The End of Blindness film review by UK film critic Rachel Willis. Starring Samuel Bora directed by A.J. Martinson. HOME | FILMS | REVIEWS The End of Blindness Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Nov 16, 2021 Directed by: A.J. Martinson Written by: A.J. Martinson Starring: Samuel Bora In Ethiopia, 1.6% of the population is blind, 80% of them with curable ailments. But for the nation’s poorest, care is beyond their reach. In director A.J. Martinson’s documentary, The End of Blindness, we follow Dr. Samuel Bora, the only ophthalmologist for a population of more than 3 million, as he works to treat as many people as he can. With the help of the non-profit organization, Tropical Health Alliance Foundation (THAF), Dr. Bora operates primarily in the nation’s capital, Addis Ababa. However, he spends two weeks out of every month traveling the country to visit the nation’s poorest villages. Though focusing primarily on Dr. Bora, the documentary takes time to follow a few of those who seek treatment: a young mother who has never seen the face of her four-month-old baby; an older woman out of work for two years because of her blindness; a nine-year-old boy suffering traumatic cataracts after an injury. By allowing us to spend time with a few of the people who desperately need treatment, Martinson gives these startling numbers a human face. For those of us so far removed from the idea of a five-minute, $50 surgery being unattainable, this is a reminder of the importance of access to quality medical care. In some ways, this gives the film the feel of one of those depressing commercials that hopes to elicit donations. Further contributing to this impression is the deep timber of the film’s narrator. The crisis is laid out in simple terms with the narrator’s occasional input. The documentary’s score makes sure we recognize the importance of Dr. Bora’s work. Yet, it’s impossible not to be moved when a patient has their bandages removed and the blank expression on their face gives way to a radiant smile that tells us the operation was successful. Dr. Bora’s work is crucial for a country where so many are devastated by blindness. It’s a crisis worthy of the attention the documentary draws to it. For the squeamish, a few close-ups of eye surgery may have you turning away, but the images underscore the ease of the surgery Dr. Bora performs. It’s a stark reminder that this quick surgery is only possible because of the dedication of one man – who sometimes performs 60 surgeries in one day. His dedication is a reminder that one person can make a difference. His story is worth telling. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Tree film review by UK film critic Alasdair MacRae. Starring Joel Morris, Hayley Thomas directed by Oliver Blair. HOME | FILMS | REVIEWS The Tree Film Review average rating is 3 out of 5 Critic: Alasdair MacRae | Posted on: May 26, 2022 Directed by: Oliver Blair Written by: Oliver Blair Starring: Joel Morris, Hayley Thomas After missing his father’s funeral, James (Joel Morris) meets with his younger sister Yasmin (Hayley Thomas) to sort through the belongings stored in their departed parent’s burger van. As they sift through the boxes memories come tumbling out that allow the siblings to reignite the dying embers of their relationship. From the outset it is clear that James and Yasmin have a lot of trauma to unpack, both collective and individual. It starts with a melodramatic screaming match about how Yasmin really needs her brother and how James is, and always has been, the family screw-up, a characterisation he struggles to move past. After some oranges, sorry, satsumas, are splattered across a windshield the pair can begin to function both physically and emotionally. As they come together the chemistry between Joel Morris and Hayley Thomas becomes apparent. They believably convey the surfacing of a deep familial bond that had been long buried by the debris of everyday life. When childhood treasures and obscure objects are discovered in the van James and Yasmin begin to open up to each other. Writer/director Oliver Blair creates a layer of artifice by having the characters wear the newly found wigs or smoke cigarettes from the hand of a broken Action Man doll. Sometimes they even role play through memories with their father. This allows the characters to become more genuine and look deeper inside themselves by contrasting their profundity with comedic or non-serious images. Despite a script packed with more drama than the average soap, The Tree still manages to feel grounded, that is until one last big revelation. This plot point isn’t unforeseeable but the way it is rushed and bundled into the conclusion is a very strange choice. Without spoiling it, it is fair to say that it is maybe the most difficult and complex emotional challenge for the characters and it is barely even discussed. As this derails the narrative it means that the metaphor elaborated in the concluding statement comes across as trite and even cheesy. The Tree is mostly a solid family drama with smart decision making behind the camera and emotive performances from the well-cast leads. Although, a confounding decision at the climax threatens to make this short feel almost tokenistic. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Infinity Pool film review by UK film critic Hope Madden. Starring Alexander Skarsgard, Mia Goth, Cleopatra Coleman directed by Brandon Cronenberg. HOME | FILMS | REVIEWS Infinity Pool Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 26, 2023 Directed by: Brandon Cronenberg Written by: Brandon Cronenberg Starring: Alexander Skarsgard, Mia Goth, Cleopatra Coleman Brandon Cronenberg + Mia Goth + Alexander Skarsgård … for a very specific set of people, the sum there is hell yes. Riding my favorite wave in horror – that rich people are unspeakably diabolical – writer/director Cronenberg takes us on a strange journey through privilege, debauchery, entitlement, boredom, narcissism, psychotropic drugs and more in his trippy new flick, Infinity Pool . Skarsgård is James Foster, a writer of very little renown who’s vacationing on a fictional island nation with his wealthy wife (Cleopatra Coleman). They’re bored, but as luck would have it, James’s number one fan Gabi (Goth) and her husband have vowed to show them a good time. Cronenberg’s ultimate concept is clearly, wildly his own, but moments sometimes call to mind ideas from last year’s Speak No Evil , as well as Society , Kill List , Hour of the Wolf , and A Serbian Film (no, not that part). Still, the film never feels borrowed. Uncomfortable, yes. Borrowed? No. James represents the regular Joe – yes, a very good-looking version, but regular, nonetheless. And no matter how long he plays the part, he’s an outsider. The truly wealthy are alien. Beyond the sci-fi insanity, beyond the outright body horror, this is the most horrific element of the film because feels honest. It touches a nerve. In 2020, Jeff Bezos racked up more than 16k in parking tickets. Because, why not? He wanted to park there. Once you reach a certain tax bracket – which is the one where you pay no taxes at all – no rules apply. And that does not create better people. It’s fascinating and refreshing, this particular approach to the story. These particular villains. And Goth proves once again to be a seductive menace and a force to be reckoned with. There are certain scenes in this – one in a group holding cell at the island prison, for instance – that are as insightful, impressive and memorably horrific as anything any Cronenberg has filmed. It’s hard to believe this is only Brandon Cronenberg’s third feature. It does not pack the visceral punch of 2020’s Possessor , but it is a satisfyingly surreal piece of class warfare and an outstanding way for the genre to kick off 2023. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

What's Love Got to Do with It? film review by UK film critic Brian Penn. Starring Lily James, Shazad Latif, Emma Thompson directed by Shekhar Kapur. HOME | FILMS | REVIEWS What's Love Got to Do with It? Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Feb 25, 2023 Directed by: Shekhar Kapur Written by: Jemima Khan Starring: Lily James, Shazad Latif, Emma Thompson The overriding pleasure of romantic comedy is the certainty of a plot that rolls merrily to a neat conclusion; and the confident expectation they all live happily ever after. If a few laughs are delivered en route it's a bonus as we feel a warm glow of satisfaction. What's Love Got to Do with It? hits all the marks with an engaging script from first time screenwriter Jemima Khan. Young filmmaker Zoe (Lily James) has grown up living next door to best friend Kazim (Shazad Latif). He finally succumbs to an arranged marriage and enters a tortuous process carefully managed by his parents. Zoe sees an opportunity to film his travails as part of her latest project. Meanwhile, Zoe's mother Cath (Emma Thompson) applies her own brand of arranged marriage and pairs her with the local vet. Kazim finally Skypes his future bride and the wedding party flies to Pakistan for the nuptials. However, a bumpy flight provides an echo of the strife to come. A standard template for rom-coms is followed almost to the letter. Two people secretly adore each other, but social barriers get in the way as they pursue separate yet parallel lives. Both fall into the trap of pleasing their parents although knowing they should follow their hearts. When push finally comes to shove we see that love conquers all. It's a portrayal of the 'East versus West' conundrum where cultures clash and finally learn to co-exist. It asks if the concept of arranged marriage is any less valid than spontaneous relationships favoured in Western culture. Can two people truly know each other before they commit. Is it possible to walk into love then fall in love? Jemima Khan has obviously drawn on her own marriage to Pakistani cricketer Imran Khan. But there's nothing revelatory or ground breaking here. Innovation is not the purpose of rom-com; we find comfort in things that are familiar and this film delivers the expected finale. Lily James is in beguiling form as Zoe and rapidly emerging as the English Margot Robbie. Shazad Latif is charming and likeable as the doctor juggling personal happiness with duty. Emma Thompson sits more on the fringe of the plot as the interfering but well-meaning Cath. A solid cast perform well, but its James and Latif that do the heavy lifting and bring a good script to life. Buy UKFR Banner Space About the Film Critic Brian Penn Theatrical Release < All Reviews Next Film Review >

Bezuidenhout film review by UK film critic Jason Knight. Starring Dirk Gunther Mohr, Inge Sonderen, Bart Kalisvaart, Chris van Veenen directed by Wouter Hermans. HOME | FILMS | REVIEWS Bezuidenhout Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 12, 2025 Directed by: Wouter Hermans Written by: Dirk Gunther Mohr Starring: Dirk Gunther Mohr, Inge Sonderen, Bart Kalisvaart, Chris van Veenen A World War II drama from the Netherlands, written by Dirk Gunther Mohr, directed by Wouter Hermans and starring Dirk Gunther Mohr, Inge Sonderen, Bart Kalisvaart and Chris van Veenen. Johan (Mohr) lives in Bezuidenhout. The Second World War is taking place and the Nazis are taking over the area. Determined to fight back, Johan and those around him from a resistance group and discover that the enemy is transporting rockets to Haagse Bos and decide to sabotage them. Unfortunately, things go wrong and Ben (Veenen), one of the resisters, is captured. Meanwhile, the group get in contact with the British Military and inform them that the Nazis are planning to bomb London again. A black-and-white World Ward II feature that shows the events primarily through the perspective of people in the Dutch resistance, as well as the British Armed Forces. The story is dramatic and suspensful, following courageous characters as they struggle to be strong and survive this global conflict. Regarding the War, the film gives an account of the events that led to the Bombing of the Bezuidenhout and reveals the brutality of the Nazis. The film is also effective as a family drama and as an espionage story. There are various protagonists and the screenplay succeeds in making them likeable, however, it could had explored them further, to make them more engaging. The performances are great and Mohr does well as the main character, a family man with a wife (Sonderen) and a daughter (Jaydie van den Berg). Veenen's character is the one who feels the force of the Nazis' violence as he is being held in captivity and tortured. Through themes involving survival, courage, alliance, espionage, loss, betrayal, hope and family, this fifty-minute-long feature tells a dramatic and suspenseful World War II story. On the surface, this is a World War II film about good people going against the Nazis, with an atmosphere that is dark and supported by the black-and-white cinematography. Crucially, this feature acknowledges the Bombing of the Bezuidenhout and that is what makes it stand out. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Baroness film review by UK film critic Jason Knight. Starring Gordon J Millar, Caroline Koziol, Davy Holt directed by Tom Alner. HOME | FILMS | REVIEWS Baroness Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 19, 2022 Directed by: Tom Alner Written by: Tom Alner Starring: Gordon J Millar, Caroline Koziol, Davy Holt A lonely and troubled middle-aged man struggles to deal with his issues until a chance encounter with a stranger changes things. George (Millar) spends a great deal of time at a pub, drinking. He appears to be sad and quiet. From time to time, a young woman keeps coming to the front of the building and looking in, then leaving. One night, George accidentally stumbles upon the unknown woman while walking on a street and the two of them end up building a rapport between them. This moving short story focuses on the life of an individual who is going through bad times. The first half or so explores how George spends his time at the same pub, having a drink and being silent, not speaking at all. Although it is rather clear that he has troubles, the bartender (Holt) does not comfort him, instead he just asks him if he wants another drink and even treats him with disrespect. The narrative goes through three days of George at the pub, Monday, Wednesday and finally Saturday, all of which are announced. The part of the film that takes place in the pub is pretty much quiet and reveals George's emotional pain and isolation. The atmosphere becomes more upbeat after George meets the young woman, whose name turns out to be Elena (Koziol). She too has her own problems and the two of them are sympathetic towards each other and end up assisting one another with their issues. Millar is emotional and leads the film very well as a lonely and sad person, whose only way of escape from his worries seems to be the drink. Koziol is also dramatic as a kind-hearted individual, whose appearance turns out to be significant in George's life, as he is heard speaking for the first time when he meets her and his interaction with her gives him the confidence he needs to deal with his problems. Director of photography Scott Remy delivers wonderful cinematography and there are parts where the image appears as home video footage and provides an insight into George's past. Composer Steve Matthew Carter develops a dramatic score that creates a powerful atmosphere. This film is a character study. It is about a person who is in a bad situation and then finds hope. It reveals how significantly a complete stranger can influence someone's life and points out the importance of reconciliation and having somebody for support. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Pickle Vision film review by UK film critic Chris Olson. Starring Merle Racer, Elizabeth Prince Merlot directed by Shawn Welles Linzey. HOME | FILMS | REVIEWS Pickle Vision Film Review average rating is 3 out of 5 Critic: Chris Olson | Posted on: Sep 17, 2025 Directed by: Shawn Welles Linzey Written by: Shawn Welles Linzey Starring: Merle Racer, Elizabeth Prince Merlot Do you like pickles on your burger? Half of you reading this just salivated, and the other half threw up a bit in your mouth. That divisive reaction is likely to be similar to the audience reactions to this short film, Pickle Vision, from filmmaker Shawn Welles Linzey. A surrealist piece, bursting at the seams with creativity, the story follows an old man known as K (Merle Racer) who finds a new lease of life after interacting with a pickle on television (stay with me here). What ensues is a series of bizarre sequences involving K, the pickle in various guises, and different visuals seemingly filmed on the fly with graphics superimposed on the walls for effect. As a piece of filmmaking, it has a fighting spirit, reinforced by the punk rock soundtrack. In fact, the whole 17-minute short film could have been a music video for a band like The Red Hot Chilli Peppers. There is an odyssey quality to the story and a starkness to the visuals that sees it play out in a far more ethereal way than traditional storytelling. Whilst the short film may not be accessible for everyone, there are some impressive moments in the movie for those whose wheelhouse this falls into. The use of dark background and vibrant colours gives it a hypnotic aesthetic, and there is something intriguing about the old man contemplating his life and finding a surge of motivation in something so unusual. Pointed jabs at consumerism and capitalism are also present in Pickle Vision, as is a splendid reimagining of culturally important events spruced up with the inclusion of, you guessed it, a pickle. There is also a section where the pickle dresses as a witch and rides alongside K’s car on a broomstick - so it has that going for it too. At times, the obsession with a pickle character reminded me of Rik and Morty; however, the general atmosphere of the film is more like fringe theatre. There is a wildness and humour to the proceedings which regularly challenges the viewer, asking them to make what they will of the visuals being presented and what they could mean. Some viewers may come out baffled, others may contemplate their own existence and the meaning of life, it just depends on how you like your burger made, really. Buy UKFR Banner Space About the Film Critic Chris Olson Short Film < All Reviews Next Film Review >

I'm an Electric Lampshade film review by UK film critic Christie Robb. Starring Doug McCorkle directed by John Clayton Doyle. HOME | FILMS | REVIEWS I'm an Electric Lampshade Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Mar 29, 2023 Directed by: John Clayton Doyle Written by: John Clayton Doyle Starring: Doug McCorkle Oh man, what can I say about this one? That it’s a celebration of the confidence of mediocre White men? That it’s an inspiring hero’s journey toward self-love and acceptance? It’s kinda both. And a bunch of other stuff. It’s like a mix of The Office , Spinal Tap , Alice in Wonderland , and RuPaul’s Drag Race . And the music videos. My God, the music videos. I’m an Electric Lampshade follows Doug (Doug McCorkle), a 60-year-old corporate accountant, as he retires from office life to pursue his dream of becoming a concert performer. Director/writer John Clayton Doyle mines this material for all that it is worth—finding the humor, the heart, the beauty, and the weirdness in his cast and locations (the States, Mexico, and the Philippines). The movie is based on the true story of Doug and is, at least in part, a documentary. But it also incorporates many fictional elements that give it a dreamy, hallucinogenic quality that at times verges on the cartoonish. This isn’t a “conventionally” good movie. It has the makings of a cult classic and is definitely a weird and wonderful little gem. Buy UKFR Banner Space About the Film Critic Christie Robb Digital / DVD Release, LGBTQ+ < All Reviews Next Film Review >

Ceres film review by UK film critic William Hemingway. Starring Juliet Stevenson, Hannah Morrish directed by Amelia Sears. HOME | FILMS | REVIEWS Ceres Film Review average rating is 4 out of 5 Critic: William Hemingway | Posted on: Jul 25, 2023 Directed by: Amelia Sears Written by: Hannah Morrish Starring: Juliet Stevenson, Hannah Morrish In Roman mythology, Ceres was worshipped as the goddess of agriculture, grain crops and fertility, however, more importantly for today's story, she was also the goddess of maternal relationships. Ceres can be seen as the Roman counterpart to her predecessor in the Greek pantheon, Demeter whose roles and stories she mostly shares, but in one thing above all else do they have a common manifest destiny, that of the fate of their daughter. Proserpina, the daughter of Ceres , links directly to the Greek goddess Persephone and shares her story almost completely; that being her abduction by the god of the Underworld (Pluto/Hades) to be his queen (also not forgetting that he is her uncle). For this, Proserpina was given the moniker of 'the maiden' and her tale became one of the saddest in the entire mythological canon. As she was to be rescued by the messenger of the gods, she was tricked into eating the fruit of the Underworld and so was forever bound to spend a third of each year (the cold, lifeless, winter months) there. It seems fitting then that writer and star of this new short film, Hannah Morrish should use these characters and the outline of this story to build a modern tale which focuses on domestic abuse. The Daughter (Morrish) returns to a place she knows, a place that perhaps she once used to call home. The house is empty but she finds the key and lets herself in, then sets about ridding herself of the oppressive weight which burdens her. Eventually, The Mother (Stevenson) comes home and they work together to plant new seeds and mend old relationships. Everything in Ceres is very understated, from the minimal dialogue, to the muted colours of the earth and the stone, to the way the two characters interact with one another. There is always an overarching power which accompanies every scene; a history that is great and vast but never gets alluded to; which nevertheless gets relayed in the commanding presence of the two lead actors. Director, Amelia Sears carefully allows us to share in the quiet, tender moments between mother and daughter, bringing us in close to their hands and their faces, letting us feel in the dirt and plant the future alongside them, with the result being a beautiful and intimate experience for the viewer. What Morrish and Sears have achieved with Ceres is no mean feat, telling within a fifteen minute short film a story which resonates down through the ages. On the surface, Ceres can be taken as a gentle, personal film of the relationship between mother and daughter as both seek refuge from the oppression that exists outwith, but its true genius lies in the fact that there is so much more hiding behind what we see and hear, that the characters and their unshifting fates are something truly mythical in scale. When Gods and Monsters are all we see on screen these days, pumped up to the max in technicolor, ripping cities to shreds with their indomitable power, it is entirely refreshing and welcome to see a film which treats these stories with the respect and care with which they were forged – keeping them simple, real and as a blueprint to guide the lives of normal people; those of us who are merely moulded from clay. Buy UKFR Banner Space About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

The Little Mermaid film review by UK film critic George Wolf. Starring Halle Bailey, Jonah Hauer-King, Melissa McCarthy directed by Rob Marshall. HOME | FILMS | REVIEWS The Little Mermaid Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 22, 2023 Directed by: Rob Marshall Written by: David Magee, Hans Christian Andersen, Ron Clements Starring: Halle Bailey, Jonah Hauer-King, Melissa McCarthy After knocking it out of the park early with The Jungle Book , Disney’s been hit-or-miss with the live-action reboots of its classic animation tales, especially the nearly shot-for-shot reimaginings. But there was plenty of reason for optimism when it came to Rob Marshall’s The Little Mermaid . Halle Bailey shines as the irrepressible adolescent Ariel. She’s in fine voice, and thanks to some script updates from writer David Magee, the character has agency. She’s utterly charming, and – again thanks to some updating to the material – Jonah Hauer-King has an actual character to dig into. His Prince Eric has depth and personality. Both characters mirror each other in their longing and belief that they don’t into their own worlds. It’s easy to root for them. But how is Ursula, one of the best Disney villains of all time? Happy to report that Ursula the Sea Witch is still delightfully, deliciously evil. And the casting! Melissa McCarthy drips villainy as poor, unfortunate Ariel’s dastardly auntie. Her Ursula is campy, gloriously over the top and yet drolly above it all. The look is perfection, and her voice is magnificent. This villain is the highlight of the film. And while we’re on casting, Javier Bardem makes a majestic King Triton, and some delightful voice work from Daveed Diggs as Sebastian and Awkwafina as Scuttle brighten scenes both in and out of the water. Behind the camera, director Rob Marshall brings an impressive musical resume. From the Oscar-winning Chicago to the visionary Into the Woods to some dazzling sequences in the otherwise disappointing Nine , Marshall has proven he knows what makes a musical number pop onscreen. Strangely, though, the film’s first big music moment, “Part of Your World,” seems a bit muted, leaving us wanting at least one more big crescendo for Bailey’s wonderful voice. Similarly, “Under the Sea” is rollicking fun, if not quite truly magical. “Kiss the Girl” makes things right with a completely enchanting treatment, while Marshall and McCarthy both shine in a mischievously satisfying “Poor Unfortunate Souls.” And while these numbers will remind you of the legendary talents of composer Alan Menken and lyricist Howard Ashman (who sadly passed in 1991), the additional of Lin Manuel Miranda will be unmistakable. Miranda not only brings some timely lyrical updates, he also teams with Menken for original songs, including “Scuttlebutt,” a showcase for Awkwafina full of Miranda’s typically snappy wordplay. The look of the film is mainly strong. Underwater sequences are not quite as impressive as they were in Black Panther: Wakanda Forever , but still better than Aquaman . Above the water line set pieces – including a thrilling shipwreck – are beautifully executed. But Marshall struggles with scenes that break that barrier. When he can’t rely entirely on CGI for water scenes – when characters are partially submerged and the magical quality afforded by FX is missing – you feel it. And as Ariel and her Prince struggle to find each other, you also feel the karmic beauty of the film’s culturally diverse cast – starting right at the top. Themes about different worlds living in harmony resonate more deeply when everyone doesn’t look the same. This isn’t a revelation, and the film doesn’t treat it as one. It’s one of the many things The Little Mermaid gets right, and another example of how Marshall and his terrific ensemble manage to navigate the spotty squalls and bring this one home. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Kieran Freemantle writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Kieran Freemantle Kieran Freemantle is a film critic at UK Film Review. Read Latest Film Reviews Leviticus Read Film Reviews Kieran Freemantle Crime 101 Read Film Reviews Kieran Freemantle Cleaner Read Film Reviews Kieran Freemantle Conclave Read Film Reviews Kieran Freemantle Don't Breathe 2 Read Film Reviews Kieran Freemantle We Bury The Dead Read Film Reviews Kieran Freemantle Iron Lung Read Film Reviews Kieran Freemantle Final Destination: Bloodlines Read Film Reviews Kieran Freemantle Don't Worry Darling Read Film Reviews Kieran Freemantle Backrooms Read Film Reviews Kieran Freemantle Keeper Read Film Reviews Kieran Freemantle The Amateur Read Film Reviews Kieran Freemantle Moonfall Read Film Reviews Kieran Freemantle

Rhythmic Exercise with Priadi film review by UK film critic William Curzon. Starring Patty Setiadi, Raina Abigail, Priscilla Ly directed by Cedric Christophorus. HOME | FILMS | REVIEWS Rhythmic Exercise with Priadi Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Aug 10, 2026 Directed by: Cedric Christophorus Written by: Cedric Christophorus Starring: Patty Setiadi, Raina Abigail, Priscilla Ly Rhythmic Exercise with Priadi invites the audience into the world of early-2000s satellite television in Indonesia. The short piece is an ode to childhood nostalgia and a reflection of growing up in an environment that blatantly endorsed toxic masculinity. The narrative follows a daily exercise program sponsored by the Indonesian government to promote fitness. The central character, Priadi Abadi (Patty Setiadi), has an eccentric personality that shines through in every frame and instantly draws the viewer into the daily exercise program. It's evident that the quirky and fun dance routine attracts many viewers daily because it appears engaging at first, and this is reflected profoundly in the material. The physicality and energy on display from each dancer is exciting to witness, and the tone maintains its charm and satirical nature throughout. However, once the exercise gets underway, the camera angles and framing of each dancer become uncomfortable to witness as a viewer, due to the emphasis on the sensuality of the female body. It's a scathing indictment of the broader television culture of the early 2000s with camera angles and movements that intentionally focus on the dancers' bodies. Sebastian Aldo Widjaya, serving as the film's cinematographer, primarily frames the piece from wide-angled shots of the dancers and intentionally switches to extreme close-ups of the women’s bodies to emphasise how revealing the different variations of the exercises became. The switch to handheld in the narrative’s final third is also commendable, giving the final moments a more visceral edge. It may prompt the audience to view the dance routine through an entirely different lens, as the filmmakers intentionally sought to convey a visual framing shaped by the male gaze, reflecting the television culture of early-2000s Indonesia. One of the most impressive aspects of the experience is how well the filmmakers balance the comedic and dramatic tones while delving into provocative themes of toxic masculinity and childhood nostalgia. The piece is clearly visualised through the lens of nostalgia and sheds light on a form of media that has rarely been represented before. Despite the heavy tonal shift in its final third, it's incredibly well executed and never feels jarring, thanks in large part to how visually arresting it is. That said, the narrative isn't given enough breathing room to flesh out its themes and ideas and abruptly concludes. The performances are commendable despite most of the runtime committed to the dance routine. Patty Setiadi’s portrayal of Priadi Abadi is a standout, as he effortlessly commands the screen while bringing an impressive physicality to the performance. Raina Abigail’s portrayal of the female coach is incredibly nuanced and energetic when the material takes a more sinister turn, and she’s easily one of the most memorable aspects of the experience. Rhythmic Exercise with Priadi is an enticing experience that pulls the viewer into a quirky dance routine from the early 2000s. The piece tackles its themes of toxic masculinity and the male gaze profoundly while capturing the essence of childhood nostalgia through a mature lens. A thought-provoking experience that pulls the rug from under the viewer with incredibly evocative imagery and memorable performances. Buy UKFR Banner Space About the Film Critic William Curzon Short Film < All Reviews Next Film Review >