★★★★ Directed by: #MelissaSkirboll Written by: #PennyJackson Starring: #KathrynKates, #DinaManganaris, #LiamMitchell Film Review by: Darren Tilby “Greetings from Sarajevo” comes the vengeance-filled line from steely-eyed Hana (Dina Manganaris), a young Bosnian woman, as she faces down – gun in hand – Stanislav (Liam Mitchell), the man responsible for raping her family and destroying their home. Hana has come to America for this very reason, after Sofia (Kathryn Kates), a relative(?) and fellow victim, spots Stanislav sat at a bus stop in Times Square. Now a trained assassin, Hana has come for revenge. There’s a confidence that permeates this movie: it’s in the narrative structure; it’s in the character writing; it’s in the direction. But nowhere is it more apparent than in Manganaris’ unfaltering depiction of revenge incarnate—Hana. The way she carries herself rings with echoes of Jodie Comer’s outstanding portrayal of Villanelle (Killing Eve). There’s an elegant composure that belies her penchant for violence, but, hidden not very deep below the surface, is the cold haughtiness of a contract killer. Where Manganaris is calm and collected, Kates (as Sofia) is brimming with hatred: the memories of that day are still fresh; the embitterment it caused is still strong; the yearning for revenge still lies heavy and unsated within her, and she isn’t afraid to show it. Fittingly, there’s a distinctly feminal undercurrent running through the movie. The two women are, quite rightly so, at the centre of this 10-minute long short film, which delves into peoples’ (in)ability to cope with, and process, trauma; in this case, rape. Driven by excellent, equanimous direction (Melissa Skirboll), and superb writing (by Penny Jackson) – but which does falter slightly towards the end of the film – Greetings from Sarajevo resonates with feminal energy and delivers an unapologetically feminine perspective. And it’s all the better for it. The filmmaking prowess continues with the film’s superlative cinematography (Noah Friedman), which introduces our central characters with a neat finesse rarely seen. And, while it’s simple in its composition, this is also what makes it work so well. There’s no excessive glitz and glam here; no needless attempt to punch above its weight, just solid, well-constructed cinematography and narrative-lead/supporting camerawork. My only real gripe with the movie is the ending. It’s hard to get into without venturing into spoiler territory, but it essentially leaves in ambiguity, which is fine. I prefer it when a movie leaves me to dwell on what may or may not have happened. But it’s the fact that it doesn’t fully explain or justify the ambiguity. We’re kind of just left wondering: ‘Well, why?’ Greetings from Sarajevo is a solid piece of filmmaking; a terrific thriller with a gripping premise and captivating lead performance from Dina Manganaris - in only her second film role, I might add! But the true essence of the movie lies with Melissa Skirboll’s direction and Penny Jackson’s writing. Both of which work in absolute harmony, creating a film which, like its main character, radiates with an assertive self-assurance.

★★★ Directed by: #DanielButler Written by: #DanielButler Starring: #DanielButler Film Review by: Lawrence Bennie I’m often struck by how 21st century technology is increasingly able to place almost all society's wants and needs at our fingertips. With the invention of apps, virtual libraries, archives and cutting-edge technology have been delivered to the palm of our hands, downloadable in seconds. Apps to help you research into your family history, the Sega classics of yesteryear and endless others are waiting in the App Store, ready for use straight from your pocket for a couple of quid. What’s next? A program that scans and reads your cat’s body language to show you what exactly he or she is thinking, feeling and learning? kosmOS begins with such a premise – that adapted software can read and translate the physical actions of a cat into coherent, audible English. Intrigued to find out exactly what his beloved cat (Kosmos, of course) is thinking, ingenious host Dan introduces us to an online program that converts live camera imports to sound files. Without hesitation, Dan wires things up so that the cat’s facial and body movements are soon deciphered. Remarkably, Dan’s noble efforts pay off. With everything in place, Dan begins talking to the cat and the system responds for Kosmos. However, when changes are made, things then become hairy. Admittedly, one comes into kosmOS with the lines somewhat blurred between reality and fantasy. As Dan dabbles into the workings of real-life web platform TensorFlow, reads up on cat intelligence in Wikipedia and installs his collection of cameras all over his house, we can’t help but feel that we’re actually witnessing animal translation technology creeping into the domestic world. Sure enough, the thinly veiled illusion is revealed as we are introduced to Kosmos 2.0. Soon, the firewalled feline offers his opinions on Dan’s guitar-playing and even his own existential thinking (“What do I want? What do I need?’). From here, it’s sci-fi all the way as the intrepid Dan hooks Kosmos up with AI and directly communicates with him in virtual reality. The nutty professor then pushes Kosmos further with the philosophical pussy becoming increasingly intelligent. Sound familiar? We’ve gone from mockumentary to The Lawnmower Cat but doesn't do justice to poor Kosmos. He doesn’t mow lawns and, in fact, he’s no longer just a cat. “It’s almost like you’re becoming a person”, Dan observes. Unsurprisingly, as in The Lawnmower Man, it isn’t soon before Kosmos becomes fully absorbed into ethernet eternity, and this is where Butler really does dazzle. We become lost in a marvellous montage of special effects and virtual trickery, whilst an ominous, more cinematic score sweeps the soundtrack. We’ve suddenly gone to something more akin to The Fly. The shots and tone get darker and darker. In a surprisingly eerie scene, the hapless Daniel searches for Kosmos in the dark, the sound of his ghostly purrs the only trace of him left in the physical world. In kosmOS, the scientific fantasies of Dan do indeed come to life. But his work has created a duality of two concurrent truths; this perfect system wants a harmony of forward and reverse reactions, occurring equally. Ultimately, it’s not what he, or Kosmos, want after all. Home turns out preferable to a state of equilibrium. Certainly smarter, and more sophisticated, than it perhaps first appears, kosmOS is certainly an oddity. Slow-paced in its near 32 minutes, there’s a worry that the technical brilliance of Butler, which emerges later on in the film, might be overlooked. The end product might not be a must-see piece but Butler’s talents in on-screen computer wizardry certainly shouldn’t go unnoticed. #LawrenceBennie

★★★ Directed by: #SatyajitDas Written by: Satyajit Das and #KoushikBit Starring: #Akash, #SayantiChattoraj and #BiswajitGhosh Film review by: Brian Penn Paintings in the Dark is an evocative title for this visually striking film by Satyajit Das. It tells the story of Emmanuel (Akash), a blind boy who finds comfort and expression in an uncanny ability to paint. The story begins with Emmanuel explaining his gift to gallery owner Samuel (Biswajit Ghosh). Periodic flashbacks provide the back story to a harsh upbringing. A cold and insensitive father abandons Emmanuel and his mother who seeks work to ensure their survival. His mother subsequently goes missing and resolves to find her in the city. Alone and vulnerable Emmanuel finds an ally in Jerel (Sayanti Chattoraj) but will he find a happy ending? The film is ultimately saved by some beautifully captured shots and a nicely understated soundtrack providing a haunting glow. This compensates for captioned subtitles that are often poorly constructed. Grammatical inaccuracies make the narrative difficult to follow with dialogue that feels stilted and awkward. The producers have seemingly opted for a literal translation and not the colloquial equivalent thus denying the film a truly authentic voice. The editing is also very rough in places which takes the shine off some carefully framed visuals. Whilst these issues constantly nag the film has sufficient quality to bring it over the line. A blind kid who can see light in a world of darkness is a miraculous contraction in life that reminds us what can be achieved against all the odds. We might even call it life-affirming or heart-warming; either way, it becomes a rewarding experience but the viewer will need to work a bit harder to find the payoff. #BrianPenn

★★★★★ Directed by: #DiegoFandos Written by: #DiegoFandos Starring: #BeatrizAbrisqueta, #DahilaAyoub, #IndianaCaudillo, #MarcCram, #MaelikaEberhard, #SaraLiern, #JohnMalafronte, #AntoineSottiaux Film Review by: Lawrence Bennie “Every morning, a new day is born. No two mornings are the same”. From the mind of Spanish writer and filmmaker Diego Fandos comes a foray into the unexpected and it would be hard to find a more fitting tagline. A 10-minute slice of unnerving anticipation, Aurora is a curious amalgam – simple, beautifully shot yet, undeniably, unsettling. The action is composed around a single shot. A small, empty boat sways gently in a quiet seaside bay, parallel to a rocky peninsula creeping out into the water. Beyond, lies a vast, empty ocean, a pinkish sky signalling the dawn of a new day. Soon, this tranquil terrain is interrupted by the arrival of a coachload of tourists who chatter nonchalantly as the morning aurora festers in the background. Throughout, we see none of the cluster of quirky travellers. The nearest we get is a glance of the top of the coach as it pulls up by the idyllic seaside spot. Instead, we have intriguing snippets of conversation from various pairs - two American men, one dismayed at stopping en route to some historical ruins, the other distracted by a young woman on board, a French couple noticing the sunrise in the rosy sky before we hear two Spanish women in dilemma over their friend’s fraught relationship. There is one exception in the film; the silhouette of the coach driver as he walks out onto the jetty, breaking the snapshot of Fandos’ landscape. One of the Americans notices him. “That guy is weird”, says his friend, who oddly chides the driver for simply reading a book whilst the party waited at a gas station. As someone with a passion for sunscapes, along with a love for looking at open water, the compositional shot of Aurora is a pure delight and the camera never leaves the beauty of this continual, establishing shot. And yet, strikingly, Fandos does not have to do anything with the camera to convey an unshakeable air of ambiguity and enigma. The deserted boat rocks rhythmically in the bay. Mysterious electrical charges and rumblings simmer in the distance as the driver, the one character who appears truly present in this picturesque backdrop, gazes into the distance. Despite the mundane setting, the sense of uncertainty is there from the very beginning. Something is afoot. This is a film where different realities converge and then contrast. Fandos presents us with a singular central image, a world of near-silent stillness which suddenly becomes inhabited with a stream of sounds; planes soaring in the sky above, the breaking and stopping of the coach, the different languages of the passengers and the chirping arrival of a text message on a phone. Finally, the director unleashes his big jolt and things take a different turn. We’re suddenly in a reality that looks the same but is harshly different to the one we entered and have inhabited so far. Indeed, the scene around which Fandos’ film is built is telling; the fixed certainty of a new day and, with it, the rising of the sun, nature’s greatest spectacle. Ironically, what unfolds is something profoundly alien against this familiar environment and the universal imagery that’s been delivered to us on the screen. Simple in its premise but devastating in its denouement, Aurora is a viewing experience that, once seen, is hard to forget. As with the best films, Fandos achieves and says so much with so little and one walks away with a lingering unease over the conflict that has immersed us; the sight of the world’s natural beauty juxtaposed with a human act too horrific to reconcile. #LawrenceBennie

★★★★ Directed by: Kyle & Liam Bashford Written by: Natasha Rose Mills Starring: Natasha Rose Mills, Tom Benedict Knight, Jill Halfpenny Film Review by Christopher Hart Although there is only one face in the short film Colourblind, there are many layers to the story. Amber (Natasha Rose Mills) is a young girl who sees the best in people, yet she has chosen a brute, Theo (Tom Benedict Knight), for a boyfriend. Colourblind is a story about domestic abuse and the tragic circumstances that come about when one confronts it. Amber tries to leave Theo, listening to the advice of her mother (Jill Halfpenny), but this leads to an unexpected situation. Mills writes beautifully, and the narrative is clearly personal. She does not waste a line, as the audience learns about her and Theo very quickly and intimately through the spoken dialogue which continues throughout the film, operating as a voice over as we follow Amber as she walks through her home and memories. This narration was a brilliant idea, but perhaps it is difficult when watching to not get distracted by the acting of Mills, who shines in her role. To be the only one on screen and really make an impact on the viewer shows that Mills is very multifaceted in her talents. This was done particularly well when the laughter of the girls’ conversation rolled comfortably into the laughter of the bar. The soft piano in the background was not too loud, but present enough to create a solemn mood for Amber’s strife. I really enjoyed the editing, and it seemed like it was in one long take, which appears to be a popular move in filmmaking today (think Iñárritu’s Birdman and Mendes’ 1917). The Bashford Brothers have been making shorts for over a decade now, and Colourblind really shows their relationship with film. They give it the film space and time, understanding the sensitive subject matter. The brothers are precise and delicate with their direction, each turn, look and movement by Amber and the camera are patient, giving us viewers time to take in such an unwanted reality for Amber. We do not know Amber, yet we all feel for her – she is a victim of domestic abuse, which is unacceptable in every way. We are not able to help her, and she cannot hear us when we shout at the screen for her to leave Theo and his twisted behaviour. Amber is colour-blind, and unfortunately, Theo’s red flags just look like regular flags to her. #ChristopherHart

★★★★ Directed by #LikarionWainaina Written by #WanjeriGakuru #SilasMiami Starring #StycieWawero #MarrianneNungo #Nyaware Ndambia Film Review by George Wolf At the risk of limb outing, I'm guessing a little film that might restore your faith in human decency would not be unwelcome right now. Supa Modo may center on a young girl with a terminal illness, but it will warm your heart in the sweetest way, spinning its tale of escapist fantasy, cold reality and the simple joy of the movies. Young Jo (Stycie Waweru, wonderful) spends most of her days under the care of a Kenyan hospital, dreaming of flying like her favorite film superheroes. But after a distressing visit with the medical staff, Jo's mother Kathryn (Marrianne Nungo) decides her dying child should spend her remaining days in the comfort of home. Jo's sister Mwix (Nyawara Ndambia) encourages Jo's superhero fantasies, and her neighbors unite to create situations where Jo can flash super powers and right wrongs in the village. It's a lovely "Make a Wish" scenario that is not uncommon, but director Likarion Wainaina and a team of writers deepen the humanity through simple contrast. Kathryn does not support the indulgence of Jo's imagination, clashing with Mwix and the villagers over what is best for her child. This push and pull keeps the film grounded when overt sentimentality offers a road more easily traveled. And, naturally, good conflict makes a more satisfying resolution. Wainaina plays his hand skillfully, turning what could have been a lazy and cliched final shot into a moment full of the happiest tears. #GeorgeWolf

★★★★ Directed by #SasieSealy Written by #SasieSealy Starring #TsaiChin #HsiaoYuanHa Film Review by Hope Madden It’s hard to watch Lucky Grandma without giving at least a passing thought to Lulu Wang’s 2019 gem The Farewell. This story could not be more different, honestly, but at the heart of both movies is the undeniable force of a nai nai. In writer/director Sasie Sealy’s tale, Tsai Chin portrays Nai Nai Wong as a dead-eyed hoot. Cigarette dangling, disgusted expression, Nai Nai doesn’t play. Her dismissive stare is priceless. Her confrontational giggle even better. One routine trip to see her fortune teller/doctor/friend (Yan Xi) convinces her that her luck is changing. She boards a bus, hits a casino and lets it roll. But luck is not always what you hoped for and the next thing Nai Nai knows, some homely gangsters are after her. What makes this film the savvy, funny adventure it is results from Sealy’s manipulation of the familiar. The basic story follows many an Underdog Runs Afoul of the Mob stories (Hard 8, Jackie Brown, Millions, True Romance, etc.) The difference here, obviously, is the underdog. Like the movie on the whole, the elderly and beloved old grandmother at the center of this mess is simultaneously familiar and alien. Her aches, pains, poverty and the clear patterns of her behaviors suggest something authentic and recognizable. She’s just not a movie grandma—not like any in the movies we’re used to. Her will is as strong as steel, whether her body keeps up or not. Sealy’s careful not to mock Nai Nai Wong (a good thing, as she would clearly kick a person’s ass). But Chin makes certain this character is not only formidable, but hilarious. She’s aided by her odd couple sidekick Big Pong (Hsiao-Yuan Ha), a gentle giant of a bodyguard hired in the savviest, old-ladiest of ways. (You know who can spot a bargain? Grandma can.) Michael Tow also lends a fascinating, unseemly quality to his scenes as creepy gangster henchman Little Handsome. The emotional grounding for the film never feels forced, which allows the Lucky Grandma to run its course without the predictable sentimentality that crushes most “look how funny this old person is” films. It’s there—the weighty pull of family over self-reliance, of dependence over loneliness—but, like everything else in the film, it respects the character Chin has so meticulously developed. #HopeMadden

GRIMMFEST TV, offers movie entertainment for free while the world is in lockdown. A new online TV channel dedicated to horror films of all types, through which viewers can access exciting award-winning features and shorts from the Grimmfest archives. GRIMMFEST TV is available at: Grimmfest.com/TV. New titles are being added every week and this week is no exception. A new feature film and short hit GRIMMFEST TV at Midday, Friday 22nd May 2020. Grimmfest TV is excited to add Grimmfest 2018 selected short film, INSTINCT. This Psychosexual thriller comes from upcoming Brazilian genre talent Maria Alice Arida. The channel will also add feature film, THE HAUNTED HOUSE ON KIRBY ROAD from director Stu Stone. This supernatural thriller follows a group of twenty-somethings, who set out to discover if an urban myth of a haunted house holds any truth. Festival Director Simeon Halligan said “If, like us, you love horror movies, then Grimmfest TV is for you. We have hand-picked a fine selection of shorts and features from the Grimmfest archive and given them a new online platform where everyone can enjoy them for free while in lockdown. There’s some really cool award- winning indie horror and fantasy films available right now and we urge you to check them out.” GRIMMFEST TV launched with a fine selection of over 25 short films and 7 features including Grimmfest 2018 best short award winner, WE SUMMONED A DEMON, Grimmfest 2014 hit, WHITE SETTLERS (Staring Pollyanna McIntosh from The Walking Dead), and the suitably virus themed LA CONTAGION. The most popular title on the channel so far is the half-hour retro creature feature, LOOM. All are still available to watch for free right now.

★★ Written and Directed by: #JohnDoherty Starring: #JohnDoherty #StuartForbes #ShawnHarsh #ThomasHarvey Short Film Review by #ChrisBuick With their father having already spent an indeterminate amount of time on life support and the medical bills still coming in thick and fast, two brothers decide that it’s time to put an end to their old man’s suffering. Or at least that’s what they tell themselves in an attempt to ease their conscience as well as their wallets. They enlist the help of an unhinged dentist with a complete absence of ethics who offers to discreetly help their father pass on for a cost, but of course things are never that simple. Based on its simple and morally ambiguous concept alone, there is an obvious well of potential in #shortfilm Assistance that could have really been something with some proper care. Yet while every aspect of the film does manage to achieve a somewhat okay standard, a somewhat okay film is sadly all we get, with the sum of its parts unfortunately unable to make a greater whole. Billed as a dark comedy, the film does indeed deliver with its macabre sensibilities, but any kind of humour worth mentioning seems to have been forgotten about, with the only noticeable attempt at a joke concerning easy target Maroon 5 landing with a clang. Not only do the laughs not translate, but any kind of profound statements or social commentary the film tries to make on its long-debated subject matter is either too short, too vague or simply not clever enough to leave you with any kind of afterthought for discussion. The other aspect of the project that also underserves the film, arguably the most vital but certainly the most obvious, is the performances. Doherty as Brother One (starring as well as writing and directing) actually isn’t half bad, seemingly having a touch more conviction in his own words than the others and Forbes (Brother Two) has some good moments once he gets into his stride and manages to shakily carry the films moral compass. But it’s all feels a bit hit or miss, and in the case of the supporting characters, definitely miss. What’s most frustrating in fact is that these unconvincing turns from the bit players actually prevent the film's final scenes from delivering the final payoff its hoping for, bar one inspired individual giving his all. What does stand out positively here are two things; look and sound. Starting soft with some gentle interludes between scenes, the music eventually picks up speed, getting you somewhat engaged and it’s a shame it comes too close to the end. There are also some slick swipes, cuts and moving shots that not only give the film some much needed edge and pace, but also manage to match the beat of the accompanying music in a way that feels almost Edgar Wright-esque, which is certainly something worth aspiring too. Doherty clearly has some good ideas though and with some more experience that promise could become something special. But while it’s a valiant attempt at tackling a big issue, it feels like all aspects of Assistance could do with being tightened up a notch. #ChrisBuick Watch the trailer here:

★★★★★ Directed by: #ChrisBrake Written by: #ChrisBrake Starring: #ColinFord, #GeorgieFlores, #WilliamJohnBanks, #IanCuson, #NoahLevia, #JenniferJonesNesbit Short Film Review by: Thomas Jay The crowdfunded Short Film Cactus Boy (2019) is Chris Brake’s second outing as Writer/Director after his first with the 2017 short Scraps. Cactus Boy tells the story of now adult Winston Pickle (Colin Ford) as he decides it’s now time to separate with his imaginary friend from childhood, the entirely practical ‘Cactus Man’ (William John Banks). Intercutting between scenes from the childhood of Winston and his now adult life as an employee of a garden centre, the film manages to give us a rather detailed and complex character study of an individual who‘s clearly had a difficult life up to the stage where we meet him in the present. Spending large portions of his childhood in a broken home with a mother (Jennifer Jones Nesbit) who’s relationship with her child is fractured to say the least, with the invention of Cactus Man being there to fill a gap in the boys’ life, perhaps the missing father figure as the man like Cactus is dependent on the care of Winston in the scenes set in the present. This Film is certainly something you have to rewatch and I’m glad I did so now writing this review as it certainly went up in my estimations. Winston has over the course of the story of his character, evidently suffered a great loss and as a result is struggling to shake his past, hence the presence of Cactus Man and his difficulty in letting go so the plant can be “Some place it can grow”. The arrival of Clem (Georgie Flores) shakes Winston’s world to the core and as the two manage to forge a meaningful connection over their mutual, anthropomorphic Cacti friends, our lead is finally surged into what is essentially growing up, as evidenced by the scene of his final game of Cowboys and Cacti. The cinematography adds to this slightly stranded atmosphere that both Winston and Clem share, it’s difficult to describe in both a Form sense and the more abstract emotional aspects, but I feel like an apt comparison to make is Steven Soderbergh and of all his films, Magic Mike. In both titles as a viewer you feel slightly adrift and afar from the world, almost like a documentary only lacking a present face (i.e. Louis Theroux) and no outright acknowledgment of the camera, you watch as the subject(s) just exist. It is an undoubtedly odd viewing experience but they tend to resonate rather well on both a personal and mass scale. The settings of Arizona only further contributes to this atmosphere, as in Soderbergh’s worlds of Magic Mike, Logan Lucky etc. Or in the setting of a documentary there’s usually some allure to that world and that’s the case here, to quote the creator of this, Chris Brake on his Kickstarter manifesto, “[That] I lived there for a crucial year of my own life, when I too was at a crossroads and it’s the state where I feel like I became an adult and from where the “Grown up me” returned to London”. Its a personal setting for the Writer/Director and that element is really palpable when watching, but I think best so, the largely unpopulated section of Arizona we see on screen really communicates the setting of a desert (further anchored by the ever present Cacti) and communicates thematically the isolation of Winston, hence the crowded closing shot that marks a new beginning for Ford’s character in this world. This ‘fable’ of a time at a crossroads was an outstanding watch and I believe sets Brake up for a promising career as a writer and/or Director with a unique style that blends Tim Burton and Guillermo Del Toro with his own personal touch. A great short film I’d highly recommend. Reviewed by: #TomJay

★★★★ Stars Directed by: #RyanMonolopolus Written by: #RyanMonolopolus, #HamidThompson Starring: #DerekRusso, #AngelieSimone, #JusticeLeak Film Review by: Alicia Moore 19 Covid Lane is a short film which focuses on the current pandemic and the lockdown experience. It is centred around three main characters – Bruce (Derek Russo,) Sarah (Angelie Simone) and Trevor (Justice Leak) – showcasing their struggles when trying to secure their safety. The film carries a distinctive style, mimicking that of a classic virus outbreak production. Matching its style, the characters involved are primarily shown to have the personalities one would expect from a classic; Bruce is prepared for anything, the one that no one listened to before the pandemic escalated, flaunting his tough exterior. Sarah, on the other hand, seems to feel trapped. To her, there is no hope and no escape. In contrast, Trevor appears levelheaded but still suffers with his own nightmares and worries. Trevor’s presence in the film strongly reminds me of Tom Cruise’s character in War of the Worlds if that helps to put his stance into a better perspective. Although this film can be compared to a classic style, the script takes necessary and brilliantly implanted twists to ensure a more modern approach to the plot. Writers Ryan Monolopolus and Hamid Thompson have created a flawless script, incorporating charismatic and relatable scenarios. For example, a reference is made to the insane period of time when our population decided that it would be useful to buy as much toilet paper and hand sanitiser as possible and it is presented in a wonderfully comedic way, as well as continuing to stay balanced with the dark atmosphere the film is supposed to convey in a cinematic sense. The enhancement of current fears are also an aspect of the script, taking simple tasks such as throwing away trash and escalating the situation to a higher level of paranoia. The film is beyond enjoyable to watch as it plays with different situations like the previously mentioned task and expanding upon them while still being topical and considerate. The script and its value is expertly presented by all three of the main actors involved. Each character’s personality can be accurately identified through their acting abilities, which adds a lot to the film itself. When nearing the end of the film, so much subtle characterisation has been included throughout that the audience can almost guess the actions that each character may choose to follow through with next, even though the film is only 15 minutes long. That is an incredible achievement for both the actors and writers. The cinematography is an extremely important element of every film, but even more so in films following a style like this one. The camera itself has the ability to create suspense and emphasise uneasiness within a scene. Director of photography, Blake Studwell, succeeded in this element. Chosen camera angles and camera panning shots contribute massively to the impactful scenes. It is clear that Studwell understands how a camera and the choices that are made for its placement can hold a lot of power in each scene. The more I ponder upon the cinematography aspect of this film, the more I grow to be fascinated by it. Music also plays a huge role in adding to the intensity of the atmosphere when required. Composer, Karl Anderson, made spectacular choices for the music involved in this film. Each track gives the appropriate emotion to the scenes where music is needed to almost overpower the scene it is used in. Once again, there is an underlying connection to the tracks of this film and soundtracks of classics; this feeds the audience’s nostalgia as the music can easily transport viewers back to when they had watched a classic earlier in life – what we are living through right now feels like a film itself, making this connection appropriate. 19 Covid Lane is an entertaining escape for the troubled mind stuck in this quarantine period. Even a film about the occurring pandemic can act as an escape, but only if it can provoke laughter. The film exceeded my expectations and I recommend it to anyone who feels like they are being slightly suffocated at the moment. It is a perfect time to enjoy all of the ridiculousness that this pandemic has brought forth through this skilfully produced short film.

★★★★ Directed and written by #NataliePeracchio Starring #RobinLandis, #ThereseLloyd Short Film Review by Jack Bottomley Sometimes in presenting the most challenging of times and situations we can face, the simplest onscreen approaches can work best and give some much more honest insight. As life goes on, we can - and inevitably will - all confront some tough times, times that take a certain amount of understanding to live with and through, times that can see people we love fade before our eyes, times that can viciously take so much from us without care or remorse. In director/writer #NataliePeracchio’s (very) short film Flight, we see the early onset of such times. Flight is a story that concerns itself more with the realisation of a harsh reality, than with the day to day living under such conditions that is going to follow. The film sees a daughter (called Barb in the synopsis) (played by #ThereseLloyd) taking the time out of the day to visit her elderly mother (#RobinLandis), after she received a concerning call from her mother’s nurse. However, what seems like it could be a cry for attention, or an act of defiance, soon points to something far bigger and more important. Grounded in real life, Peracchio’s film is one that quietly unfolds across its 4 1/2 minute duration, as the nature of the situation sets in on this daughter visiting her mum. The challenges that come with suffering from a declining mental state (and the challenges of those who care for them) is one many bravely face on a daily basis and this film does not viscerally show such (sometimes harrowing) effects of this disorder or the trials of care as it takes over, but instead shows the difficulty of that early indication and acceptance that something is wrong. Flight shows how understanding and compassion are key but how coming to terms with this abhorrent reality can be as difficult as seeing it play out thereafter. The dialogue in the film is naturalistic, as is the cinematography by #TedVonBevern, and this relatable edge is furthered by two great lead performances. As daughter Barb, Lloyd expresses concern but also fatigue, as she fits this visit in around her life but when the pieces begin coming together, her fight or flight reaction takes over. Facing the truth can be horrifying and this intimate human short shows this very point. Meanwhile Landis is excellent as Barb’s mum, as she is beginning to process her increasingly fragmented memories and recollections and slowly starts to slip into territory she is unaware of. This character’s heartbreakingly uncertain grip on events is visible in Landis’ face and eyes. It’s rather moving seeing a story about such an issue as fighting the likes of dementia and failing mental health done so honestly, unflamboyantly and with a firm grasp of the realities that come with spotting the early signs or an initial diagnosis. Flight does land straight into things and could indeed have benefitted from some more layers to its story but what is here, effectively displays the unrelenting uncaring nature of fading mental health and how people can react to it. #JackBottomley Watch the Movie Trailer