★★ Directed by #EugeneKotlyarenko Written by #EugeneKotlyarenko #GeneMcHugh Starring #JoeKeery @SasheerZamata Film Review by Rachel Willis I am about as unplugged as one can be in this hyper-connected world. I have zero social media profiles and visit around five websites regularly (this one included). Considering my lack of presence online, I may as well not exist. At least, according to Kurt Kunkle (Joe Keery, Stranger Things). Kurt is the wannabe viral sensation at the center of director Eugene Kotlyarenko’s latest film, Spree. Deciding to live stream his evening as a driver for the ride-share company, Spree, Kurt – star of @KurtsWorld96 – has a lesson to share and knows this is his ticket to fame in the digital world. Kotlyarenko, co-writing with Gene McHugh, wants to deliver a comedic observation of the effects of the digital world on the real one. It’s not a bad idea. It’s too bad the movie isn’t funny nor especially profound. There are multiple cameras on Kurt throughout the movie – phone camera, dash cam, window cam, security cam, body cam – at times, the cinematography piles on the footage, using split screens to show us multiple views. A running commentary is sometimes seen at the bottom of one or two of the screens. This lets us know that everyone in cyberspace viewing Kurt’s night – which involves several crimes – thinks it’s staged. Occasionally, someone chimes in wondering if it’s real, but for the most part, they can’t discern fact from fiction. It’s exhausting. Aside from one, blink-and-you’ll-miss-it shot that I couldn’t account for, every scene is delivered through a handheld or portable device. Watching the movie, it’s hard to imagine anyone consumes anything this way. If this is the way of the world, our attention spans will surely dwindle closer and closer to that of a goldfish (if they haven’t already). The movie’s only plus is Sasheer Zamata (The Last O.G., Saturday Night Live). Her character, Jessie Adams, runs across Kurt early in his night and is everything he wants to be. Zameer delivers the right amount of comedy in a few spots that, had the movie matched her efforts, might have helped its appeal. While the attempt at commentary on the larger culture does not go unnoticed, as one of Kurt’s followers says to him of his attempts to go viral, it’s “boring and awkward.” Same goes for Spree. #RachelWillis

★★★ Directed by: Anthony Hett Written by: Anthony Hett Starring: Cleo Sylvestre Film Review by: Jason Knight Words can be powerful. However it is sometimes said that actions speak louder than words. Such is the case in Anthony Hett's short drama Waiting, which focuses on a day in the life of Frederica, played by Cleo Sylvestre. The film begins with Frederica getting ready to go out. She puts on a wig and jewellery, applies make-up, puts on her shoes, grabs a coat and goes out. She is then seen waiting at a bus stop. She observes people and buses come and go but never gets on a bus herself. She remains at the same location, for reasons that appear unknown. Eventually it starts getting dark, when a woman arrives and kindly escorts Frederica back home. That woman is wearing a carer uniform, giving the impression that Frederica has a condition, probably dementia. The next morning she gets up and prepares to go out just as she did before, putting on the same clothing and jewellery. As mentioned this a silent film in the sense that it contains no spoken words, leaving the audience to interpret the images. The world is viewed through the protagonist's eyes and the lack of words and silence seems to represent the loneliness and isolation that she experiences. Hett depicts her actions in great detail. He uses closeups of her applying her make-up, putting on jewellery and her shoes. When she is at the bus stop, the camera focuses primarily on her face. This makes it clear that she is the most important thing in this story. He also gives the viewer the idea that the main character's actions in the film are what she does day after day. Sylvestre delivers a convincing performance as a person who appears to be isolated and confused. During the film her expression never changes, regardless of where she is or what she is doing, making it hard to comprehend her emotions. Overall Hett has created a piece of work that is worthy of recognition and will provide a thoughtful experience. #JasonKnight

★★★★ Stars Directed by: #ShaneRyan, #KadeTabin Written by: #ShaneRyan, #KadeTabin Starring: #KadeTabin Film Review by: Alice McGowan It is hard to imagine a scrappy palette of stock footage being put to work as inventively as it is in Autopilot; a near-abstract mediation on estrangement that is more tonal collage than film. The short was Shane Ryan and Kade Tabin’s last-minute entry to the eponymously titled Corman Challenge; created by the prolific Little Shop of Horrors director as a double pronged incentive to aspiring filmmakers to get creating whilst staying indoors. Entrants were required to create a film shot entirely on a phone from inside their own homes, using only people, props and equipment that happened to be around. Image rather than narrative led, Autopilot jettisons deliberations about whether to confront present day anxieties in its story. In fact, it is hardly a story at all, but a sort of hyper-personal tone poem, one that leaves ample room for the watcher’s own fears to flood in. The entire film is characterised by a remarkable absence of boundaries; themes of estrangement and deterioration and sickness unspool like ribbons in every scene, but they are always presented with an air of abstraction. Ryan layers image upon image, both in the edit and the diegetic space of the film itself, inventing phantasmagorical forms that seem almost to dance across the material borders of each frame. There is meaning to be found in them, but it is left to us to extrude it. Tonally, things swing wildly from moody to introspective to manic. This is in part because of the way the film is edited; slow, hallucinogenic dissolves applied to some footage and frenetic, juddering cuts to others. But mostly it is Tabin’s performance that is the key to the film’s mercurial fibre. Often, she is more object than subject; lying motionless as stock footage projections dance on her paint smattered form, the planes of her face lit up in ways that hauntingly reinvent their topography. Yet when she does emote, she does so with unsettling elasticity, with what at first glance seems like a howl of distress reading on the second as a bout of manic laughter. Part of her inscrutability is in her muteness, the only accompanying sound to her performance a cacophony of wiry electronica. Autopilot is a work of fragmentation in every sense, and you do get the impression that it was somewhat hastily pulled together (and it was; finished just an hour and a half before the submission deadline). Yet ultimately this helps rather than harms it; for its tonal dissonance captures the kind of conflicting emotions that are a common response to any kind of traumatic event. Intentionally or not; Ryan and Tabin whip up a maelstrom that note-perfectly capsulises the mood of the times. While the rush-job, bare-boned constraints of the filmmaking could have been a hindrance, combined with verve and imagination as they are here, the result is dignified and exciting cinema. by #AliceMcGowan

★★★★★ Directed by: #MartinVredeNielsen Written by: #MartinVredeNielsen Starring: #AlvaLunaAagaardEge, #MartinGeertz, #LailaLundNielsen Film Review by: Darren Tilby An exhausted and rundown man (Martin Geertz) in the throes of a psychological breakdown, one night, makes his way through the forest, seemingly lugging a body around, after a traumatic event. With his young daughter, Emma (Alva Luna Aagaard Ege), in tow, the man begins a rapid descent into madness, as the spectres of his failings, doubt and fragility emerge from the shadows to assail him at every turn. Rife with symbolism and atmosphere, Martin Vrede Nielsen’s Abandoned is a beautifully layered and terrifyingly effective psychological-horror movie. You’ve got to hand it to the actors here, particularly Martin Geertz: we’re dropped right into the middle of this insanity; of the man’s creeping madness with minimal context and only our assumptions to guide us. And yet, somehow, there’s an endearing quality to him and his plight. It may be a small cast (with the focus lying heavily on Geertz), but the performances are superb, and more importantly, memorable. The story (that all-important missing context) reveals itself through the man’s actions and in his utterances to himself while wandering the dark forest. The quality of writing, here, is crucial, and Nielsen’s is stellar. Not content to give anything freely, he instead reveals the plot gradually, wrapping it in layers of symbolism and making the viewer work to decode its secrets. It’s an approach that works really well, and as we’re drawn further down the rabbit hole by this unfolding narrative, the foreboding and disorientating atmosphere – conjured so effortlessly by Esben Frese’s first-rate cinematography – envelops the viewer and keeps us locked in the man’s ever-crumbling psyche; a nightmarish dreamscape of regret and sorrow. As I like to think I’ve made apparent, mental illness (and in turn suicide) is the main focus of Abandoned’s gaze, and the entire film can be seen as an allegory for grief. Horror films do, of course, have a long history of dealing with mental illness - usually very respectfully too, I might add. The Babadook – released in 2014 to critical acclaim – portrayed the outwardly destructive nature of grief to absolute perfection, using the eponymous creature (a pitch-black hooded figure) to demonstrate how psychological damage, like grief or depression, stains us and never truly leaves. Abandoned follows this recipe, albeit with an inwardly destructive flavour. Indeed, there’s much to uncover and appreciate here: The dark forest is representative of the man’s psychological state. The creature stalking him through the trees is symbolic of creeping insanity. The body he’s dragging around informs the viewer that he still feels the burden of his grief, and reminds the man of the guilt which will forever haunt him. And by the end, although things seem to resolve agreeably, it’s evident the man’s not out of the woods yet, as that lingering darkness refuses to be left behind among the trees. The decision to give a five-star rating to this film is one of the easiest I’ve made. Abandoned is a phenomenal (damn near perfect, in fact) piece of horror filmmaking that reminds us there’s no quick fix when it comes to mental illness. I’m a huge fan, and I can’t wait to see what Nielsen does next.

★★★★★ Stars Directed by: #PeterPaton Written by: #PeterPaton Starring: #AndrewJoshi, #AnitaGarcha, #BrendonRiley, #PaulDewdney Film Review by: Alicia Moore Black Bear shows the reoccurring struggles that Riley (Andrew Joshi) faces after a traumatic event in his life. He becomes overwhelmed by all consuming obsessive impulses - labelled as Obsessive Compulsive Disorder - following the incident; the impulses quickly becoming the only thing at the forefront of his mind. This is a short film that focuses on ‘love, hope and recovery’ as Riley explores ways to deal with said daily difficulties. As a viewer with many obsessive traits, it was a wonderfully comforting feeling to see such battles being fought with compassion and togetherness. As well as this, OCD is surrounded by a lot of stigmatisation; it is rare in film to see a mental health struggle like OCD portrayed in a genuine way, a way that viewers who experience it can connect with. Obsessive impulses put individuals in an incredibly valuable state which is clearly presented in the film, and with that follows terrifying intrusive thoughts which are also beautifully approached within the plot. This short uses a powerful script (written by Peter Paton) that is packed tight with hard-hitting analogies to carry the story. The writing perfectly presents how distressed someone dealing with OCD can become and the added analogies, the black bear analogy in particular: “…whatever you do, don't think about the black bear,” enables audiences from all walks of life to understand the struggles and place themselves into a first person perspective as Riley. I cannot speak highly enough on Paton’s writing. Although a script is the ‘centre piece’ of essentially any film, some scripts are still unable to carry the plot with vibrancy in the first instance but Paton’s writing talent does not disappoint; I am beyond impressed. The performances given by each cast member are stunning as they colourfully transfer the script as an onscreen presentation. One specific aspect that is greatly admired by myself is the simple use of the eyes to portray emotion. When the camera is focused upon an actor’s facial expressions, their eyes are shining with true feeling. It is clear that the cast was able to deeply dive into the personalities of their character as they present authentic emotion even without having to speak in that moment. The excellent acting gifts the film with a natural, entirely human atmosphere. Cinematography is one of my favourite parts of filmmaking in general and director of photography, Liam Gummer, made me jump with joy because of his superb work. The shots flow stupendously together, once again adding to the realistic and somewhat comforting element of the short’s ambience. The camerawork seen within the film also enhances the work of the actors, the camera being placed in areas that highlight the sublime emotions given by the cast. As the film progresses into a kinder image for the life of Riley, depicting him strengthening his mental health, some shots are repeated but with Riley now possessing a smile painted on his face. Viewers see Riley repeatedly locking the door of his home as his mental health has just braced a hugely negative impact, but soon they then see him widely grinning as he simply and singularly closes the door behind him. I completely adore these contrasting shots that show the character’s progress and success. Black Bear deeply embeds a motivational meaning and passes it to its audience. It is a story that carries a large amount of inspiration and kind knowledge, especially for those who are struggling within their own life; I think a lot of the population currently is, even without other added difficulties such as OCD. This short film shows the world that, step by step, it is possible to regain a better grasp on your true self and live more freely with the support of loving individuals surrounding you; a message that all should place securely in their heart and mind as a reminder in dark times.

★★★★ Directed by: Syed Wajahat Ali Written by: Syed Saad Starring: Syed Saad, Abdullah Wasi Film Review by: Jason Knight People often have bad days. Sometimes they can be very bad. Such is the case in Syed Wajahat Ali's Elo, a short, surreal, comedy, drama film that follows the misfortunes of a man (Saad) over the course of a day. A likeable man is happily on his way to a job interview, carrying with him the required documents and covering himself with an umbrella, even though it is not raining. He appears to be optimistic but one event after the over will make things quite unpleasant. He realises that he has put on a different type of shoe on each foot and rushes home, only to find out that he had left the keys inside the house. He attempts to buy water, only to realise that he forgot his wallet. He decides to steal a bottle and the shopkeeper (Wasi) chases after him. He arrives late for the interview and is not allowed in. The poor man goes through a lot during the day and things turn more dramatic. There is no spoken dialogue and characters communicate by hand gestures and body language. Apart from the sounds of crying by the main character near the end, the only thing heard during the film is the beautiful score. The music changes according to the situation, becoming tense when the protagonist is struggling and poignant when he is sad. Saad delivers an outstanding performance as a cheerful man who means well. As mentioned this film has no spoken words, so therefore the actors use face expressions and body language in order to express their feelings. Saad does this very well, bringing to life the emotions that his character is going through, along with the supporting cast. Saad also wrote the screenplay and he created a story filled with awkward and dramatic situations. The story starts out pleasantly, with the hero being happy and optimistic. However after he has gone through one ordeal after the other, things become desperate and bleak. It seems to carry the message that in spite of one's efforts, bad things can still happen. Elo is a piece of work that has strength in many aspects, including Ali's wonderful direction. It offers an experience that is rather touching and thoughtful. #JasonKnight

★★★ Written & Directed by: #ChrisShimojima Starring: #AlejandroSantoni #JulieVoshell #RamiMargron #DavidShih Film Review by: #ChrisBuick Alberto and the Concrete Jungle snapshots the erratic, eccentric but also inspirational lifestyle of digital nomad and photojournalist Alberto Buenaventura (Santoni) who travels all over the world, his destinations decided by nothing more than a whim and a feeling, packing nothing but his camera, laptop and a medical solution for every occasion. This habit of going wherever the mood or wind takes him as led to dinners with Portuguese nobility, drinking games with monks and being painted nude in Tibet, one hell of a bucket list. Looking to finish his current stint in The Big Apple, Alberto (or Al B) wants nothing more than to catch his flight to Cluj-Napoca and begin writing another chapter in his life/blog. But it seems Al’s “good fortune” is wearing thin. Cornered and blackmailed by a tyrannical social media mogul into working for him, Al faces the prospect of being committed to New York City for a whole year, the mere thought of which causes his itchy feet to become unbearable. Thus, begins a most unique scavenger hunt through a never-ending chain of favours and quid pro quos as Al looks for a way to claim his freedom once more. Alberto and the Concrete Jungle is something of a rollercoaster, one for the most part we are happy to be on, complete with a nervy initial incline before descending full speed into madness and thrills. Alberto’s frantic lifestyle isn’t just shown, it is felt in almost every moment; from the very first foot chase to the last and all the business in between, Shimojima is a #filmmaker with big, bold ideas, never afraid of switching up styles to suit his narrative and his camera is always there to put us right in the thick of things, allowing us to feel as exhilarated, ecstatic, tired and frustrated as Alberto. It’s a shame however that the films same basic story loops, twists and turns are too heavily relied on time and time again, eventually no longer holding any sway over its audience. A good portion of the film seems to be stuck spinning its wheels and as more and more of the repetitive story beats continue to bloat the narrative, it means it's something of a slow chug to the end, a sharp contrast from its promising and emphatic beginnings. The loss of focus not only causes one attention to strain, but makes us feel as frustrated with the situation as Alberto might, but not necessarily in the way that was perhaps intended, something not aided by the films overly long runtime either. Similarly, Alberto’s numerous encounters with the various denizens of this diverse city certainly throw up some interesting personalities for our lead to clash with, but few are truly unique enough to take notice of and after the third or fourth well-worn iteration of such confrontations, these supporting characters sadly become more infuriating than endearing. But what the film does have in spades is undeniable charm and heart, personified in a stellar lead performance from Santoni that covers the whole spectrum of the human spirit and keeps us with him both in his best moments and his worst. We are never party to the full intricacies which led Al to this life, but we see enough of a certain pain and sadness underneath that comes with it, and his fear of committing to something long term, making for an interesting and for the most part entertaining back and forth with his friendly-ish rival Marian (Voshell) Charming and utterly chaotic, Alberto and the Concrete Jungle delivers an interesting look at human connections, cultures and differing life perspectives, but can't quite sustain its focus or energy for the entirety of its over-stretched runtime. #ChrisBuick

★★★★ Directed by: Debanjan Majhi Written by: Debanjan Majhi, Arijit Chattopadhyay Starring: Girish M. Patel, Shiv B. Rawal Film Review by: Jason Knight The ability to hear is remarkable. Sounds can be pleasant or unpleasant, but ultimately they provide extraordinary ways to experience life. Debanjan Majhi's short film A Silent Warble focuses on an elderly blind man (Patel) in an Indian city. The man travels around the city by foot or by bus, carrying with him a sound recorder, which he constantly uses to record the sounds around him. He sits in a crowded restaurant by himself and a boy (Rawal) then sits at his table with him. The two appear to know each other and proceed to go on a journey around town, while the man is catching all the sounds on his device, paying particular attention on the ones he finds most interesting or appealing. As the film's sound designer, Majhi has created a film that relies heavily on sound as well as image in order to communicate with the viewer. There is no dialogue, apart from the voices of distant chatting and the man and the boy never utter a word. But this is by no means a silent film. On the contrary it is filled with noises of all sorts, some of which are more powerful and enhanced than others. For instance, as the man walks through the streets, there is the sound of traffic that is so dynamic, it is nearly chaotic. And when he is sitting in the restaurant, among the sound of customers talking, the sounds of coins flipping and food frying become louder, indicating that the man finds these sounds more captivating. This technique is used in other parts of the story. The film, in a way, appears to be experiencing the world through the blind man. He is unable to see and therefore his hearing plays a big role regarding how he views his surroundings. Majhi was also the editor of this project and he did a great job. The editing is very effective, however particular recognition should be given to the film's most beautiful scene. The man has returned to his house, where he has several large surround sound speakers. He connects his recorder to the speakers and is thus able to hear the sounds he recorded in all their glory. As he sits on a chair listening, the shot of him in the room slowly dissolves into a forest, giving the impression that these sounds make him feel the blissfulness of nature. The brilliant editing and direction makes this a wonderful sequence and truly stands out. In addition to a well-structured screenplay and convincing performance by Patel, the audience will also be treated to the calming and mesmerising music that accompanies the images. Majhi has clearly put a great deal of effort and passion into this project and the result deserves a lot of praise and attention. #JasonKnight

★ Directed by: #ArindamChatterjee Written by: #ArindamChatterjee Starring: #ArindamChatterjee Short film review by: Shrubaboti Bose The secret behind the success of most influential short films is how they are often grounded on an extremely crisp and compelling narrative, which is then garnished with a few insightful dialogues or spiced up with well-paced memorable scenes that are loaded with images that together pack a punch even without investing too much time in building up the story. However, sadly, this short film seems to nose dive straight into the abyss of mistakes that many indie filmmakers find themselves stumbling into time and again. To start with, the biggest flaw in Window of Opportunity is that it has a weak plot. Nothing really happens throughout the duration. Understandably due to the current lock-down situation and various physical restraints, the scope of a director to create a film becomes drastically narrow. We must also remember that there are certain limitations that go hand-in-hand with the very genre of short films itself, for instance: low budget, low picture quality, scarcity of proper setting or location, unavailability of skilled actors, the gap between what a director aims for and what he is ultimately able to execute on-screen and perhaps we can even extend our leniency while reviewing indie films to include minor shortcomings in the plot structure. But while all this is true and valid, what makes the difference between a good short film and one that doesn’t quite make the cut is how it uses the cinematic medium to express the message or bring out its core theme through the film. Showing the audience direct snippets of the emails revealing the dissatisfaction of the CEO with his working outputs (let us ignore the grammatical mistakes in the English therein), followed by another email notifying him of the layoff from his job by the Head of HR, what the director essentially does here ends up stripping the film of its cinematic nuances, reducing it to a mere video of different shorter clips stitched shot after shot. Just how too much of voice over or excessively long dialogues or unnecessary scenic shots can make a film narrative redundant, in the same way, if the story is told instead of using the particular language of cinema but rather by recording on the camera details of what the conversation between the employee and the employer entailed simply through emails and text messages, it fails to meet what would seem as the unwritten yet widely accepted basic standard for being considered as a short film at all. There is barely any acting involved in the film except a few close-ups on the face of the protagonist as he reads the layoff notification and slaps his hand over his forehead while vehemently shaking his head left and right expressing his disappointment. Unemployment during such a pandemic can mean immediate disaster for anyone, but the resigned attitude of the protagonist as he leans back on his sofa and heaves a deep sigh last only for a couple of seconds before the camera moves on to focus on a new message alert on his phone, making the whole dire hopelessness of the layoff notice unconvincing in its impact on the life of the character. The film ends with the protagonist picking up his camera, mentally rejoicing his selection in a photography contest and hence embracing this new “opportunity” by literally walking towards a window and clicking photographs of birds from there. Perhaps, the only saving grace in this whole film is its music which unlike its other cinematic components was a little bit more nuanced and effective. Such films raise the important question to the film community as a whole as to what can be considered a short film, especially in regards to the exponential rise of numerous technically advanced smart-phones and extremely well-equipped editing software available online for free now. Is it just any video captured and given a superficial plot or can there be more sincere involvement and innovative creative thought processes expected from indie filmmakers who generally work on a very low budget? Personally, I would like to believe that this genre has a lot of “opportunities” and there will always be those who would seek to push the boundaries of this medium and make reviewing a more rewarding as well as challenging task. Having said that, every step is better than taking no step at all. #ShrubabotiBose

★★★ Directed by #JamesDArcy Written by #JamesDArcy Starring #MichaelRichardson #LiamNeeson #ValeriaBilello Film Review by George Wolf Made It Italy is a romantic comedy that follows a veteran artist and his estranged adult son still struggling over the devastating loss of their wife and mother. The chance to restore an old house in Tuscany brings with it the chance for some relationship mending. With the casting of Liam Neeson and his real life son Micheál Richardson in the leads, writer/director James D’Arcy isn’t shy about introducing life to art. Richardson adopted his maternal surname two years ago to honor the memory of his mother Miranda Richardson, who passed away in 2009 after a tragic ski accident. Even during the film’s most familiar beats, this family history adds a constant, beneficial layer of feeling. Son Jack Foster manages a British art gallery owned by the family of his soon-to-be ex wife. They’re selling and he’s desperate to buy, enough to call up his estranged dad Robert with a plan to raise the cash by selling their old Italian villa. As you probably guessed by the words “Italian” and “villa,” the place is surrounded by incredibly picturesque beauty. A visit by a blunt real estate agent (Lindsay Duncan, always a pleasure) assures them she could find a buyer, but only after a major facelift. Dad isn’t happy, but agrees to help, setting up construction montages and meals in town where Jack meets lovely restauranteur Natalia (Valeria Bilello). D’Arcy, a veteran actor at the helm of his first feature, isn’t breaking any new ground here, just making the surroundings feel plenty comfortable. The comedy is rarely more than droll and amusing, but aside from the cartoonishly misplaced rich couple sizing up the place, it carries a simple charm. The surroundings are gorgeous, the tidy ending is never in doubt, and the real life family ties provide unspoken warmth. It will no doubt remind you of places you’ve already been, but the soft edges and lived-in appeal of Made In Italy feel like a weathered welcome mat. #GeorgeWolf

★★★★ Directed by #HansPetterMoland Written by #HansPetterMoland Starring #StellanSkarsgard #JonRanes Film Review by Hope Madden So much for going Hollywood. Prolific Norwegian filmmaker Hans Petter Moland follows up his first foray into blockbuster territory—a Liam Neeson-fronted English language remake of his own vengeance thriller Cold Pursuit—with the decidedly non-blockbuster, specifically Norwegian drama Out Stealing Horses. This pensive and utterly gorgeous film sifts through time to land on the moment that irreversibly alters the course of a life. In this case, it’s Trond’s life. It’s winter of ‘99—almost the millennium—and the aging Trond (Stellan Skarsgård) is just settling into hermithood. Though he’s been in Sweden for years, the death of his wife in a car accident (he was at the wheel) convinced him to cross the river back to his childhood home of Norway to sit quietly and think. And then he meets his neighbor, who inadvertently stirs up memories and gives Trond’s meditation new direction. Moland adapts Petterson’s beloved novel, streamlining until what’s left is an extremely intimate tale only mildly hampered by the tiresome flashback structure. Moland only hints at the novel’s historical context, instead developing a sense of fearful awe in the face of life, the small moments that determine an individual’s trajectory, and the insistent longing to imagine what could have been. The technical mastery at work in this film—from sound design to lighting, from Rasmus Videbæk’s gorgeous cinematography to Kaspar Kaee’s unerring score—adds power to Moland’s every meditative moment. In perfect harmony with the team, Moland effortlessly evokes the senses throughout this sometimes Malick-esque photo album of the summer that everything changed. Moland and team create the glimmering, lush and gorgeous memories Trond relives—too gorgeous to be exact, but exactly as gorgeous as needed to be memory. Out Stealing Horses can’t quite make the current-day footage ache or resonate quite so clearly. The events adult Trond deals with feel artificial, a forced structure. But that doesn’t rob the film of its magic. #HopeMadden

★★★ Directed by #AndreaDorfman Written by #JenniferDeyell Starring #ChelseaPeretti Film Review by Hope Madden Director Andrea Dorfman and her frequent collaborator, writer Jennifer Deyell, are quietly establishing a pattern. They are preoccupied by the fact that people are preoccupied with a woman’s relationship status. They’ve certainly put a fine point on that with their latest, Spinster. A sort of anti-romantic comedy, the film opens as a voiceover gushes through the most romantic, fairy tale meeting ever. Pan to Gaby (Chelsea Peretti, Brooklyn Nine-Nine), the caterer listening to the bride-to-be with overt cynicism, possibly a little contempt, definitely mockery. Gaby is 39 today and before the day is over, her boyfriend will break up with her, her married friend’s buddies will demean her childlessness, her dad will disappoint her (and she him), and her brother will forget it’s her birthday but rope her into babysitting. That is to say, the stage is set for Gaby to actually take stock of her life and address what’s really causing her existential grief. (Hint: it’s not a boyfriend.) Peretti is so comfortable in this character that she creates believability even when situations and the ensemble around her lack authenticity. Dorfman’s film has an episodic, even sit-com feel to it. She pieces together moments of Gaby’s life with a more “and then this happened, and then this happened” approach than with an outright narrative. On occasion, this works. Peretti’s one-on-one chemistry is often enough to elevate individual scenes. Her deadpan delivery is ideal for Deyell’s slyly clever script, which refuses to preach, preferring to resignedly point out certain frustrating realities. Though the execution lacks polish, Spinster makes up for most of that with Peretti’s cynical charm and its own quiet determination to subvert its chosen genre. #HopeMadden