★★★★★ Directed by: #MarkoZunic Written by: #MarkoZunic Starring: #AndrijaKispatic, #SuncicaZivkovic Film Review by Christopher Hart I was about one minute into this film when I thought to myself, “I’m seeing a lot of David Lynch here”. Of course, the resemblance is clear – Serbian director and writer Marko Zunic seems to be channelling his inner ‘Lynch’ style with his own unique style on top. He even shows Henry Spencer, the protagonist from Eraserhead, on the newspaper in his film. I am also a fan of Lynch, and so I thoroughly appreciated the appearance of Bright Future My Love, and Zunic’s personal style really compliments his inspiration for the film. Zunic shows us a terrifying world. Almost everything is dirty, isolated and destroyed. It appears post-apocalyptic and brutal in many ways – but appearance is not the problem in this world. Zunic’s world masterfully encapsulates us; our day to day struggle. We see this through the eyes of a nameless protagonist (Andrija Kispatic) who works for an anonymous boss on a screen. Kispatic goes through the motions of a job, he gets up and goes to work and comes home, day in and day out. However, if you look closely, you see that Kispatic is not working, he is simply typing nonsense on a keyboard. Kispatic’s days are meaningless, and he works only for the mushy food that is given to him out of a strange hose. Of course, this all changes when he meets a nameless girl (Suncica Zivkovic) who is in the same dead-end life, and the two go off track (quite literally) to live a little. Problems arise when they try to be intimate, as the anonymous boss who controls Zunic’s world seeks to bring any joy or distraction from work to a standstill. Zunic has written the film wonderfully with patient care, allowing the story to be universal with its lack of speech. Nothing needs to be said, so nothing is said – romance between the two protagonists is achieved through looks and quiet physical intimacy. The struggle and desperation suffered by Kispatic’s character is well defined and understandable, and even almost relatable, which is strange given the nature of his predicament. This is all backed up by the brilliant acting of Kispatic and Zivkovic, who present the emotions of this surreal world without overdoing it. Their forbidden relationship is presented in a familiar fashion, while clearly not being a typical romance. The costume design is simple, yet effective; suits are worn by the characters as a symbol of the lack of freedom and expression in this world, and this was clear and successful. The primary score reflects the day-to-day back and forth of the characters’ life really well, and the new, softer piano score introduced when the romance begins between the protagonists is a wonderful touch and added an enjoyable change to the atmosphere. Bright Future My Love is shot strikingly, with not a single frame wasted. The film is in black and white for a reason, and the bleak, lifeless world is reflected through this decision. Marko Zunic has planned this film carefully, and it shows. It is a haunting creation and ominous in its tone, but its unique beauty is wonderful to watch. #ChristopherHart

★★★★ Directed by #GiacomoGex Written by & Starring #KyvonEdwin, #ShaiFrumkin Film Review by Lawrence Bennie It is, of course, not fresh news that society’s addictive preoccupation with mobile-phone technology is affecting our day-to-day human interaction. One certainly doesn’t have to go far to see the familiar sight of people with heads down, palms up, phubbing away, immersed in a world of mobile information and play. Of course, nowhere is this is more an everyday familiarity than on public transport, something that British-French filmmaker Giacomo Gex’s Crush uses to bookend his effective 8-minute short film, Crush. Marcus (Kyvon Edwin) catches the eye of Natalie (Shai Frumkin) during an inner-city train journey. Intrigued, Natalie follows him, asks him about the book he is reading, and the pair share an instant connection. When the evening comes to a close, Marcus makes his move and asks Natalie out for coffee the next day. They meet, the spark is there again, and a relationship soon flourishes. As the only characters in the film, Edwin and Frumkin (also joint-writers) are quietly charismatic and wonderfully natural performers. We have no trouble accepting the progress of their relationship and there is a graceful believability to how we see their lives together unfold on screen. The fact that this is achieved in such a condensed running time is a credit to both their talents and the instinctive direction of Gex, who achieves a documentary-like quality in capturing Marcus and Natalie’s time as a couple. Edwin and Frumkin perform effortlessly, as though there is no camera and Gex allows us to simply watch without gimmicky distraction. We could just as well be watching a documentary; that’s how natural it feels. It’s a winning synthesis between director and actors. If there is an obtrusion in Crush, then it’s the soundtrack. For the second portion of the film, the music of A.M Architect and Palemonte almost drowns out the actors to the point where it’s they who almost become the background noise. Perhaps though, intentionally or not, there is an irony to this barrier, particularly when Gex reveals his Sliding Doors ending. All we hear, at the end, are chugs and clunks of the train. Gone is the incidental music and conversation. And gone is the relationship. Crush’s final revelation has been done before, but it works. In just 8 minutes, we’ve journeyed with these characters; the director has kept us alongside them through their relationship though we’ve never felt like intruders. However, Gex shows us that there is in fact a worrying intrusion in our midsts that, if left unchecked, is potentially destructive to human interaction, opportunities and, ultimately, relationships. #LawrenceBennie

★★★ Directed by #AndrewErickson Starring: #VickyDawson #AriaEmory #KimMcKissack Film review by Nathanial Eker Drugs, murder, and ladies who lunch. No, this isn't the name of a hair metal band, these are the three driving forces of writer-director Andrew Erickson's Toxicity, a surprising crime drama with a healthy amount of twists and turns and an unhealthy amount of heroin. While at times it suffers from wooden acting and typical generic tropes, the script is mostly strong and the majority of performances hit the appropriate emotional beats. The unique direction of the plot allows it to stand on its own and the mother-son relationship in particular adds something fresh to a well-trodden genre. Desi Larkin is an ex-drug addict who discovers his junkie wife Jade dead, apparently having committing suicide. All eyes are on the unfortunate widower as he moves in with his upper class mother, Rose. Things start to heat up for the mother and son when Detective Sandy Lane looks deeper into the case and begins to suspect fowl play. The indisputable highlight of Toxicity is Vicky Dawson as Rose Larkin, who soars in every scene with a tragic fragility that is both painful and enthralling to watch. Dawson sews the seeds of character development from the very beginning, while single handedly making her scenes more engaging and upsetting. It speaks volumes that Rose's social standing within her opulent lunch group is given far more screen time than the initial suspicious suicide; it's a far more compelling endeavour rife with social commentary on rich, white, capitalist America. Regrettably, the rest of the cast are a mixed bag. Aria Emory does an acceptable job as Desi and boasts considerable chemistry with Dawson. However, when taken in isolation, he's a little shallow and resorts mainly to grunts and unconvincing mean comments. The group of middle class suburban mothers are stereotypical, but believable enough to make Rose's pretentious plight compelling. This is aided greatly by a script that understands how people talk; one particular coffee meeting is gut-wrenching in an entirely organic way thanks to Erickson's strong grasp of motherly bragging. Equally, his use of the mise-en-scene to support the bitter decline of his leads is just as inspired. While the editing, lighting, and cinematography do nothing ground-breaking, they service the greater narrative journey exponentially. Unfortunately, the sound and music are a less commendable, as the latter is frustratingly unpolished while the former is notable for how un-notable it is. One element that is shocking for entirely the wrong reason, is drug dealer 'Leddy's' flippant use of the n-word, something neither necessary or appropriate within the context. Yes, he's a bit of a sleeze, but this is a questionable oversight from an otherwise well-devised script from Erickson. It's refreshing to see a film with genuine twists and themes that are weaved subtly and effectively throughout. Pre-judgement, stereotyping, and classism are all there and demonstrated without overtness or obviousness. Making Desi a chef is a wise decision as his profession - looked down on by Rose's circle - acts as an effective motif throughout. Food is everywhere and the audience are consistently forced to remember that Desi isn't a biochemist or the owner of an app company; something that clearly bothers his mother. Interestingly, the film seems to be stuck in a kind of indie-blockbuster limbo. In some ways it rejects the formulaic nature of the crime thriller, such as its use of Rose as an atypical protagonist, and through its unconventional conclusion. At the same time, however, many scenes, (particularly those involving the underwhelming Detective Lane) are almost written verbatim in the style of their intertexual influences. This dissonance between the indie and the blockbuster is by no means problematic, but it is interesting. Overall, Toxicity is a mostly-satisfying endeavour. It is led by a powerful leading lady and while the supporting cast is a mixed bag, they generally perform fine. It is well-paced, well-directed, and has something relevant to say about the pre-conceptions of the white American elite and the 'grass is always greener mentality' of competitive capitalism. Moreover, at its simplest, it's an exciting 'whodunnit' with a strong conflict. While its ending may not be fully earned, it's still a shocking conclusion to a film that succeeds more than it fails. #NathanialEker

★★★★★ Directed by #BenjaminRee Starring #KarlBertilNorland #BarboraKysilkova Film Review by Cat McAlpine Barbora Kysilkova is a hyper-realistic painter known for her large, dark pieces. But when two of her paintings are stolen from a gallery in the middle of the day, she begins an unexpected journey to reclaim the most important piece in her collection. Boldly, she asks one of thieves if she can paint him, and he nervously agrees. Though he swears he was too high to remember what happened to the paintings, Barbora cannot stop painting Karl Bertil-Nordland. The Painter carefully teases out The Thief, but he is watching her right back. What follows is a tender exploration of the things that make us feel broken and how we absorb them into our identities. The narrative weaving of The Painter and The Thief is what makes it a truly great documentary. Director Benjamin Ree shows you the story through two sets of eyes, both staring into the other. He shapes a beautiful give and take that relates the events based on how they were experienced rather than exactly how they happened. In exploring the way Barbora and Karl see each other, Ree also explores how we grapple with our many faces, comparing the way we present ourselves and the way we are seen by others. When Karl sees Barbora’s first painting of him, he is utterly transfixed by the portrait. He cannot take his eyes off of it as he stands and begins to loudly weep. Although The Painter and The Thief takes a winding path into an incredible and unexpected friendship, it never forgets that it began as a mystery. This documentary is so intriguing and so honest, you’ll be transfixed until the incredibly satisfying and almost unbelievable end. #CatMcAlpine

★★★★ Directed by #VincentMasciale Written by #LukeBarnett Starring #LukeBarnett #TannerThomason #LanceReddick Film Review by George Wolf and Hope Madden I have seen Faith Ba$ed and I am outraged. People that haven’t seen it are outraged, and you know what that is? Outrageous, but not surprising. According to writer and co-star Luke Barnett, people are upset at just “the idea of it.” And that’s an ironic protest that actually speaks more negatively about the Christian film industry than anything in this actual movie. Barnett and director Vincent Masciale, both Funny or Die veterans, are more interested in the goofy exploits of two lifelong friends in California who are having trouble adjusting to adulthood. Tanner (Tanner Thomason) is a ladies man bartender whose life goals don’t extend beyond drinking and hanging out with friends. Luke (Barnett) cleans pools while peddling the weight loss tea pyramid scheme of his entrepreneurial idol Nicky Steele (Jason Alexander in a bonkers cameo). Luke and Tanner are big movie fans, and when they discover just how profitable the faith-based market is, a plan emerges. If they can make their own “Jesus” film and sell it to ChristFlix pictures, there should be more than enough profit to stuff their pockets and help out the local Elevate Church where Luke’s father (Lance Reddick) is the pastor. The big question: can the boys snag Butch Savage (David Koechner, bonkers himself), the action hero from their youth, for the pivotal role? Masciale, helming his second feature, brings an irresistibly absurdist vibe to the shenanigans that practically begs you not to overthink any of it. Sometimes we get character interviews as per a mockumentary, sometimes we don’t. The continuity and internal logic gets shaky at times, all of which falls perfectly in line with the movie within this movie. Good-natured fun is certainly had at the expense of the faith-based industry. Margaret Cho’s appearance as a ChristFlix executive running down the rules of Christian films is every bit the bullseye of the horror rules in Scream, and the big Christian yacht rock concert (pay attention to those lyrics!) is subtle perfection. But it’s the continued success of the Christian entertainment industry that makes it ripe for satire. And while Faith Ba$ed uses the setting to great advantage, its knives are never out for the believers themselves. Because you know what else Barnett’s script gives us? A church community that is welcoming to all, one where people missing something in their lives can and do find real fulfillment. And it gives us plenty of laughs, memorable quotes and overall nuttiness at a time when we could use it. Oh, the outrage. #GeorgeWolf #HopeMadden

★★★★ Written and directed by #PaulWright Starring #LeahBaskaran Short Film Review by Jack Bottomley I continue to be impressed by the vision of independent film and filmmakers. These grounds really are fertile with imagination and cinematic power, and seeing so many films continually cast a spell on you, makes you excited for the big screen future to come, as these artists and creators move on to bigger work down the line. AfterLife is an incredibly difficult short to describe because on one hand the most basic of synopsis does not really reflect how interesting the short is, and on the other hand to go into too much detail would be futile as this is a film meant to provoke thought and which welcomes differing interpretation. Originally made for the purposes of accompanying a live music performance of a score by #JayCapperauled and commissioned by #LewisBanks, which was inspired by #DavidEagleman’s book ‘Sum: Forty tales from the after lives’, AfterLife’s journey to film is intriguing. Writer/director #PaulWright was initially mistaken for someone else of the same name when hired but his visual reflection of this music impressed so much he remained on board. The production did make it to stage too (with some level of praise) but this short is a re-edited and re-scored version of that vision, made to play on the festival circuit and vision is very much the word here. I mention this film’s interesting journey to the screen because it adds further layers to what is already a thought inducing piece of work. Separated into segments, the film begins with a young woman called Alice (#LeahBaskaran), in the woods confronted with a difficult choice of two doors, her decision takes her on a meditative, otherworldly and dark journey beyond the parameters of life, though inspired by it. Conjuring up a Lynchian harrowing nature at points, next to a Kubrickian ambition, AfterLife is a very engaging viewing, that doubtless brings to screen the ideas of the written source material that acted as the inspiration for it coming into being. Wright’s VFX background experience stands tall in a film that is visually spellbinding at points, using the budget to create an involving ocular journey, inspired by the unknown nature of what lies beyond the world of the living. Absurd imagery meets some ruminative images of conception and creation, with dashes of nightmarish devastation. The film’s very best segment is perhaps the dark figure-strewn “Deja-Vu” chapter, which at points evokes the kind of psychological imagery that preyed on the corridors of Rodney Ascher’s compelling horror-infused sleep paralysis documentary The Nightmare. In fact, throughout the entire work, you already have a haunting yet appealing score by Wright, which adds edges of dark atmosphere and matches superbly with the sometimes shadowy, sometimes glowing and sometimes transportive cinematography by #JamesKenendy. This truly is a work of aesthetic power, some sequences do not strike you as strongly as others and not everyone will appreciate the withdrawn nature of the story being told. It is very much an open book of a film and we will not all be on the same page. However, Leah Baskaran offers an engaging performance that is less about the spoken word (practically no dialogue populates the film), so much as physically answering what is going on around her, and the facial and emotional responses to her own life and past, as well as this unforeseen future. AfterLife is a film that arose from music-driven art and it shows, for this short is a wild marriage of audio-visual direction, which creates something to think on. Your understanding of the the film, its identity or its ideas may well depend on your own beliefs but whatever the case, from the doorway jumping fragmented structure, to the kaleidoscopic final images, this is certainly one that maintains your attention for its 15+ minute duration and which leaves you with much to digest afterwards. #JackBottomley

★★★★★ Written & Directed by: #JonnyBryan Starring: #AdamHoughton #SteveHodgetts #DeanKilbey Short Film Review by: #ChrisBuick Meet Danny Parker (Houghton) and his partner in crime Tommy (Hodgetts), two wannabe tough guys looking to make their mark on London’s criminal underworld. With their sharp suits, tough talk and criminal ingenuity, these are two geezers you really don’t want to be messing with. Well, that’s what they think. Unfortunately for Danny and Tommy, the Kray twins they are not, and probably never will be. Their suits don’t seem to hang quite right, their tough talk is instead just severely misquoted clichés from watching too many gangster movies and as for being criminal masterminds, trawling the weekend tabloids for “inspiration” isn’t exactly yielding many results. Well, except maybe fifty quid and whatever they can get from their five cannabis plants. Writer and director Jonny Bryan can stand up and take a bow because as far as debuts go, Next in Line is a near-perfect triumph. Opting to deliver a project through a mockumentary style can be a daunting prospect, especially considering the long shadow cast by such masterpieces as The Office or Spinal Tap, but it is an inspired decision here. It’s not just funny, it’s very funny and it manages to maintain its momentum of humour easily from start to finish and the quality of the jokes are such that even on the second, third or even tenth viewing, there are some great moments that are always going to get you. “Experience isn’t essential, but it is required” But Bryan’s writing talent doesn’t simply limit itself to comedy, there is a clear degree of thought, resourcefulness and care in it that not only sees seemingly innocuous plot points and side-gags come back for an even bigger impact later on, but also allows the film a wonderful sense of depth and scale despite its reportedly very modest production. With essentially just a two-man crew and a tight budget, through clever use of location, script and his two brilliant actors, Bryan still makes sure the doors of Danny and Tommy’s London are opened wide to us, showing that it is indeed quality, not quantity, that really matters. Arguably however, the mockumentary genre is one that lives or dies on its character subjects. The aforementioned classics are such examples of the grandiose personae that have defined it. Without a David Brent or a Nigel Tufnel, mockumentaries can perhaps only go so far. Luckily, although they may never be quite as iconic, Danny and Tommy are relentlessly entertaining. Houghton and Hodgetts are simply naturals in these roles, it’s evident in each little side glance or wink to the camera, their delivery and comic timing so on point not to mention a back-and-forth you could sit and watch for hours. Just as we all know a Brent, we’ve all met a Danny and a Tommy, and it speaks volumes to these two performances and the writing that the film is able to strike the right balance between realism and ridiculousness. With its mockumentary approach, highly capable double act and razor-sharp writing, Next in Line is a complete harmonisation of all its elements and while its inept duo might not have much speak of in terms of success, this #shortfilm definitely has it in spades. #ChrisBuick Watch the trailer here:

★★★★ Directed by: #CathalNally Written by: #LesMartin and #PaulMurphy Starring: #LesMartin, #DeclanMills, #JennyLeeMasterson, #AlanSherlock Indie Film Review by Taryll Baker It’s very rare that self-financed feature films turn out as well as Cathal Nally’s Be Good or Be Gone. What makes this even more impressive is that it’s Nally’s feature debut after helming a handful of successful shorts. Be Good or Be Gone follows Ste (Les Martin) and Weed (Declan Mills), two down-on-their-luck criminals who are granted temporary release from prison. Taking place over four days, the film documents the struggle and temptation for a better life, and the repercussions of a time gone by. Ste wants to reconnect with his long-term partner Dee (Jenny-Lee Masterson) and create a stable future for their daughter. Weed longs to rule the world of high fashion but must learn to let go of his heroin addiction, and navigate a rocky path back to sobriety in order to attain his goal. With two very strong, nuanced performances, Martin and Mills lead with an undeniable capability to connect with and control the narrative. From the outset, it’s easy to feel strongly attached to the duo, through all their ups and downs. Given the nature of the story, it’s not the most pleasant of films to watch, but somehow they find the humanity inside these characters, bringing out their charming yet damaged personalities. This is most likely due to Martin also having co-written the screenplay alongside Paul Murphy, and I must commend their commitment to making these characters feel real. At times it felt like I was watching a Danny Boyle film, such as Trainspotting, with its grittiness, dark humour and complex characters. The rest of the cast, notably Jenny-Lee Masterson and Alan Sherlock, remain within the boundaries set by the aforementioned leads, and though I didn’t connect with any of them as easily, I appreciate their genuine performances for their respective characters. Each piece of this film feels expertly realised from the ground up, including the music and visual aesthetic. Supporting the tight script and shining performances is a moody score by two-time Emmy nominated Joseph Conlan. Ranging from high tension, to sobering lows, his score is present only when required as a reinforcement of the action on-screen. When paired with the suitably bleak cinematography by Stephen C. Walsh (with colouring and VFX thanks to John Talbot), a volatile yet delicate atmosphere is birthed for the whole picture. With production taking place over three years, the cast and crew have clearly had time to dig deep into the core of Be Good or Be Gone. It may feature some unsettling themes, but above all else it’s a film about love and redemption. Cathal Nally’s feature debut is, after many years of hard work, one to be proud of. #TaryllBaker Watch the Movie Trailer - https://vimeo.com/347323380

★★ Directed by #MichaelShowalter Written by #AaronAbrams,#BrendanGall,#MartinGero Starring #IssaRae, #KumailNanjiani, #PaulSparks Film Review by Lawrence Bennie Michael Showalter’s The Lovebirds has the distinction of one of the quickest to video releases ever. Originally scheduled for theatrical release on 3rd April 2020, Paramount rethought its strategy in the light of the COVID-19 pandemic and, instead, the film’s rights have been sold to Netflix. However, this may be a blessing in disguise for this hit-and-miss crime caper. Aaron Abrams, Brendan Gall and Martin Gero's script is largely short on big laughs for a theatrical feature. Jibran (Kumail Nanjiani) and Leilani (Issa Rae) have been together four years but things appear to have run their course in their relationship. Just as they decide to call things a day, the hapless pair find themselves right in the middle of a bizarre murder mystery. Fearing they’ll be seen as the prime suspects, Jibran and Leilani go on the run to clear their name and catch the real killer. The Lovebirds is a screwball comedy for the Netflix generation. There’s the farcical situations, slapstick and quick-fire repartee. Moreover, we have a battle of the sexes, with a stubborn central female character and the masculinity-challenged male. Yet, despite the potential on paper, there is very little spark. Nanjiani and Rae are likeable but lack believability as a couple and, crucially, we just don’t buy into much of the comedy around their relationship. Unfortunately, the best (and most daring) gag in the movie comes early. The rest is mediocre. Some amusing moments pop up here and there but a lot of the material feels like it’s straight from a first draft. A rewrite or two more clearly would have been a good move. Abrams, Gall and Gero give a fresh spin on the rom-com formula, with a pair of fresh faces in Nanjiani and Rae. The duo have a fair crack at things but are short-changed with the material and, together, they don’t quite gel and are left to carry the comedy themselves. In hindsight, with its two leads lacking chemistry, the film cries out for a wider scope of comic characters. Everyone else is played straight and Jibran and Leilani aren’t funny enough as a couple to consistently hit hilarity. At a lean 90 minutes, director Showalter keeps things zipping along and the movie doesn’t outstay its welcome. What we’re left with though is a mediocre comedy that is entertaining enough, though you can’t help but feel this could have been better. #LawrenceBennie

★★★★★ Written & Directed by: #FarbodKhoshtinat Starring: #TraceTalbot, #AsaGermann, #JordanKyle Short Film Review by: Taryll Baker In a time where the LGBTQ+ community is just beginning to thrive, it’s good to sometimes take a step back and explore some of the not so pleasant moments that one could experience. Farbod Khoshtinat’s short film Two Little Boys spends 12 minutes showing the affects of a troubled and somewhat sheltered upbringing. Parents that perhaps don’t fully understand love and how it can bring people together in the most wonderful of ways. They may believe they’re protecting their child, but they’re actually pushing that individual into a dark and lonely corner. Khoshtinat’s film doesn’t take any sides, it just simply examines what could be (and I presume is) happening behind closed doors. Two Little Boys opens with some archival footage of Josh (Trace Talbot) and Tyler (Asa Germann) as kids, playing together and minding their own business. It then cuts forward in time to show Josh, sitting alone in a changing room. He’s clutching onto a letter addressed to Tyler, who enters the scene aggressively moments later. As the film plays out we start to learn that things have drastically changed since they were kids, and clearly they’ve drifted apart quite significantly. With two strong performances and suitably gloomy cinematography, Two Little Boys begins to excel beyond any short film I’ve seen this year. Unraveling the relationship between the two boys, the letter is read to Tyler and it becomes heated. Unsettling imagery and a droning score (by Farbod and Artem Semenov) enhances the action that unfolds, and just as the climatic moment hits, the reason for the behaviour is revealed in a chilling final scene. I admire anyone who tackles this subject, especially when it’s executed in such a way as this. Luckily, I haven’t struggled in figuring out who I am, not like this. It’s always good to see filmmakers present an audience with something to think about, if they weren’t already before. Farbod Khoshtinat explores love without restraining from the grittiness and pain, and leaves you with exactly that: something to think about. I must return to the performances by Talbot and Germann, who deserve incredible amounts of praise for their acting in this film. Both present complicated and contused portrayals of two boys who know deep down who they’re meant to be. With tightly focused direction from Khoshtinat, Two Little Boys is a glowing showcase of young talent, and a fantastic yet distressing film that should stick in the viewer’s mind for some time. Watch the trailer for Two Little Boys below.

★★★★ Stars Directed by: #BrunoDecc Written by: #BrunoDecc, #IngvildSyntropia Starring: #IngvildSyntropia, #GillerVandeweerd, #Shima Film Review by: Alicia Moore Out-of-Place Artefact introduces an elaborate plot following the steps of a modern day viking assassin named Aurora (Ingvild Syntropia.) This production has been stated to be produced as a web series in its entirety, but this review will focus upon ‘Act 1’ – viewing it as a short film. The writing, and direction of such, is incredibly creative and unique. Each scene is brilliantly stitched together in a somewhat unconventional way, it’s thoroughly enjoyable to follow along with. The audience is required to give their full attention to the happenings within the film and it does not fail in providing attractive elements to hold said attention. It is of upmost importance that a script matching this style of film is presented expertly to ensure that the audience is able to piece together the unfolding story; writers Bruno Decc (who is also the director of the film) and Ingvild Syntropia planned such a spectacular plot that only a few solid pieces of dialogue throughout can confirm the motives of each character and the main plot itself. As well as the skilled writing and directing abilities, the editing of this film stood out to me more than any other aspect. I immediately fell in love with the colouring choices specifically. Firstly, in reference to the phrase ‘each scene is [brilliantly] stitched together,’ the beautiful landscape shots are joined like puzzle pieces. I take into consideration the fact that some viewers may find it unappealing to watch a film with so many cuts to, so far, unexplained scenes, paired with very little dialogue, but this film is not presented messily. It is not difficult to follow the plot and what is occurring within each scene, even if the scene only appears in a short burst in the middle of bigger buildups. The pace of a film is kept with exquisite editing, and this film’s pace in particular was enhanced by its editing. The specific way in which scenes are shown to the audience creates a prominent atmosphere that grasps hands with the atmosphere that the script creates in itself. After watching, I greatly admire editor Paulo Leblon. Linking to this, the colour grading, that has been carried out by Marcelo Rodriguez, is magnificent. The colour grading aspect of the film also pairs effectively with the other elements involved to create the intended ambience of the final product. Each scene possesses an underlying, earthly darkness that drags viewers into that world from start to finish. Even as I pinpoint those descriptive words, it is obvious that they perfectly match the intense plot line. The soundtrack used for this film also struck me as soon as I pressed play. With tracks performed by Necessary Animals, the music that is used presses further for a deep and powerful setting throughout. The reoccurring sounds of an intense drum contrasting with a more high pitched piano being played simultaneously in the most prominently identifiable track, the uneasiness of the situations that Aurora finds herself in is strengthened greatly. Out-of-Place Artefact is a stunning example of how every component within a film should link to one another and share the same energy. Not only was I impressed by the core writing of this film, but I was also impressed by the freeing sense of collaboration flowing through all known factors of the filmmaking process. I do hope, in the future, to see more of what this cast and crew have to offer to the life of Aurora.

★★★★ Directed by: #JonathanHarrow and #JacobMelling Written by: Jacob Melling Starring: #AlexandraRoseWilson and Jacob Melling Film Review by: Bruna Foletto Lucas U + I is a short film written by Jacob Melling who also co-directed it alongside Jonathan Harrow. It shows us snippets of Yannis and Imogen’s relationship from mundane tasks to heartfelt moments. Things, however, are not perfect, and from the beginning we can tell something is amiss. In Harrow and Melling’s short we have a simple story that places its bets on building the relationship between Yannis and Imogen rather than concentrating on exaggerated storyline. It is true that the film subverts our expectations at the end, but the feeling of the film remains the same – we don’t care about what is happening as much as we care to whom it is happening. From the starting point there seems to be a hierarchy in the sense of which character has the most knowledge of what is happening and, in order to resolve this issue, not only for the characters but also for the audience, the screenplay chooses to focus on looks and gestures rather than dialogue. Working together with the screenplay is the cinematography which respects the boundaries of the emotions – there is no need for extravagant camera movements, and Jonathan Harrow, who is also the director of photography, understands that, using the cinematography to complement rather than hijack the story. In order to tell the story efficiently there needed to be a chemistry between the two characters, especially since the short plays with tropes of “good relationship” – there is the obligatory scene in the bathroom when one is brushing their teeth and the other is on the toilet, but there are also genuine scenes in which we understand their relationship is much more than just banter and joking around. As much as those tropes seem to build on the cliché every relationship must have, it works, but it works mainly because of the chemistry between Alexandra Rose Wilson, who plays Imogen, and Jacob Melling, who plays Yannis. Both Wilson and Melling are believable as Yannis and Imogen and their chemistry fits well within the narrative. Jonathan Harrow and Jacob Melling have created a very enjoyable and sensitive short film. Though we may encounter a fairly big twist in the story, as I mentioned before, our identification is with the characters and their plights, even if we don’t understand them right away. There is a line in the film that says “moments is nothing more than a gift” and I think this is the overall feeling the short aims to convey - Imogen wants to hold on to those gifts Yannis has given her. #BrunaFolettoLucas Watch the Movie Trailer