★★★ Directed by #NiniBullRobsahm Written by #NiniBullRobsahm Starring #IbenAkerlie Film Review by George Wolf If your experience with Norwegian horror has you expecting Lake of Death to bring on the blondes and the folklore - you're halfway there. The coifs check out, but writer/director Nini Bull Robsahm trades some homeland roots for flashes of decidedly American inspiration. It's a bit curious, since Robsahm (Amnesia) is updating the 1942 novel (and 1958 film) De dødes tjern- which is credited with kickstarting Norway's interest in the horror genre. Clearly, a cabin in the woods can be creepy in any language. A distracted Lillian (Iben Akerlie) brings a group of friends and one dog to a remote lakeside cabin for one more getaway before the place is sold. Her gang is ready for a good time, but Lillian is still haunted by the memory of her twin brother Bjorn, who disappeared one year earlier after taking a walk in these very same woods! One of Lillian's friends hosts a paranormal podcast, which is Robsahm's device for filling everyone in on the local legend of the lake. You can get lost in its serene beauty, they say, lose touch with reality, and maybe even get the urge to kill. Mysterious happenings, paranoia and suspicion ensue, but Robsahm sets the brew on a very slow boil, taking a full hour before we get one well developed visual fright. Lillian's sleepwalking, hallucinations, and frequent nightmares lay down an overly familiar framework that's peppered with music stabs and repeated name-dropping of horror classics from Evil Dead to Misery. As an attempt to bridge generational horror, it's all very commendable but little more than workmanlike. Robsahm has better success with her commitment to the lake's spellbinding beauty, and with her repeated trust in cinematographer Axel Mustad. Shooting in wonderfully earthy 35mm, Mustad creates a gorgeous tableau of woods and water, evoking the dreamy atmosphere required to cash the check written by the lake's urban legend. There may be be little that surprises you in Lake of Death, but a sterling partnership between director and cameraman makes sure you have a fine souvenir from the visit. #GeorgeWolf

★★ Directed by: #ManoranjanDSami Written by: Manoranjan D'Sami Starring: #PNithya, #SPoornaSangeethaNathen, #PThatchaayini Short Film Review by: Corey Bulloch Except for its chilling final scene, themes of misogyny, sex-selective abortions and inequality of gender roles are left lacking in this drama from writer-director Manoranjan D’Sami. Focused on Indian mother and wife Nandhini who is pregnant again, the film revolves around the pressures placed upon her for the child to be a boy. This demand comes from her husband Kaalan, who is displeased at his first child being a daughter, a “mistake” that shall be fixed with the arrival of a son. D’Sami has this become a film about a woman questioning her role within this world and how that world will affect her daughter. It’s clear that the status quo doesn’t respect woman’s rights, this ridiculous notion that they are to be homemakers and birth male heirs, a highly archaic notion that traps Nandhini. The credits of the film feature headlines and messages speaking to the horrifying realities of the patriarchy’s grip on India, referencing infanticide and selective abortion. D’Sami adds this to give real-world context to the weight of the film but none of this reality comes across just a presentation of a missed opportunity. Nandhini contemplates an abortion with the film staying ambiguous to what her final choice is concerning her future but the direction of the script fails to capture this ominous burden and consequences. Kaalan Nandhini suffers from a lack of subtlety in its presentation and portrayal as the examination of this chauvinistic reality feels heavy in exposition. While P Nithya’s central performance delivers that much-needed sense of sympathy and helplessness much of the film feels stilted in how it presents conflicts between characters and information to fuel the debate about its themes. Data and figures shoehorned into dialogue or fights between Nithya and her husband lacking a personal depth to make this content cut deep. The score from G. Yuvan Karthik is overbearing and out of place, robbing scenes of their emotional intimacy. Though despite these faults there is clear respect from D’Sami on wanting to educate his audience about these realities, not demonising the struggles or desperation of Nithya but making it a reflection of the society. The film, however, doesn’t go far enough in making memorable or effective even with high points from P Nithya or Joe Allen’s cinematography. Kaalan Nandhini ends strong displaying the potential and power to the film’s premise as that inescapable truth becomes so tragically clear in the most mundane of actions. D’Sami’s direction though makes the journey to that moment so muddled that it’s annoying the whole film didn’t take similar creative choices. To the uninformed audience on this issue, the film won’t do much to enlighten you on the specifics only offer a mere glimpse into such an unfortunate yet seemingly commonplace state of mind. #CoreyBulloch #shortfilm

★★★ Directed by: #DavidRuby Written by: #SusanHarrison Starring: Susan Harrison Short Film Review by: Corey Bulloch Short and simple, the first instalment of the ‘How to Date a Magical Creature’ series explores a modern, comedic approach to romancing the most amorous of fantasy characters. No not the Gill-man, instead actress Susan Harrison improvises through a dating vlog over tips and tricks to successfully date a vampire. From Dracula to Buffy there is an ingrained romanticism to the creatures in our pop culture, brooding seducers with tragic pasts, a fantasy that somehow the beast within could be tamed by love until they inevitably prey upon you. Now exploited more in the modern age as teen drama through Godawful books and tv shows, vampire lore and clichés are given a tongue and cheek makeover in this amusing comedy short. Harrison portraying ‘vampire dating’ expert Catriona Gunningforit (amazing name) takes the audience through quick steps on the do’s and dont’s of dating vampires. The direction the short takes it expected, with the references and punchlines taking the most obvious routes but Harrison’s bubbly charisma keeps everything in good spirits. Taking advantage of the vlog/influencer aesthetic makes the idea feel fresh, it has that whimsical approach in performance and presentation that hooks the audience in. Just like popular social media content, How to Date a Vampire is quick but direct, with all the advice Gunningforit gives made believable in its grounding of her character and treating the idea of dating a vampire-like the latest trend rather than getting bogged down in any fantastical exposition. Vampires are real and they have dating apps, don’t worry about it! Most of the short features Gunningforit applying her makeup, stating she needs to look “lively” to seem more attractive to her undead beau. Quips about how important it is to “look alive” for vampires ties into the vanity of dating blogs and the peculiar ways people will make themselves seem more desirable. The sight gag of Gunningforit applying makeup to accentuate her neck veins is one of those golden moments where the gimmick of the idea works perfectly. The whole short is kept in the same frame but Harrison’s continuous makeover keeps that all-important action going, drawing the audience deeper into her logic and world. Production design from Sorcha Bloom Dunphy has classic references such as a coffin-shaped makeup pad, goblets and a bulb of garlic which Harrison hilariously demonstrates as a dating deterrent as if it were mace. Every piece of makeup has a justification tying into vampire lore and its amusing to see how Harrison keeps her character both ditzy yet adept in vampire seduction. There’s not much to it but rather than drag out this niche idea and beat it to death until we hate it, Harrison and creator David Ruby keep How to Date a Vampire concise and charming. Its a fictional premise but the performance makes it feel real, that everything we’ve been told would actually be helpful if we ever found ourselves on a tinder date to a remote castle in Transylvania. #CoreyBulloch #shortfilm

★★★★ Directed by: #IvanDoan, #RosaLaurini Written by: #MarinaPalei Starring: #IvanDoan Film Review by Lucy Clarke As a lightbulb warms, its filament turns from a glowing red to a searing white. People can also be incandescent — incandescent with rage. Small irritations pile up on top of each other until one tiny thing breaks the camel’s back. Then anger overwhelms you. Ivan Doan and Rosa Laurini’s Incandescence is an illustrative poetic film, based on the writings of Marina Palei. While Incandescence is not a classic example of a narrative film, this short film is still affecting and casts light on the real problems that millennial migrant workers face, bubbling with the directors’ anger at society and the systems that upheld it. Our main character, played by Ivan Doan, is a young migrant who has found himself in Berlin. A voiceover reciting parts of Palei’s writings from “The Ring” and “The Flight” is heard while images of a fast-paced, uncaring city and of a man who is just on the verge of completely losing it flicker past. He expected a good life in Berlin, but instead, he sleeps in the body of Berlin’s central train station. He expected success, but instead, he is continually punched down by society. This film doesn’t just take place in Berlin, it fundamentally understands the city. There’s a lived-in feeling to this work. Like in Christian Petzold’s filmography, Doan lurks in the non-places: the airports, the underground platforms, the main train stations. He doesn’t really belong here, and clearly he doesn’t have his own space. He has become inert after he has been repeatedly punched down. Berlin here is not defined by the TV Tower, or by the wall, or by Brandenburg Gate. The only iconic Berlin structure we see is the towered Oberbaum bridge. Yet graffiti and grime mark the city as unmistakably Berlin. There’s a disconnect between this bustling metropolis and our main character’s deprivation, which the music and editing emphasise fantastically. The shots of mannequins and escalator steps scrawled with graffiti are complemented with a fast, anxiety-inducing tempo beat, reminiscent of Tom Tykwer’s music choice in Run, Lola, Run. The music and the editing both heighten our main character’s sense of entrapment and helplessness. Although dominated by lyrical writing, Incandescence encapsulates Doan’s feelings of abandonment and the aching realisation that he will never win. In its short run-time, Incandescence lights a match and strikes a chord. In a city full of theoretical possibilities, Doan’s character is left fumbling and desperate. The texts from Marina Palei’s stories “The Ring” and “The Flight” still resonate today, and Doan and Laurini’s work simply thrusts these issues to the centre, in a world more defined by inequality than it was twenty years ago.

★★★ Directed by: #ArindamChatterjee Written by: #ArindamChatterjee, #TanimaDasMitra Starring: #TanimaBhattacharya, #ArushNand, #GautamAhuja Film Review by: Alexander Erting-Haynes The Unfinished Diary is a drama short film from first-time filmmaker, Arindam Chatterjee, who directs and produces as well as writing the piece based on an original story written by Tanima Das Mitra. In this piece, he tackles some very sensitive subjects, with the main body exploring the idea of love and connections that transcend religious and personal beliefs. The vehicle in which he has chosen to convey this message is through the perspective of an eight year-old boy who just wants to celebrate Christmas with his friends of different religious backgrounds and hopes only for his mother's acceptance of them. In the final third of the film, there is a pivotal moment that causes everything from tone to narrative to shift dramatically. Without revealing the impetus of this, it is a hugely affecting beat that is almost guaranteed to come as a shock and serve as something of a gut punch. The only potential negative of this moment is the way in which the news is initially delivered; the messenger that provides the revelation is somewhat lax in his explanation, given the severity. It is important to note, though, that this may be a case of something being lost in translation when producing the subtitles, as it is originally an Indian film. What really sells this impactful beat is the acting from the lead, Tanima Bhattacharya, who plays the boy's mother. As we witness her life be devastated, the performance is guttural and raw; she screams out remarks of utter disbelief, clawing at her cheeks as she holds her face, completely erratic. It makes for some uncomfortable viewing and, for a film that hones in on such difficult topics, so it should. During this scene, there is also an effective direction choice in which, along with the tone, the film's visuals shift, from colour to black and white. While it certainly does work in execution, it does feel like a trick that has been somewhat overused in the past. Told in a non-linear fashion that can at first feel confusing, it is a film that benefits from multiple viewings. After watching a second or third time, however, it does prove to be a rewarding experience that has a lot more to say than it may initially appear - its message seems to be that of overcoming ignorance and prejudice. While bleak in its narrative, tone and purposefully washed out, dull colours, the message appears to be a positive one, one of hope that advocates the benefits of looking beyond differences. That's not to say watching it is a joyous experience; before we get to that message, we also see the devastation the opposite can cause and the ripple effect that can have. Overall, it is often clear that this is Chatterjee's debut film, due to some confusing storytelling, overused dramatic techniques and subtitles that don't fully deliver the scenes' intended impact. However, this isn't enough to bring down the importance and positivity of the film's message and it is this, alongside the bittersweet note that it goes out on, that make it a piece that is certainly worth viewing. At least twice. #AlexanderErtingHaynes

★★★★★ Directed by: #ChrisLewis Music by: #DavidLolPerry Film Review by Taryll Baker 9,000 miles apart, PURE is a collaboration between an English Composer and an Australian Filmmaker, a sensory mind hack for an overstimulated world. Firstly, this is quite the unique film for me to review. But, I’m very familiar with the world of ASMR (or ‘autonomous sensory meridian response’) and its ever-growing community of creators. If you’re unaware of ASMR, it’s described as a tingling sensation that travels across your body (usually head and spine) and this is caused by visual or audio cues. In Chris Lewis’s PURE SOUNDBATH, binaural recording is used to create ultimate immersion. Utilising a beautifully calm and lush score composed by David Lol Perry, PURE takes us on a journey through some of Australia’s most stunning vistas. With so much going on in the world right now, it’s important to take time to find some sort of emotional release, and PURE delivers just that. With no narrative, no rushing or dragging in pace, there’s really nothing to think about whilst watching. Let the visuals sweep you away and the music transport you into a state of meditation. David Lol Perry’s soothing score is phenomenally crafted — ethereal choir and expansive, moody strings blend together — as if it’s a single piece of music spanning one hour. Best viewed with headphones, the use of 3D sound excels the experience to breathtaking heights, allowing for peak absorption. Perhaps my favourite section of PURE is the skilfully captured sunset over the tranquil waves at around forty five minutes in. Chris Lewis, an award winning cinematographer, encapsulates the graceful contrasts of light and dark tones and the result is alluring. The underwater camerawork is worthy of being anyone’s screensaver — cinematic enough to grace Apple’s impressive collection. As PURE came to a close, after an hour of traversing New South Wales and being exposed to nothing but the airy atmospherics created by Perry, I thought of how great it would be to see this become a series. The duo clearly have a special dynamic and to see more from them would be a great gift to the people that are struggling right about now. To have something like this at hand, accessible to many, would make it a great tool for the practice of meditation. A vivid capsule for thoughts to wander and dissipate, allowing time for the mind and soul to rest. PURE is a peacefully engrossing experimental film. Watch the trailer for PURE SOUNDBATH here. #TaryllBaker

★★ Directed by #GinaPrince-Bythewood Written by #GregRucka Starring #CharlizeTheron, #KiKiLayne, #ChiwetelEjiofor Film Review by Lawrence Bennie The ever-expanding (and seemingly never-ending) universe of comic-book film has born another entry with Gina Prince-Bythewood’s The Old Guard. This time round, the work of former DC writer Greg Rucka gets the big-screen treatment, with the veteran comic creator penning his own screenplay. A quartet of centuries-old warriors, led by the fearless “Andy” (Charlize Theron), find themselves targets of sinister forces when their apparent immortality is exposed during a staged ambush. Things are complicated further when U.S Marine Nile (KiKi Layne) reluctantly becomes the new recruit of the “Old Guard” after inexplicably escaping death during a raid in Afghanistan. Together, the team face their greatest crisis when a ruthless pharmaceutical executive (Harry Melling) conspires to capture them to exploit the secret of their miraculous life-spans. The most innovative moment in The Old Guard comes early. Prince-Bythewood opens with a shot of our presumed heroes slaughtered. As expected, we flashback to the main narrative of the film only to, unexpectedly, return to a repeat of the opening shot about 13 minutes in. If you haven’t read the synopsis too closely, it makes for a somewhat jarring moment. We’re more than used to this technique but the rest of the story is still to play out. It’s a neat trick from the director and the play with expectations here works very effectively. Disappointingly, The Old Guard doesn’t hit the mark quite as well again. An uninspired cast and script puncture the film; even the gung-ho Theron brings little to the project. The rest of the cast lack charisma and Prince-Bythewood mistakenly allows her players to mumble through the film. In a muddled role, Chiwetel Ejiofor is sadly wasted. Ejiofor would have been better as one of the immortals or as the principal villain instead of Harry Melling’s ineffective baddie who unconvincingly goes from company CEO to an irredeemable Lex Luthor wannabe in almost the blink of an eye. Frustratingly, the film’s most potentially intriguing character, and plot development, is instead saved for a potential sequel. The Old Guard presents some interesting conflicts. Andy and Nile’s different views on God’s existence. The repercussions between the immortals and their loved ones. Also, most originally, the thought of spreading immortality to the human population. However, these are developed no more than just passing thoughts in Rucka’s script. Instead, we get the usual clichés and a mediocre plot. Returning from the grave, Nile is no longer accepted by her old colleagues and no longer welcome in the army, repeating the similar outcasting of Connor McLeod in Highlander (1986). Oddly, not one of Nile’s team at least expresses some measure of awe and joy at a first-hand resurrection or even stop to think of the benefits that an invincible warrior might reap for the Marines. Closing the story, Rucka also disappoints. It isn't until Ejiofor shows Andy and her comrades some of the many lives they've saved that our heroes realise they can make a difference to the world. Suddenly, the premise falls flat - have they really been unaware of the good they've done for centuries and only ever thought about the cons of being immortal? It's a silly, sloppy ending. The Old Guard has received acclaim for its action sequences though, in fact, action isn’t the focus here. Prince-Bythewood’s film aspires to be a more psychological study of the complications of immortality, only its ideas are half-baked and half-heartedly executed. #LawrenceBennie

★★ Directed by: #BurriTakaBolalima Written by: #BurriTakaBolalima, #AmabelMuncheb, #Nguang Starring: #BurriTakaBolalima, #CatherineFri, #JeddyKingz, #BibishBright, #CollinsFonde, #RoseFulia Film Review by: Darren Tilby After being mysteriously expelled from her parents’ house, 16-year-old Vivian (Catherine Fri) arrives in the city of Bamenda to live with her grandmother, Ma Granni (Rose Fulia), and to register at the local university. Shortly after arriving, she meets a commercial bike rider, Ben (Burri-Taka Bolalima), who soon becomes obsessed with the young woman. And, after her grandmother falls ill, Vivian must find a way to pay for her college tuition. Luckily for her, Ben is both able and willing. Once again; for the second time in recent days, here’s another film in which I have really disliked almost all of the characters. It’s a shame, because apart from a few weak, what I presume to be, voiceover artists, the performances are pretty good, with Catherine Fri giving an outstanding central performance as Vivian. Unfortunately, it’s so hard to connect with, or feel anything for, any of the characters, as almost none of them have any redeeming qualities, either by design or by accident - a fact not helped by a lacklustre script, poor translation in the subtitles and terrible sound design/quality. The visuals, on the other hand, fare considerably better, with Burri-Taka Bolalima’s cinematography ably capturing the richness and vibrancy of Cameroon’s cities and landscapes. Only the editing causes problems here: there are a few scenes which seem to cut out a little too suddenly. It’s not a big problem on its own, but Cutlass is a film which can come across as incoherent anyway; a random string of scenes, many of which don’t seem to correlate with either the previous or following scene. And so this sloppiness only adds to the lack of cohesiveness. Again, it’s more disappointing that it is inherently bad because the story here is pretty good. Things that don’t get immediately explained do get resolved satisfactorily, there are plot twists that you may not see coming, and everything does, eventually, come together quite well. But at almost two hours in length, it’s not concise or articulated well enough. It took an awful lot of picking through an awful lot of filler – including a randomly placed, seemingly inconsequential rape scene – to piece together the parts of the film that actually contribute to the narrative - the moral of which seems to be that all women are interested in is a man’s money. It’s a shame I couldn’t get more on board with Cutlass, as there’s an abundance of talent involved here, particularly from its core actors. And it’s great to see a director take on other roles and do such an excellent job in most of them. Unfortunately, I couldn’t connect with any of the characters, and the long-winded story failed to engage me fully; after an hour, it all felt rather monotonous.

★★★★ Directed by: #AntonySpina Written by: Antony Spina Starring: #RolandStone #BernadoLaRocque #StuartWalker #AlexanderMandrides #CherylBurniston Short Film Review by: #ChrisBuick The degradation and inefficiencies of prison systems all over the world is something that has been and continues to be at the forefront of countless media projects both factual and fictional. Yet it seems that despite an ever-increasing amount of coverage, issues such as overpopulation, increased violence and drug use amongst inmates, under-staffing and of course under-funding seem to have only been exacerbated, while the people who run them, the people who work in them and the people who inhabit them all have their fingers pointing firmly in differing directions as to where the blame lies. Now, adding his own fuel to a very important and perpetually topical fire, London-based filmmaker Antony Spina follows up his impressive 2017 debut Sad Little Boy with The Programme, a thought-provoking documentary-style thought-experiment choc-full of hard-hitting moral conundrums and ethical dilemmas. In the technically fictional (but frankly quite possible) near future, Professor Malcolm P. Rutterford (Stone) has developed a unique programme for prisoners consisting of a combination of chemical treatments and behavioural therapies that claims to successfully rehabilitate even the worst of cases and has helped “solve” the prison crisis in America. As the programme picks up traction and attention from several other nations both positive and negative, we hear through a series of interviews the opinions on the controversial new program from all levels of the penal system, from the inmates to the guards and officers on the frontlines all the way up to the powers that be, all of whom also share their thoughts on where they believe the current problems lie and of course who is to blame. The Programme may be a dramatisation of currently theoretical practices, but the uneasy questions it raises and constantly asks of us are very real. Where do we as a society draw the line ethically and morally on such subjects? Aren’t even the worst “monsters” still deserving of their basic human rights? How much of our values are we willing to compromise when you can’t argue with the results? Having explored the subject of mental health in his aforementioned debut, Spina is no stranger to tackling hard-hitting topics in his work. But while it’s one thing to simply make such issues the core of your film, it's another thing entirely to ensure they are handled with the grace, sensitivity and when required, impartiality they deserve which is what Spina does here and also what elevates him from a good filmmaker to a great one. Opting to give the film a global setting (for what is of course a global issue) is a move that also deserves a lot of credit. So simple it’s almost ridiculous yet its fundamental in not only establishing the hypothetical world Spina is trying to create but also making sure the #shortfilm sells its documentary premise to the point it wouldn’t seem too out of place amongst more factually-driven offerings, which for the most part it does. However, a few of the performances unfortunately manage to snap us out of that suspended belief to remind us of the ruse. Also, intentionally or not, the film does begin to slightly abandon its neutral stance somewhere in the final third and descends a bit into melodrama before righting itself again for the finale. Brilliantly convincing in its delivery while asking all the right questions, The Programme makes it two hits in a row for Spina and we can’t wait to see what he delivers for his hat trick. No pressure. #ChrisBuick

★★★★★ Directed by: Arthur Johnson Starring: Mackenzie Paterson & Muireann Ni Raghallaigh Short Film Review by: Rachel Pullen Mark at the Supermarket Movie Review There is nothing better than awkward nervous guys, you know the kind who like to play D&D and never speak to anyone and collect fingernails for fun, those ones? They are a real catch. In fact, I like anyone who is a little different, there is nothing more boring than the average person, the one who shops at Burton’s and has dinner at Nandos…no I want weird people who wear bowling shoes all the time and carry a lunch box and let me tell you something…30 seconds into this short, I had found my mate, I was in love. Short film Mark at the Supermarket follows the life of a social recluse called…well Mark, he never leaves the safety of his bunker unless it is to bulk buy food from his local Thai supermarket. Mark hates people, Mark talks to no one, Mark likes to organize his canned goods…be like Mark. While at the supermarket, though, he spies a lady, one who seems externally to be just like Mark; she is awkward and nervous, dressed in a similar fashion, and of course, Mark is fascinated (he wants her toenails for his collection. So, what do we do when we like someone but can’t talk to the common man, Google it of course. Our dear Mark learns new talking skills from the internet, practices at home, and plucks up the courage to engage with this lady, their engagement is clunky and painful to watch, but at the same time inspiring. As a viewer, you want him to win, you want him to find someone he can share his private space with, and when it all starts to come together you can’t help but smile. What does that say for this short, well it says a lot, for in less than 10 minutes we have become so invested in our leading man that we want him to win, we care about his outcomes and efforts, we have connected, and how could you not? Mark is the right balance of vulnerable and confident, he does not care that he is weird and he does not care what anyone thinks, to him, he is normal and just wants someone to share his time with. Director Arthur Johnson made an excellent choice in location, Mark is socially nervous, that’s clear and to place him in the bustling aisles of a Tesco would be too much, the choice to use a small local Thai market is perfect, often empty or very quiet we can see that Mark is more comfortable here, it screams his needs and fears all at the same time. Johnson is establishing habits and needs of the character without handholding the audience, we can put together our own decisions about Mark using the clues on screen. And with this in mind we can also put together the characteristics of Mark’s lady friend; they buy the same food, dress the same, they shop at the same small store, we are completely led to believe they are the same thanks to the direction we have been led down in regards to understand Mark. Each of the actors embodies the many idiosyncrasies and quirks that the characters display in a fantastic manner, there is never a doubt that we are not watching a genuine performance, one that displays a wide range of emotions, to fear, doubt and sheer confidence. Mark at the Supermarket not only caused me to form a crush but reminded me that it’s ok to be yourself and not hide away from the person you are…now if you don’t mind I’m off to polish my bowing shoes. #RachelPullen

★★★ Stars Directed by: #SujeethChitrala Written by: #SujeethChitrala Starring: #KarthikPrakki, #Rithika, #SujeethChitrala Film Review by: Alicia Moore Ajay Rana shows the story of a social media addicted teenager (Karthik Prakki) as the digital world consumes his reality, ruining the connections he once had with friends and family. The plot builds up to a climactic conclusion of how he eventually breaks himself away from his digital devices after a tragic incident occurs due to his own carelessness. Written and directed by Sujeeth Chitrala, the events that unravel are in touch with our current situation regarding social media and technology, making the concept appealing to all audiences – whether that be teenagers who can relate to the main character or the older generation who understand the struggles that are occurring within that subject. The film sends a valuable message to young people in particular as they see the future most feared clearly depicted in front of them; a complete detachment from face-to-face relationships and communication. Although the peak of the film may be seen as an extreme situation to experience due to an undivided focus on social media, it presents a brilliant shock factor to viewers. Linking with the modern approach in the overall plot, the editing style also gasps a present sense. With editing by Nagesh Pulkurthy, it immediately captivates viewers with exciting, advanced techniques as well as beautiful colouring. This attractive sight is not lost as the film progresses either, it only gets better as the short continues until its ending point. This short film’s editing is an amazing feature in itself but, when paired with the beautiful cinematography, the film really does become a form of a ‘feast for the eyes.’ The cinematography (by Jeevan) is possibly even more captivating than the editing style – wonderful panning shots of landscapes as well as more detailed shots of house settings and small gatherings of friends on the streets. The crew chose pleasing settings to shoot this short film in general, and the director of photography simply enhanced those surroundings with great finesse. The acting of each cast member is enjoyable, each character having a considerable amount of personality and emotion for the audience to begin to create bonds with through the camera lens. Some actors seemed quite inexperienced as their movements appear almost forced and didn’t match the environment being created by the script, but that raw approach to their roles did not negatively impact the film; their work can still be highly praised. Ajay Rana is an altogether impressive and agreeable short film. It is obvious, as an audience member, that the cast and crew took pride in this film and the message that it holds; I admire such enthusiasm and tenacity.

★★★ Directed by #EricBress Written by #EricBress Starring #BrentonThwaites #KyleGallner #SkylarAstin Film Review by Hope Madden Here’s the thing about horror movies in 2020: they have to one up 2020. This year itself is such a horror show, it’s hard for cinema to keep up. Writer/director Eric Bress (The Butterfly Effect) does what he can with the supernatural war tale, Ghosts of War. Five WWII soldiers are ordered to hold tight in a French mansion circa 1944. It’s an isolated estate, once a Nazi stronghold. Terrible things happened there, and even though the surroundings suggest luxury, the mission may be the most dangerous the platoon has ever faced. It reminds me of that time earlier this year when COVID trapped a Bolivian orchestra inside a haunted German castle surrounded by wolves. So the film has that to compete with. Of course, the other thing Ghosts of War has going against it is the surprisingly engaging and unfortunately underseen Overlord, a WWII horror show that drops us alongside a handful of soldiers into war torn France just in time to find zombies. Very little is more fun than Nazi zombies. But Bress isn’t interested in zombies. Instead, he explores the madness that weighs on men who’ve done the unthinkable by trapping them in a situation where they must face their demons. Kyle Gallner delivers an appropriately haunted performance as one of the soldiers—each of whom Bress characterizes with quick, shorthand ideas: the nut job (Gallner), the smartypants (Pitch Perfect’s Skylar Astin), the hero (Theo Rossi), the big talker (Alan Ritchson), the leader who’s in over his head (Brenton Thwaites). Gallner and Astin are the only cast members given the opportunity to differentiate themselves from the pack as the platoon stumbles upon evidence of the haunting. Bress and his ensemble stumble here, rarely developing any real dread, infrequently even delivering the jumps their quick cut scares attempt. Ghosts of War makes an effort to say something meaningful. That message is waylaid by confused second act plotting and a third act reveal that feels far more lurid and opportunistic than it does resonant or haunting. Bress tries to take advantage of the audience’s preconceived in order to subvert expectations, but he doesn’t have as much to say as he thinks. #HopeMadden