★★★★★ Written, directed & performed by: #DavidHunter and #CarolineKay Short Film Review by Taryll Baker The Space Between is a new musical short, written and performed entirely in lockdown isolation by West End star David Hunter and actor/singer-songwriter Caroline Kay. Having seen the musical Waitress several times — written by Sara Bareilles — I was very familiar with David’s vocal skill and, thanks to his own music, his writing prowess. He always performed with a sense of charm and playfulness, but added layer upon layer with every performance of the show that I saw. In The Space Between, he stars alongside Caroline Kay, whom he’s never met in-person. I was unaware of Caroline’s shining talent before this short musical film landed on the small screen, but I’m nevertheless glad to have been exposed to it in this way. Running at only 13 minutes in length, The Space Between captures the harsh realities of the lockdown situation we’re all currently in. Focusing on a fractured relationship, shown through screen recordings of Zoom calls, texting and FaceTime, the short film dances gracefully from the catchy opening song to the touching closer. The opening, titled ‘Are You Happy Now?’ puts all attention on the guy in the relationship. David’s voice rings out as he slams all frustration from his personal life on his pals, coming across as an anthem for himself. The following number switches to the woman, played by Caroline. Ramblings to her mother become the basis for ‘Half of My Heart,’ a rich ballad that plants the seeds for the duo’s connecting voices in the finale. This is where The Space Between gets truly brilliant. Both David and Caroline pour their hearts out in ‘On Your Side,’ where overlapping lines become stunningly simple harmonies. A sort of spiritual sequel to Bareilles’s ‘You Matter To Me,’ which isn’t surprising given David’s time in Waitress. The soft and tender emotions from the latter are definitely present here, and the performances from both David and Caroline are wonderful. As the song comes to a close, we’re left with quite a sweet moment. David’s attention to the small details may have caused me to shed a tear or two. The Space Between is a brand-spanking new modern musical, a delightful three-song package delivered with two striking, heartfelt performances. Social distancing may keep us apart physically, but it can’t keep us from creating. David and Caroline prove that the sky is the limit… or maybe WiFi is, for without it this would have been much harder. The quote from Gillian Pederson Krag that appears at the start couldn’t be more true; “Art makes life bearable. It isn’t a luxury. Like our capacity for understanding and our experience of love, it is a vitally important part of life.” — With the lockdown putting a close to the West End, the art that we may have once taken for granted is now gone. The choice to escape is gone. For most people, that escape is essential. Looking past that, the cast, crews and creatives that worked on those shows are now in a strange limbo, and they need our help. So please, consider a donation to the Theatre Artists Fund. The Space Between is available now on YouTube. #TaryllBaker

★★★★ Directed by #PhilipBrocklehurst Written By #MuhammadHolmatov Starring #PMThomas Short Film Review by Jack Bottomley In the COVID age filmmakers have both been challenged and restrained by the unsurmountable stresses placed upon them. They have been forced to make use of the resources at hand more than ever before and to maybe even reign in their vision to a degree. On the flip side though, this claustrophobic age of uncertainty, paranoia and indecisiveness has meant that many fears and feelings ingrained in society the world over are ripe for film capitalisation. Director #PhilipBrocklehurst has amassed quite an expansive cv in the last few years, with a range of work that goes from experimental and polarising, to dark and horrific but with Haunter, the director constructs a new horror short, which was shot during the lockdown period. And in these times of challenge, it has to be easily his most accomplished short film offering yet. The premise is simple, in that young man Alex (#PMThomas) is awoken from his sleep by an unseen force running amok in his home, and things only get worse. Where previous Brocklehurst films like Excitement have perhaps tested the patience, Haunter wastes not a moment of its 7 1/2 minute running time and focuses on the suspense all the way up to a grisly finale. Admittedly #MuhammadHolmatov’s (who also edits the film - and very well indeed I might add) screenplay is lacking some of the depth that you feel could have rounded it off but on the other hand its simplicity and basis in universal fears is arguably one of its core strengths. The low budget nature of the film also assists to a degree, with #BradFletcher’s everyday cinematography and dark rooms/corridors really working in giving this an innate feel. As the Evil Dead-esque POV camera runs along the home and events start occurring, you are drawn into the effective construction of the film and its equally effective premise. P. M. Thomas’ role here, as Alex, is more to react than anything (there is very little dialogue) and he does a decent enough job of it. It really is #StephanOrtlepp’s Carpenter-like music, alongside an original piece called “La Lulaĉo de la Morto”, which was written specially for this film by Vladislav Nogin, that do even larger work in adding mounting atmosphere to this short, which is topped off by a snappy, brutal and sharp crescendo. The echoing sounds and vibe of the music matching perfectly the unfolding malicious spectral activity and elevating danger of this narrative. A narrative that ends with a worthwhile payoff. Haunter has its faults and could have added some exterior to its story but its dark and hand crafted feel adds to the plot being told here and at a time when many are still unsure of leaving their homes, this film taints the security of the home with a simple chilling tale of the unknown and the sadistic ends in which it can take you. A film that almost feels like a short that could have been included in a film in one of the V/H/S series. This withdrawn story of being isolated (but not alone!!) is definitely Brocklehurst’s best constructed and delivered pieces of work yet. #JackBottomley

★★★ Directed by: #SamuelHerklots Written by: #YazminaTarquini Starring: #TimothyHanrahan, #HollyDemaine Film Review by: Oliver Smither As part of an unethical experiment on a psychosis patient, a medical technician interacts with and witnesses the different states of the human mind through a new and unique instrument, a pair of glasses. Initially you’re unsure of what to expect, what will these glasses reveal? However, when what lies behind the lenses is revealed, we are met with performances that draw our focus and do, in fact, steal the show. Whilst the dialogue for the doctor is limited, given the many voices across the table, the script is well developed and focusses, rightly so, on the necessity. No words here are wasted as Yazmina Tarquini provides a simple yet effective platform for the multiple personalities to express themselves. They are given a very solid foundation on which to build their performances around, performances which anchor this short film, thanks to the solid writing. Whilst all of the performances have their highlights, there are a few that stuck out for me. Timothy Hanrahan is perfectly decent as Zac, but he is not the focus of Shades. Holly Demaine plays the patient, and immediately we can see the disturbance in her eyes, glazed over, almost dead behind them, this is immensely important in establishing what type of character the patient is. Whilst all the sides to her personality give laudable performances, a few stuck out for me. Red, played by Mia Tomlinson brings a level of intensity to this role that brings genuine discomfort to the viewer, the anger of Red is so visceral due to Tomlinson’s powerful, yet brief, performance. Joel Gibson who plays Orange has a similar effect; the psychotic nature of his laugh is enough for his performance to garner slightly more attention. The third stand out performance was Garry Moynes as White. The chaotic energy he brings to his role alone has the ability to conjure up feelings of anxiety in the viewer. There is absolutely no fluidity to the editing in this film. There are quick scene changes and it doesn’t flow at all. Normally this would be undesirable. But with Shades, it seems to work. The sharp scene changes fit the psychotic energy that is omnipresent in this film. Shades doesn’t waste any time with its scene changes, it’s clear what is going on and that’s all that matters, there is no need for embellishment. When talking of the score, the more important issue is the lack thereof. The film relishes the silent moments as they only increase the tension. This again, perpetuates the lack of embellishment apparent in every aspect of the film. The direction, the performances and the script are all that are of true necessity, the editing and the score are there to enhance these fundamentals. However, when there is a score it succeeds in matching the tone created by the director and only enhances the tension. It goes without saying the direction is commendable, given the performances of the cast. It is clear that Samuel Herklots led them down that path and painted a picture of the sort of energy he wanted in this film. Overall, Shades is a short film that is only as good as its performances, with that in mind, I can say it succeeds for the most part. The combination of sharp editing and intense performances create an atmosphere of chaos which manages to give an insight, however small, into the mind of a psychosis patient. #OliverSmither

★★★★ Directed by: #JeremyWestrate Written by: #DanielRainey and #JeremyWestrate Starring: #JulieAnnaCole, #DavidMcMahon and #JTBrown Film Review by: Oliver Smither With Hangman you find a simple idea, executed so successfully that it appears more detailed than it truly is, providing the audience with a deeper meaning than what appears on the face of it. A musician at the turning point of his career is seen grappling with the decision and possible consequences of playing a catchy, crowd-pleasing song, or playing what his heart actually feels. The pain Jackson Cross feels is not expressed in cheesy dialogue or heart wrenching moments of confiding, but through musical expression with a powerful and dramatic score which features some original work. The score is the driving force behind this short film and is employed and effected to near perfection. Hangman has very limited dialogue. Having said this, it doesn’t need it. The frontrunner here is the score, the dialogue simply assists and even then, it is overwhelmed by the score. The lyrics are all that is required to demonstrate the emotions pervasive in this film. The lack of actual speech forces the actors to do more acting as they have no script to rely or fall back on so their expressions have to be near perfect. This is especially evident in the scene following Jackson’s walking into the room to Jolene. The passion is plain to see without the use of dialogue and the hurt is so intensely evident that no words could convey it in the same way. J.T. Brown and Julie Anna Cole are both excellent in their roles. Brown carries an intensity throughout the film which demonstrates to us the pain he is in without being given a reason. There is a melancholic aura that Brown gives Cross that is emphatic in displaying his demeanour. Brown steals the show, yet both performances are commendable. The acting can only be as successful as the direction as far as I’m concerned. Therefore, given the stellar performances from Julie Anna Cole and J.T. Brown in particular, I can only conclude that Jeremy Westrate deserves commendation for his direction of this film. Furthermore, as a co-writer, he decided to lean away from extensive dialogue and turned his focus towards the score, allowing the music to be the heart of this picture. By doing this, he has made a powerful and musically eloquent film that avoids the pitfalls of overusing dialogue and placed his faith in the acting prowess of his stars. The sequences in this film have been edited wonderfully, early on Jackson’s flashbacks are edited to flow seamlessly, creating a sense of being with Jackson through these thoughts, as a result of the successful editing, the film in its entirety runs without a hitch. There is very little to fault in Hangman. The message is clear, the deliberating of a dilemma and all that may entail, the ideas of possible regret, necessity and staying true to how you feel are all prevalent in this powerful short film which acts as a brief, yet forceful portrayal of internal struggle.

★★★★ Directeed by #VaclavMarhoul Written by #VaclavMarhoul #JerzyKosinski Starring #PetrKotlar Film Review by Cat McAlpine If you paint the wings of a sparrow (or stitch a star to his jacket) the rest of the flock will no longer recognize him. The other birds will swarm and peck him until he plummets back to the earth. This is just one of the horrific lessons a young boy learns as he desperately searches for anywhere or anyone safe in war-torn Eastern Europe. The Painted Bird is a nearly three hour long misery epic that follows this young boy, unnamed until the final shot of the film, looking for home during World War II. His parents have left him in the care of an elderly woman as they flee the Germans. But his banishment to the countryside cannot spare him from the horrors of the holocaust. This film is hard to get through. Forty viewers walked out of its 2019 Toronto Film Festival showing. I would’ve walked out too, given the chance. The opening scene finds the young boy (Petr Kotlár) being chased through the woods. Another group of boys catch him. They rip away the small pet gripped in his arms, so quickly that it's hard to identify, and they set it on fire. As he is beaten, the boy turns his head and watches his pet run in screaming circles until it dies. And then it gets worse. What follows is a brutal parade of the worst humanity has to offer. Domestic abuse, graphic violence, multiple instances of animal abuse and death, rape, child abuse and rape, and more. Then the war crimes start around hour three. The tale is an adaptation of Jerzy Kosiński ‘s 1965 novel of the same name, which made one of Time’s 100 Best Novels lists. Though lauded, the book is no less controversial, and is just as riddled with cruelty. Directed and adapted by Václav Marhoul, the final product is beautifully shot in black and white. But the lack of color doesn’t make the rotten core of The Painted Bird any less pungent. Without color, Marhoul creates gut wrenching scenes all the more visceral by adding textures like wet eyeballs on a dusty floor or the violent placement of a bottle that made me retch. I won’t let it go unmentioned that while violence and depravity are the overarching themes, women have some of the worst characterizations in The Painted Bird. They are either mothers or depraved sexual deviants, or mothers of dead children who have since become sexual deviants. A few are witches. Everyone is painted darkly, but with more male characters there are more opportunities for men to be shown in shades of gray. The real conflict at the center of The Painted Bird is understanding how we use art to honestly bear witness to our cultural horrors. I cannot and would not recommend this film to anyone, it was too awful to watch. But you could argue that this is precisely why it must be seen. The Painted Bird is a well-shot, well performed, and incredibly moving piece of cinema. You simply have to be willing to go where it wants to take you. And all of those places are dark. #CatMcAlpine

★★★ Directed by #AndresRamirez Starring: #BaileyColors #MarceloGonzalez Film review by Nathanial Eker Anyone with a basic understanding of film can tell you that the standard frame rate for a motion picture is 24 frames per second. Director Andres Ramirez's Frame poses an interesting philosophical question; if that's the frame rate of film, then what is the frame rate of memory? Does the mind display memories in the same way as what we're familiar with on the silver screen? Do we remember in still images, in a subconscious movie, or in incomprehensible thoughts that can never be fully described? While all of this makes fascinating dinner time conversation, it is regrettably not enough to make Frame an entirely engaging piece. Sophia and Alex reflect on their relationship, and the heartbreak that came after a rejected VISA. They monologue about what a memory is, how it relates to the practice of cinematography, and whether their love will endure while apart. The most striking thing about Frame is its effective use of a super 8 camera, which immediately creates a mise-en-scene that is reflective, mournful, and nostalgic. The rackety sound of the film reel underscores the entire film and is beautifully compounded by a simple-yet-haunting piano score. The camera becomes a character of its own, awkwardly observing the events of this would-be tragic romance like an unwanted stalker, until it is finally embraced by the protagonists towards the film's end. Frame's theme gels well with its cinematographic choices, and it seems a natural fit to employ both still photographs and super 8 cameras as a reoccurring motif in front of the screen as well as behind it. Frame's deliberate use of close camera work compounded with its gorgeous mise-en-scene and delectable soundtrack encourages just as much thought and debate as it does pleasure. It's unfortunate then, when the characters start speaking. Yes, as with many shorts, Frame is let immensely down by an underwhelming lead performance and an on-the-nose script. First, the actors, who are by no means appalling. Bailey Colors is clearly the stronger of the pair as her mid-film breakdown at the VISA news offers up the film's most effective emotional gut punch, particularly as the camera is slow to reveal what she's crying about. Marcelo Gonzalez on the other hand presents moments of greatness, but ultimately fails to match the intensity of his co-star, resulting in less chemistry than a budget-cut science department. Yet, it would be difficult for these two to make these lines sound good, even if they were Brad Pitt and Cate Blanchett. While the core theme shines through the awkward dialogue, the lines chosen are often unnatural and pantomimic, and damage the integrity of an otherwise well put together short. More to the point, the script lacks a concrete goal, which would be fine had the film thoroughly leaned into the 'art cinema' mould. As is, it feels like Frame wants to have its cake and eat it too; it wants to present a compelling question that gets the audience thinking while still telling a traditional love story, and unfortunately this script is just not strong enough to accomplish that. Frame boasts one of the most novel concepts seen this year and its visual execution is stunning. The lighting, music, setting, and especially the cinematography all work in tandem to support its intriguing theme. Unfortunately, an unfocused plot with poor writing and average performances hold it back. Had the script been focused on either the theme or the characters, it may have held up better, but as is, Frame is too much of a mixed bag to properly recommend. I can't shake the feeling that this film could have worked far better as a silent film. As they say, a picture tells a thousand words, and perhaps, a thousand memories per second. #NathanialEker

★★★ Written & Directed by: #JessicaDawnWillis Starring: #AprilHartman, #JohnBergsten, #MitchMcLeod Short Film Review by Taryll Baker Written and Directed by Jessica Dawn Willis for a budget of $1000, Staring Back is a dramatic thriller inspired by the case of Brock Turner. Beginning with the main title against a black screen, Staring Back immediately cuts to an establishing shot of a knife, picking at fingernails. Setting the stage very early on, director Jessica Dawn Willis throws the viewer straight into a hostage situation. With visual set-ups ready to be paid off later in the film, and gritty cinematography keeping the dark tone, Staring Back is — visually, at the least — a very pleasing production. The short film has several strong elements. Firstly, cinematographer and editor Carlos Garcia Jr. is capturing the action very well. There aren’t many fast cuts, but rather lingering shots that really allow the performers to deliver. Unfortunately, said performers aren’t so convincing on a consistent basis. That said, Mitch McLeod seems to appear the most experienced if only for his more intense performance. April Hartman and John Bergsten are both terrific throughout the majority of the short, but some of the writing perhaps pulled them back from being their best. All three are likeable actors, however, and I’m certain with more experience they’ll be well on their way to the glowing lights of Hollywood. The suitably tense and moody music score by Sean Ephram is a little intruding during one particular moment due to the mixing, but like many other independently funded projects, this is to be expected. The music itself is fantastic and fitting for the story. Seemingly understanding when and when not to use an underscore, which is a tricky skill to grasp. A little more care on the volume level during *that* scene — without spoiling, it involves some cutting — would certainly heighten the immersion. Zach Broyles’s sound design is incredibly basic, but that’s good. Using the ambience of the room, recorded by Austin Dugger, creates a very fickle atmosphere. Again, I like to see more care taken on the mixing and audio levels just so everything is consistent. Staring Back is a great little film. Plenty of things for viewers to pick up on, and the ending is rewarding. The visual set-ups are a nice touch and subconsciously brought to the attention whilst watching. I enjoy the simple things, especially when executed well, so this film definitely delivered in that area. Short and thrilling with a twist, Staring Back is a solid outing from writer and director Jessica Dawn Willis. Watch the trailer for Staring Back here. #TaryllBaker

★★★★ Directed by #KellyReichardt Written by #JonathanRaymond and #KellyReichardt Starring #JohnMagaro #OrionLee #TobyJones Film Review by Hope Madden Kelly Reichardt films tell a story, but not in the traditional Hollywood sense. She draws you into an alien environment, unveils universal humanity and shows you something about yourself, about us. There’s usually a story buried in there somewhere. In this case, it’s about two outsiders in 19th Century Oregon who find friendship. And a cow. Cookie (John Magaro) is a gentle soul, not properly built for the fur trade. (You saw The Revenant, right?) He’s a baker at heart, not that he gets to do much baking on a trapping expedition with hungry, volatile, hunt-weary men. He holds no value for these men, and has nothing in common with them. But somehow he sees a kinship with the naked Chinese man he stumbles upon as he forages for mushrooms in the woods. It’s sweet and sad the way Cookie and King-Lu (Orion Lee) fall into a relationship. King-Lu has ambitions. He opens Cookie’s eyes to opportunities he’d never had the courage to consider. Through these characters Reichardt demonstrates how fragile, lovely and heartbreaking hope can be. Working again with regular collaborator Jonathan Raymond, whose novel the two adapted, Reichardt keeps you pulling for her heroes. The narrative lulls you with understated conversations and observations while the meticulously captured natural beauty onscreen beguiles. Within that, we see the potential of a young country through the eyes of Americans determining the dream. Reichardt explores loneliness in all her films, the sense that we are each simply and inevitably alone, though we struggle against it regardless. This exploration isn’t hurried. It breathes. She emphasizes the longing for connection in every quiet moment with her characteristic use of lighting, the way she frames nature and the naturalistic performances she draws from Lee and Magaro. William Tyler’s lonesome score offers something both mournful and tender, which is fitting. Although these men’s very existence in this place testifies to hardy ambition, Reichardt lingers on moments of gentle camaraderie. When Kelly Reichardt tells a story, she breaks your heart. She does it slowly and quietly, but it’s broken nonetheless. #HopeMadden

★★★★★ Directed by: #ChloëThomas Written by: #KevinMears Starring: #CariadLloyd #AlexCarter and #DavidSchaal Film Review by: Bruna Foletto Lucas Roundheads and Cavaliers is a short film directed by Chloë Thomas and written by Kevin Mears. Filmed in the beautiful landscapes of England, this comedy stars Cariad Lloyd on the role of Alice, a woman who is invited by Keith (of Sutherland), played by Alex Carter, to try historical re-enactment. Dressed as roundheads, Alice and Keith are joined by Gareth (David Schaal), a grumpy older man who is saddened by the lack of historical accuracy. The somewhat peaceful trio is met by Adrian (Perry Fitzpatrick), a cavalier wants to fight Keith to claim Alice. Thomas’s short is very entertaining! Justin Evans and Simon Poulter, DOPs, make use of their biggest asset – the landscapes – perfectly. There is a great mix of more intimate shots and landscape shots. With mid-shots and close ups to frame the characters’ dialogues, they allow the audience to see the nuances of the actor’s comedy – as the humour here comes from reaction rather than the dialogue itself (but more on the acting soon). And to contrast, long and wide shots not only privilege the landscape, but augment the awkwardness that hovers throughout the film. One example of this, is when Adrian fights Keith to claim Alice, the fight is framed so the audience can see the clumsiness of the fight and feel as awkward as Gareth and Alice feel looking at the two grown man wrestling on the floor. The humour in Thomas’s short is indeed the film’s strongest point. As I mentioned above, the camera angles and movement certainly help to boost the comedy here, but praise should be given to Kevin Mears’s witty screenplay (‘Have you ever held a sword or is it as foreign to you as a woman’s touch?’) and the great range from all of the actors. Lloys plays the confused Alice brilliantly, down to every ‘what?’ and every puzzled frown; Schaal’s portrayal of someone who is as annoyed with Keith and his lack of commitment as he is with Keith’s nonchalant reaction to his ‘coming out’ adds depth to Gareth, especially when put next to Carter’s detached Keith and his slouched posture. Keith and Alice are indeed a weird but cute couple. And the cherry on the cake is Fitzpatrick’s arrogant and entitled, but funny Adrian. Every character here brings a different flavour to the short and Thomas should be proud of the cast and crew she was able to put together. As this review approaches its end, I think it’s only fair if I finish it stating the absolute joy that was seeing Richard, the dog – Alice’s little companion that ties it all together!

★★★ Written & Directed by: #CarlosGarciaJr Starring: #StephanieOustalet #PierceAtchinson #IsaiahFinley #KianiStone #IKOkafor #AbigailFrantz Short Film Review by: #ChrisBuick On a cold and misty morning, somewhere deep in the woods (God only knows how deep), a young girl falls hard onto the wintry ground before her and judging by her dirt-smeared face and ruined clothing, not for the first time that day. Allowing herself just one terrified look back, she quickly scrambles back to her feet, running like the Devil himself is chasing her. Sadly, it’s not long until the pursuing group of youths hot on her heels finally have her in their grasp, ready to play out whatever horrifically gruesome, ritualistic plan they have in store for her, all before school starts. According to first time writer/director Carlos Garcia Jr., Heathens in its current short form is intended simply as a precursor to a much bigger and bolder idea, something the filmmaker hopes can come to fruition through crowd-funding. This can be a tricky tight-rope to walk; the #shortfilm must of course still deliver on its own merits, while also finding the right balance of not giving too much away yet revealing just enough to leave us wanting more. In this case, Heathens manages to just about get the balance right, even if it is extremely lean on any plot or character specifics. It’s a film that manages to raise a hefty amount of questions in its nine-minute runtime, yet we find ourselves coming out the other side pretty empty-handed in terms of answers. Who are these kids? What exactly are they doing and why are they doing it? We learn next to nothing about any of these individuals or their motivations, and most of the cast have little of note to do most of the time. But while there is a small risk this could frustrate a handful to the point of disinterest, somehow this proof of concept piece still manages to create enough intrigue and mythos in the world it does build that most viewers would probably be happy to come back for a closer look. How it manages to achieve this is two-fold. First is the wickedly charismatic performance from Stephanie Oustalet as head deviant Lena, terrifying of course in her high-octane moments of bat-swinging rage but somehow even more so when simply pulling the strings as the soft-spoken puppet-master of this band (cult?) of loyal followers, she is captivating to watch and a character well worth expansion. Secondly and most importantly, is how technically impressive this film is pretty much across the board. And not just that it looks and sounds great (which it really does), but it’s how everything is used to such full effect that it somehow manages to elevate every other aspect of the film. A harmonious combination of location and lighting, clever editing and assured camerawork, it is an extremely well-constructed piece but a special mention must be made for the incredible score from Michael Vignola, which just takes the whole project to another level. Could it have perhaps given us a little more in terms of exposition without completely letting us behind the curtain? Almost definitely. But perhaps that's just impatience. What’s clear is that Heathens certainly has a lot of fertile ground to explore should it get its chance at a bigger narrative. And it should. #ChrisBuick Watch the trailer here:

★★★ Directed by: Christopher Deakin Written by: Christopher Deakin Starring: Yas Rehman, Lucinda Sinclair, Jonathan Grant, Joe Wandera Film Review by: Jason Knight Today video games are everywhere. They offer great entertainment but they can also be very addictive. Moth is a short film that focuses on that issue. Mo (Yas Rehman) has a young son, Ash (Jonathan Grant), who is constantly playing video games, much to his father's disapproval, although his wife, Joanne (Lucinda Sinclair), does not appear to mind. It is Mo's birthday and his brother Nav (Joe Wandera) has not arrived yet and he hasn't heard from him so he decides to go to his apartment. He finds him sitting on a couch in the dark apartment playing video games. Mo accuses him of being a loner, never going out and never having met his son. Nav replies that he knows his son better than him, because he chats to him online when they play games together, causing Mo to punch him and break his console. Nav is addicted to video games and lives a solitary life in an apartment for which Mo pays the rent. Mo stops covering his brother's expenses and he gets evicted. Eventually Mo gives in and begins playing games himself. He contacts his brother through a gaming headset and they reconcile while playing together. The film explores video game addicts and the effects their addiction has on the people around them. Wandera's character shows how negative his habit can be. He is always gaming and does not socialise face to face. Ash also spends a great deal of time playing and his father attempts to prevent them both from carrying on with their habits, with no success. The fact that eventually he uses video games to reconnect with them is both a happy and a sad ending. Happy because they now get to spend time together again and sad because they only do so through gaming. This also signifies the scale of the impact the gaming industry has in today's world. The film opens with a shot of moths flying around near a light. It then dissolves to Nav sitting inside a dark room, playing video games. The moths could be viewed as a metaphor for gaming addicts, because when people become addicted, they appear to be attracted to games in the same way that a moth is naturally attracted to light. Writer and director Deakin does a great job in creating interesting characters and placing them in well-structured scenes with well-written dialogue. All the actors deliver convincing performances and successfully bring their characters' emotions to life. And they are supported by a rather interesting score. Moth is a project that many gamers will probably be able to identify with. It addresses the problem of video game addiction very effectively and deserves considerable praise. #JasonKnight

★★★★★ Directed by: #ClémencePoésy Written by: #ClémencePoésy #EricForestier Starring: #IndiaHair #SabineTimoteo Short Film Review by: #ChrisBuick In preparation for her role in an upcoming movie as a super-assassin, actress Florence Parady (Hair) has been sent to a remote shooting range to learn how to hold a weapon in order to look the part. Unbeknownst to her before her arrival, her instructor turns out to be former flame Sacha (Timoteo), whom it appears had suddenly and inexplicably walked out on their relationship some four years prior. Now as deeply-buried feelings and old wounds start to reappear, an already tense situation becomes all the more precarious when there is a gun involved. Having already cemented herself in recent years as a massive talent in front of the camera starring in the likes of Harry Potter and The Tunnel, The Tears Thing (or Le Coup des Larmes) proves that Clémence Poésy is also a force to be reckoned with behind it as well, not to mention also having a keen eye for storytelling. The script is not only incredibly tight but precise as well and Poésy delivers not just one captivating plot to follow but two: the exciting drama we get to see played out through the lens and the equally intriguing subtext underneath it all. A heated encounter between ex-lovers that is only escalated by the introduction of live ammunition might have sufficed for some filmmakers, but there is also so much of the story Poésy wants you to put together yourself. The particulars of how Florence and Sacha came to be then not be are barely even sniffed at let alone said out loud, the characters rarely addressing their specific grievances head on. Instead, Poésy seems to want to let us read between the lines of each expression and choice of words that her two powerhouse leads give us, forcing us in the best possible way to create our own version of their past. This means that as well as keeping us completely invested, without unnecessary exposition weighing it down the film maintains a great pace from start to finish, not to mention giving its characters a tremendous sense of authenticity. But what is truly applaudable here along with the writing are the amazing performances from Hair and Timoteo. Starting with their first long silent glance of recognition and surprise mere moments into the film, each look, each breath, everything they say or better yet don’t say all conveys so much about Florence and Sacha’s complex history that we can’t help but want to know more, and a special mention must go to Hair who absolutely nails it in the film's final moments and gives it the perfect amount of gravitas it deserves. A film that delivers on excellent drama and story, but one that also gives you the freedom to create your own narrative. The Tears Thing is sharp, smart, gorgeous, inspiring and worthy of a dozen other superlatives. Simply brilliant. The Tears Thing (Le Coup des Larmes) is now streaming on YouTube as part of the We Are One online film festival. #ChrisBuick Watch the trailer here: