groundwork is partly the reason the film's final and strongest act pays off as much it does. While the film might be easily dismissed by a handful for its minimalistic and measured approach, Another Plan from Outer Space is a film that aims for the stars and thanks to some clever ingenuity and increasingly palpable tension, manages to get there with enough fuel left over for to go even further if it wants. #ChrisBuick Another Plan from Outer Space is available to watch on Amazon Prime Video Watch the trailer here:

★★★★ Directed by #ScottCrawford Written by #ScottCrawford #JaanUhelszki Starring #DaveMarsh #CameronCrowe #JaanUhelszki #MichaelStipe Film Review by Hope Madden Documentarian Scott Crawford has an interest in location-specific counter culture. His 2014 doc Salad Days recounted a decade of unsurpassed DIY punk rock transforming the underground of Washington, DC. Now he turns his attention to Detroit. Creem: America’s Only Rock ‘n’ Roll MagazIne documents the inner dysfunction and outward impact of the Motor City’s “screw you” to the rock establishment. (Lookin’ at you, Rolling Stone.) Launched in 1969 by Detroit head shop entrepreneur Barry Kramer, the magazine immediately defined itself among rock mags as the most personal, most irreverent, least sophisticated and most vital. Like the decaying, even dangerous city it represented, Creem Magazine existed outside the mainstream. Boasting a litany of groundbreaking rock writers and more women on the editorial and writing staff than nearly any other magazine at the time, the magazine pushed boundaries. It didn’t just cover punk rock, it was punk rock. And like punk rock (or Detroit, for that matter), it was basically doomed. Crawford’s gift is in establishing the period, time stamping the singular moment in rock history he wants to unveil. Archival footage and behind the scenes photos illustrate the hard core, nearly derelict quality of the working conditions. Kramer’s commitment was almost blind, and the untested staff—many of whom would reveal themselves to be rock writing geniuses—attacked their assignments with equal self-destructive passion. We hear directly from many of them: Dave Marsh, Cameron Crowe, Jaan Uhelzski (who co-writes the film). We also hear from the rock stars that were covered (Alice Cooper, Gene Simmons, a very testy Joan Jett), as well as those modern day musicians whose young minds were warped by Creem’s pages (Michael Stipe, Kirk Hammett, Chad Smith). The film’s production design does justice to its source material. Scott Gordon’s animated sequences are an inspired avenue into reenactments. Between the cartoons, stories, photos and excerpts of his writing, a provocative image of Lester Bangs emerges. And who could be more fitting to provide all the movie’s original music than MC5’s Wayne Kramer? The film, produced by publisher Barry Kramer’s son JJ, is absolutely a mash note to rock’s most rebellious rag. For many it will be a lesson on the significance of Detroit, even after Motown, in the evolution of American music. More than anything, though, Crawford’s film is a testament to the legacy of America’s Only Rock ‘n’ Roll Magazine. #HopeMadden

★★★★ Directed by: #KewLin Written by: #KewLin Starring: #ShuchengChen, #ElenaChia Film Review by: Lisa Ogunmayin Uncle Goose. Eccentric? Quirky? At least quite content until he receives an unexpected phone call. From eating spoonfuls of sugar to arm swinging exercises, Uncle Goose appears to have adjusted relatively well to his empty-nest living and has come to terms with the inevitability of life. On one particularly normal day, while eating, Uncle Goose looks at the phone expectantly as if his intuition is saying something to him, (perfect cue for the intensifying background tv music) suddenly, the phone rings. He picks up the phone to be greeted by a long-lost friend. They fall into a comfortable banter as if there was never any distance between them. Mr Goose ends the call to check on the kettle but forgets to take his friend’s phone number. The wait begins. Uncle Goose, played by Shucheng Chen, represents a generation of parents and grandparents who refuse to upgrade to modern technology, but also a generation who, over time, have lost contact with great friends. Chen is excellent as Uncle Goose who diligently waits for his friend to call back. His disappointment is deeply felt in the close-up shot of the moment he realises he doesn’t know the phone number; hope comes with his old phone book but quickly flees with the disengaged number. The highlight of the film is when Uncle Goose runs out of food. He makes the impossible, possible and is ecstatic that his idea has worked, up to a certain point; it truly beggars belief. Again, the music, with its staccato chimes, plays right on cue for the mischief that is about to ensue, adding comic relief to an otherwise depressing and hopeless situation. The phone finally rings. Uncle Goose again has to come to terms with the inevitability of life; a running theme in this short. Having to deal with loss alone, is unimaginable unless you’ve been through it yourself and as an elderly person, one at some point will contemplate one's own mortality. The film ends with a poignant scene where Uncle Goose chooses to celebrate his friend alone with a remembrance song rather than staying to play mahjong; a touching reference to a statement he makes earlier in the film about playing the game with his friend. Uncle Goose’s short story is sure to have the audience reflecting, especially for those who can relate, on the state of our lives and the people still in it. #LisaOgunmayin

★★★ Directed by: #JoeHarvey Written by: #JoeHarvey Starring: #AnthonyVander, #JadeAbode, #MichaelDouglas Film Review by Lucy Clarke “Hi, guys! Welcome back to my channel!” is the call of the modern Youtuber. Youtube has now become a prime way for young, entrepreneurial creatives to make their living. There’s the lifestyle vlogs, the video essays, the viral pranks. If you can go viral and maintain the sudden growth in your fanbase - you’ve made it. However, viral videos don’t have to be truthful; they just have to be shareable. Too many times has a video spread like wildfire only for the truth to slowly trickle out like a leak. Joe Harvey’s latest work, Their Story, takes place in this maelstrom of online Chinese whispers and examines how easily a lie can slip out of control. Spliced between the images of curated, carefree vlogs, a young couple sits on a park bench. They had been engaged, but Baz (Anthony Vander) left Danielle (Jade Abode) in the lurch five months ago with no explanation. As the couple make up and process the reasons why Baz left Danielle, an opportunistic vlogger, Syd (Michael Douglas), lurks behind the bushes videoing Baz and Danielle. Across from Syd, another vlogger, Sami (Nora F, Alexia Turchi), stakes out the couple. Both Sami and Syd invent wild backstories to Baz and Danielle’s sorrow, causing this intimate moment between the couple to become moneyspinners for the vloggers. Director Joe Harvey demonstrates a fantastic disconnect from the online world to the real one. The handheld vlog footage is well-incorporated and drives home how overtly sweet and unrealistic internet content can be. Melancholy moments are obscured by the vlogger Syd, whose cap is emblazoned with the Youtube logo, and excitedly catches his “digital disciples” up on this breaking story. Actor Michael Douglas is particularly good as the obnoxious Syd, and he has a talent for timing and comedy. Laughing with Syd immediately places the audience in a difficult situation, as the real heartbreaking story unravels in front of them. However, Harvey’s film is often far too on the nose, and the situation is too overblown and exaggerated for nuanced social commentary. While the questions Their Story asks seem pertinent, the answers are skimmed off the surface of Youtube, and the film doesn’t interrogate internet culture as much as it should. Baz and Danielle’s relationship doesn’t feel as tactile as Syd’s parasocial relationship with his fans. Their pain is as scripted as a Youtube prank video, and unfortunately, their relationship lacks the sense of authenticity that every influencer yearns for. The internet has been evolving throughout its existence, especially on Youtube, where things change at lightspeed. Joe Harvey has captured this zeitgeist, and even though the film isn’t particularly nuanced, it still provides an interesting commentary on internet culture today. Their Story won’t result in an immediate like, comment and subscribe, but Joe Harvey demonstrates that he’s got some exciting stories to tell.

★★★ Written & Directed by: #GabrielHenriqueGonzalez Starring: #GeorgeBlagden, #AnnaÅström, #EllieTurner Film Review by Taryll Baker The enigmatic Mia (Anna Åström) bursts into the lives of Charlie (George Blagden), who is coming to terms with his father's death in rural France, and his fiancée Ella (Ellie Turner) in London. As the summer unfolds, it becomes apparent that their three lives are intertwined in ways no one dares to admit. From the outset, this new film from writer and director Gabriel Henrique Gonzalez bursts with mystery. The opening shots accompanied by a lively score give off major Call Me by Your Name vibes, yet quickly breaking from this likeness in the following scenes. The lush, vibrant locations are perfectly captured in-camera and presented with a sharp colour grade. One of my favourite parts of the TV show Vikings was George Blagden’s character, so to see him in another role was quite the treat for me. There’s certainly a very likeable charm about him, and he brings that again to his character in How You Look at Me. Supporting him is Anna Åström as the intriguing Mia, an ever-unfolding personality that wedges herself into the middle of a soon-to-be-wedded couple — Ellie Turner’s presence is a graceful one at that. The three actors carry the film well and do a great job with scratching beyond just the surface of their respective roles. Unfortunately, the visual and audio aspects are the most enjoyable part of How You Look at Me. The script is fairly well written, but the story itself struggled to invest me as well as it should have. Although the film’s running time went by in a flicker, it felt as if almost nothing had happened, at least not drastically, until the final quarter. But as someone who enjoys the odd “hangout” or “slow” flick, I can find something to like and appreciate in the flesh around the bones. To explore the music score further (written by Samuel Ford), the layers are fantastic. As a composer, I enjoy listening out for any specific choices in approach to scenes. With Ford’s electronic and ambient score, the film’s key moments are amplified appropriately. Jack Shelbourn’s stunning cinematography is the canvas and Ford’s music the brush strokes, both coming together to create a pleasing piece. On a technical level, How You Look at Me is smart and eye-grabbing… a visually and audibly entertaining film. But alas, with story themes that feel like a muddy path previously journeyed before, it failed to propel me into the drama of an inexplicable, fractured relationship. Watch the trailer for How You Look at Me below. #TaryllBaker