★ Directed by: #AnonaLanga Written by: Anona Langa Starring: #TesniKujore, #CraigAbbott, #KathrynOReilly Short Film Review by: Corey Bulloch Beyond Tesni Kujore’s character of Holly practising her sword skills in a dreamlike state as a power ballad roared over the swift movements of steel, there is nothing clear or satisfying about Anona Langa’s film concerning insanity and abuse. Dazedly follows the non-linear story of Holly, an abuse survivor struggling to comprehend the reality around her as editor Nana Dankwa showcases how Holly’s trauma bleeds into her present. However, it is frustrating as even after multiple rewatches it is difficult to make clear how everything is connected or even relevant to the film. Educated assumptions can be made from certain contexts or dialogue but a lot of the character’s behaviours are just vague with no real catharsis by the end. Dazedly can never break free from its confusing execution as writer-director Anona Langa can’t make sense from all the flashbacks, visions, and side plots. So much seems to happen on screen but it’s all hollow despite the thematic intentions of what’s attempted to be explored. Holly’s past and trauma is the clearest piece of the film, the specific flashbacks to her youth and visions of bloody rituals suggest revenge against an abuser clouds her thoughts. Kujore’s performance is nothing spectacular as the big emotional scene with Craig Abbott has them both fall victim to melodrama and poor camera work but the sequences when she wields the sword do break the monotony of trying to make sense of everything. So much of the experience of watching Dazedly is trying to piece together the narrative but Langa’s direction makes it more of a headache then it should be as the third act conclusions do almost nothing to confirm any theory one might have. Abbott’s character of Mel and Kathryn O’Reilly’s character's connection to Holly is never fully revealed, are they figures from her past? connected to the abuse? In fact, O’Reilly’s scenes with her catty group of friends make the film even more confusing. Langa and Dankwa just seem to keep adding visual stimuli in hopes to hide narrative shortcomings but it just dampens audience engagement even more. Technically Dazedly is mostly competent, the editing is confusing but the execution of Holly’s visions from cinematographer Lewi London does add some visual flair to the film. Though the 180-degree rule appears to be broken during Holly and Mel’s fight breaking the tension and again not every visual choice is explained or put into context. Dazedly loses sight of what it wants to be about constantly, Holly’s journey leaving nothing to learn from when the credits roll. It’s not manipulative in how it portrays abuse survival but more inattentive, as if it were an afterthought in place of the visuals. Insanity as a character trait is not an excuse for disjointed filmmaking, Holly’s dissection from reality can’t just be represented by confusing storytelling. It doesn’t come across as experimental as nothing is explained or resolved and in the end, you can’t gather an emotional response from Dazedly beyond confusion. #CoreyBulloch #shortfilm

★★★★★ Directed by: #HaoZheng Written by: #LeqiVanessaKong and Hao Zheng Starring: #QiSun, #GraceChang, #LeannLei Short Film Review by: Corey Bulloch Silence speaks volumes in Hao Zheng’s visually rich and emotionally beautiful film about a family reuniting during Chinese New Year celebrations. Xiaoyu, whose attendance to a kung fu school has created a divide with his mother Juan, clearly embarrassed by his decision. Made all the worse by the other relatives playfully asking him to demonstrate his kung fu skills, Juan forced to borrow money from her relatives as she resides in a small home in the mountains while Xiaoyu’s cousin seems to be heading towards a lucrative career path by attending college. Despite Xiaoyu’s passion and excitement in his field, he’s disheartened by Juan’s humiliation as he realises he’s become the joke of the family even after presenting evidence of his skills. The dialogue that surrounds Xiaoya and his mother, relatives nattering, karaoke and an exuberant Uncle who wants everybody to have a drink just reinforces this echo chamber around the two characters unable to communicate with each other. Kong and Zheng’s script doesn’t fall into a trap of having Xiaoya and Juan blowing up with full melodrama but have the visuals tap into the unspeakable emotional pain of a parent’s disappointment towards their child. New Year’s Eve subtly address cultural expectations within China as Xiaoya’s dilemma has his passion, an ancient cultural skill that has lost its nobility in the wake of modern popular culture, kung fu can no longer be seen with honour among Chinese families. Juan would rather her son seek a vocation that could secure financial independence as Zheng has Chinese stereotypes of martial arts and tiger parenting be examined through the exquisite performances and cinematography. New Year’s Eve has an alluring aura to it all as Jake Hossfeld’s cinematography not only utilises the breathtaking locations of the mountains but makes the modest home of Juan such a visually rich space. The use of lighting and framing lures the audience into Xiaoya and Juan’s conflicting pains all while trapped in the wonderful festivities of the night. Production design by Katelyn Budke alongside Kiki Qi’s set direction make the film absolutely beautiful in its simplicity and familiarity, a truly lived-in space teeming with subtle history to the characters. Every element of Zheng’s direction and his production teams efforts work in harmony creating an extremely immersive experience for audiences. While Qi Sun and Grace Chang’s performances as Xiaoya and Juan are the standouts of the film as they capture subtle inflexions of frustration and regret, Zheng and Kong’s meticulous details in their script and his direction fleshes out every character. It’s a living breathing family existing before you in New Year’s Eve and even in the short time Zheng can communicate so much about the dynamics through the periphery performances. Chang has such dignity on-screen as she expertly instils that atmosphere of resigned disappointment that audience sympathies ache as Sun’s performance captures and returns the pain. New Year’s is a festival that reunites one another but these feelings and how to reconcile with them go beyond words. Zheng captures that helplessness in navigating these demoralising differences alienating mother and son but still offers hope that the love we all share within our family can be the true guide to bring us all back together. Even if the road ahead is still uncertain. #CoreyBulloch #shortfilm

★★★★ Directed by: #NatalieKavanagh Written by: #MarkChudley and #NatalieKavanagh Starring: #KristianWilkes, #ReanneFarley, #ChristopherSciueref, #AuroraFearnley, #TomCheshire and #BettyDenville Short Film Review by: BrianPenn Any film prefixed by the phrase sci-fi makes me groan with resignation. It is fair to say I’m not a fan but such indifference is an ideal position from which to judge this short film by Natalie Kavanagh. The narrative kicks in from the opening frame and lays down an amazingly detailed premise. In 600 BC pre-Socratic Greek philosopher Anaximander discovered the universe was born from a powerful blue luminous substance which came from the sub-conscious world Nihilo. He shared the secret with his most trusted students who were called Seechers. A minute amount of this substance lay in the pineal gland of every human. More is found in those that are exceptionally imaginative; those who carry the substance are able to unlock great power. Processing this colossal brain dump we are next introduced to the hyper intelligent society of Seechers. The newly initiated Aris Fletcher (Kristian Wilkes) is beginning to interpret his dreams and searching his imagination for deeper answers. Professor Talia Ward (Aurora Fearnley) warns him not to stray too far from the sect’s teaching. Girlfriend and fellow Seecher Maya (Betty Denville) is impressed by Fletcher’s razor sharp intellect but also fears what he might discover. He is soon abducted by the mysterious Dr Rivers (Christopher Sciueref) who begins a process of interrogation. What has Fletcher discovered and who instructed Dr Rivers to extract answers from him? The film packs an extraordinary amount of information into 17 minutes of screen time. Imagination is key to the story both for the viewer and characters. We are asked to delve into the deepest recess of our minds; to exploit untapped powers that might otherwise lie dormant. Each frame is beautifully captured and stokes real curiosity even for a non-fan like me.

★★★★ Directed by #PedroCosta Written by #PedroCosta #VitalinaVarela Starring #VitalinaVarela Film Review by Cat McAlpine Vitalina Varela travels to Portugal to sift through the ashes of the life her husband led there. “There is nothing for you here.” Someone on the tarmac whispers upon her arrival, gripping her by the shoulders with a robotic intensity. But Vitalina marches forward. Varela plays herself, in a re-enactment of her journey to Libson in the days following her husband’s death. After more than two decades apart, Vitalina no longer recognizes the man she once knew. She navigates an impoverished neighborhood shrouded in darkness, searching for clues as to the man Joaquim had become. Director Pedro Costa (Horse Money) co-wrote the script with Varela. Together they weave a tale that asks both “How do we forgive others?” and “How do we forgive ourselves?” Varela delivers a stoic but moving performance as she seeks a kind of redemption for the years spent waiting for her husband. Costa knows where to place Varela, leaving her constantly teetering on the edge of something, in perfectly lit doorways and windows. This film is largely about the emotion of light and shadow, both on screen and in our own lives. With minimal dialogue and a cast of non-professional actors, Costa must work harder to visually manipulate his tale. To his aid comes a realistic and heavily layered sound design that pairs the low rumble of a crowded neighborhood with the high-pitched notes of spoons in bowls and the yips of dogs. Almost every scene seems to be lit with a single spotlight, which brings to your attention how dark the spaces really are. While this technique illuminates every frame like a luxurious renaissance painting, highlighting the sharp turns of hollowed cheeks and shrouding the crumbling backdrop, after two hours your eyes tire from the strain. Vitalina Varela’s strength is also its weakness. The film is so slow and so hyper-focused on the silence between emotional revelations, it seems largely detached from anything other than its own dark places. There is a triumphant return to the daylight, beautifully shot like the rest, but it comes long after the movie should have ended. 120 minutes is simply too indulgent for the pacing and sparse narrative offered. #CatMcAlpine

★★★★ Directed by #ChrisDurrance #BarakGoodman Film Review by George Wolf Before hitting play on Slay the Dragon, make sure you’re a good social distance away from Grandma’s fine china. Because you’re going to want to break something. Directors Chris Durrance and Barak Goodman open their deep dive into political gerrymandering with a quote from Founding Father John Adams about democracies and suicide. They then spend almost two hours making the case that time is running short for America to prove Adams wrong. The film’s historical context of gerrymandering – or drawing Congressional districts in a hyper-partisan manner – is informative and even entertaining in spots. Who knew the practice got its name from pairing an old Massachusetts governor with a salamander? But once it digs into the deep pockets and advanced metrics behind “packing,” “stacking” and “bleaching,” the film’s view that this a fight between voters picking winners and winners picking voters does not seem hyperbolic. The direct, measured approach pushes hardest when reminding us that new district maps are drawn every ten years, so elections in a year that ends in zero – LIKE THIS YEAR – are especially important. But to make their film a rallying cry for passionate turnout, Durrance and Goodman know that beneath the dirty tricks, blatant hypocrisy, systemic oppression, corporate greed and Supreme Court setbacks, there has to be hope. We get it via Katie Fahey and Voters Not Politicians, a grassroots movement fighting gerrymandering in Michigan that began with a Facebook post. Fahey, a total neophyte diving into vicious waters, is instantly relatable and easy to root for, creating a narrative contrast that’s a bit simplistic but naturally effective. It does get a bit long-winded in spots, but Slay the Dragon makes its case with enough info, passion and persistence to make it necessary, especially in a year that ends in zero. Like this year. 2020. An election year. Did we mention that? #GeorgeWolf

★★★★ Directed by #LewisTaylor Written by #LewisTaylor Starring #JosephRichardThomas, #MarkField, #PélineLiberty Film Review by Amber Jackson Josh (Joseph Richard Thomas) is becoming an adult and craves greater independence, even if that means something as simple as going to bed by himself. His Dad (Mark Field), however, is unable to fully accept that his son is growing up and so the two appear to be stuck in a 1980s loop of the past. However, short film Sleep Tight is far more complex than a complex father/son relationship and Josh wanting to sleep with the light on. Josh’s reality is far more sinister and when his bedroom is dark, he is trapped inside its confined horrors. Directed by Lewis Taylor, this short film is a throwback to 1980s horror-comedies in both its tone and filming style. It uses cliché horror moments that work very well within the eight-minute narrative. Suspense is well-built with practical effects and high camera angles on Josh, illustrating further how trapped he feels as he cannot physically escape. The audience is provided with both lean-in and recoil moments. For instance, the use of shadows and slow deliberate movements from actress Péline Liberty as ‘The Abomination’ creates tension further, which then contrasts effectively with her louder actions. Sound acts as a great jump cut, as both these loud and quiet moments build and break tension with each breath that Josh takes. Alongside this, there are plenty of laugh-out-loud comedic moments with the inclusion of small details that provoke laughter from horror fans alike. The camera often pans to funny props that the script alludes to, such as the posters in Josh’s room, or a suspicious-looking object, which contain witty hidden messages. As well as look and feel, the short also oozes 1980s cultural references, such as the horror film references and props, making it feel like a scene taken from the beginning of an 80s horror-comedy. Both Thomas and Field create a realistic father/son dynamic with their performances sparking all the comedy contained here. They do well to capture a father refusing to see his child getting older, alongside his son who wants to do more for himself. There is a serious reality that underpins their reactions to each other, but this is masked by their stichomythic banter, which works much better. The realism injected into their lines conveys a real relationship in the centre of this horror piece. Ending on a hilarious note, the film keeps audiences laughing until the very last second, whilst not undermining the horror aspect of Josh’s situation. It would have been nice to see this film run on for a longer length of time, but there is still a lot to enjoy within these eight minutes. Taylor has successfully created a very unpredictable plot with the perfect balance of fear and humour. Sleep Tight was an official selection for the London Independent Film Festival this year. #AmberJackson #shortfilm

★★★★★ Written by: #RyanByrne Animation by: #KrystynaSyniushchenko Film Review by: Darren Tilby Animated films can take many forms and can cover any subject matter you can think of. They can be funny or sad, they can be thought-provoking, or they can be a story-driven powerhouse. Or, as Pixar has taught us, they can be all of that at the same time. And that’s undoubtedly how (writer) Ryan Byrne’s deeply moving animated short movie, A Statue’s Best Friend, plays out; like a Pixar short. A stray dog wanders through a park one dour and rainy night, ignored by all who pass. And a solitary statue, with only the faint glow of a streetlight for company, stands tall in the gloom, ignored by all who pass. Two kindred spirits, both a world apart in likeness but craving the same thing. Companionship. And so, when the dog seeks shelter from the rain underneath the statue, it comes to life, and the two begin a beautiful friendship. There are two characters in the film, and neither one of them has any dialogue. You know, with one of them being a dog and the other being a statue. But what’s really impressive here is how much character is expressed throughout the movie’s, albeit very short, three-minute runtime by virtue of the animation and music alone. Krystyna Syniushchenko’s animation itself is a little rough around the edges, unsophisticated even. But that doesn’t mean it’s not effective. Because it really is. The movie, shot in gorgeous grey tones, is bursting with loveliness and sincere sentiment. The exact same thing can be said of the movie’s soundtrack (from Van Leucia). In essence, it’s beautifully compelling and effortlessly haunting, and its tragic undertones and old-school, Casablanca-like inflexions, gift the film a genuinely unique ambience. At its core, A Statue’s Best Friend is a movie about love in its purest form. Two vastly different beings, finding joy and acceptance with one another. And with no material gains to be had by either. It’s a lovely idea; a story told with a flair of enchantment. It left me wondering was this a film to be taken at face value? Was the statue really alive? Or was this, perhaps, a figment of a lonely dog’s imagination? Or is it metaphorical for something even more profound? Whatever the case may be, A Statue’s Best Friend is a heart-warming tale of love and loss. One which rivals the work of one of the most renowned animation studios around (Pixar). Byrne’s film, just shy of three minutes long, is as beautiful (and devastating) as the first ten minutes of Pixar’s smash hit, Up. A Statue’s Best Friend is available to watch on YouTube, and you should. Believe me, you won’t forget this one in a hurry.

★★★ Written and Directed by #PatrickPenta Starring #MikeDooly, #MartynGKrouse, #ThomasNichols, #ClaireWebber Indie Film Review by Jack Bottomley I must admit to you readers that with Subferatu, for a good length of time I was debating my thoughts on it. Was it good or bad? The sheer insanity of the plot outline alone is worthy of admiration but I was sat there thinking is it intended to be as it is? A homage by way of parody to those kinds of questionable films we find in the small hours on the specific movie channels? Is it supposed to do for submarine-set vampire Nazi films what Sharknado did for sharks, tornados and a cavalcade of celebrity cameos? Or is it just misguided madness? Then, things started really gaining steam onscreen and I was taken back to what lead #MikeDooly said towards the start, “relax and just fucking enjoy the story”. And so I did... Subferatu tells the story of a submarine that comes upon a shipwrecked crew of Americans, however all is not quite right here onboard, as it is crewed by a group of Nazis still believing it is WW2, and as past and present are somehow entwined, there’s also a vampire onboard to worry about too! When it rains eh? Whether it’s the Nosferatu-laden opening credits or moments of Airplane style madness, there is something really quite reassuring about the nature of Subferatu. It took me a good halfway through the movie before I quite came to an agreement with it but love it or hate it, you’ll be able to sit through it and agree, that was certainly something! Starting off with a semi-explanation of its vampiric sub-plot, the film quickly moves on to its exploitation lampooning story of Nazis, bloodsuckers and macho men at sea stories (the kind that play out for seasons on those channels your dads and uncles usually like, with the assistance of a beer or two)! Although it must be said, the film’s secret weapon is Capt. Gavin McCloud, played by #MikeDooly because while everyone onboard this batty U-boat throws themselves into it (looks like it was a lot of fun to make), Dooly does moreso than anyone. Like Leslie Nielsen in Naked Gun and Police Squad!, he plays it straight, unaware of how ridiculous he is being and he is very entertaining to watch throughout. Plus he gets the best lines without a doubt. As the narrative pretty much leaps from one thing to another and initially you go from thinking its a complete mess to realising it is pretty much intended to be this madcap. Likewise with some of the wonky moments of effects and performances, this is turned up intentionally beyond the limit and as a result, while all over the place, it does entertain in its sheer dogged willingness to be completely downright nutty in the embracement of its own silliness, and to that point how it also embraces the stupidity of the movies it parodies. The Allo Allo accents from one or two cast members, #CraigMelville’s flamboyantly lit cinematography, some goofy props, #Shwilson’s fun score that brings vintage sounds to modern time displaced zaniness, it’s all here and while #PatrickPenta’s script has a few jokes that land with a thud, it has others which work. In fact, come the last third of the movie, it hits its stride far better and makes you wonder whether it might have been better suited as a short. Admittedly it is rather bumpy at points and not What We Do in the Shadows but regardless there is fun to be had if you are willing to play along in the purposely OTT tomfoolery. Subferatu is an uneven but agreeably ridiculous send up of B-movie exploitation horror and “movies for men” actioners, with a barmily fun performance by Mike Dooly. You know what, this one might grow on me I feel. Fun. #JackBottomley

★★★★ Directed by: #RobertHackett Written by: #MikeGoldfarb Starring: #MacMcDonald, #GeorgeGeorgiou, #JoyceHenderson, #JonathanHansler Short Film Review by: Corey Bulloch I remember walking through London one terrible day and passing by the blue heritage plaque for Ian Fleming and just by chance, I found myself pausing to take in the history and impact of the man who once occupied the building in front of me. While Fleming’s plaque resides in the affluent boroughs of Belgravia even the mightiest of titans have the humblest of origins as the premise for Boris in the Forest is so delightfully clever and peculiar. An American horror aficionado Merv Blanco played to perfection by Mac McDonald has travelled to London to visit the birthplace of William Henry Pratt, more commonly known as the iconic Boris Karloff. A Karloff biography in hand along with a t-shirt featuring the iconic Frankenstein’s monster, Merv finds himself as the blue heritage plaque site for the horror icon; above a kebab shop in London where a dog is licking himself outside. Right off the bat director Robert Hackett and screenwriter Mike Goldfarb’s vision for the black comedy short is gold, the wide-eyed American tourist against the cynical, uncaring kebab shop owner Giannis. The performances are terrific as McDonald brings Goldfarb’s script to life with amusing wit, for Merv this kebab shop is his Mecca, a pilgrimage he has wanted to take his whole life and treats the mundane atmosphere of the shop as holy ground. For Giannis, this is just another weird tourist who isn’t going to buy anything, George Georgiou gives a hilarious performance as the back and forth with McDonald creates many laugh-out-loud moments. While Merv gushes about Karloff, Giannis boasts on the strength of his donner and the diversity of his menu (it’s all donner but with a different side). Georgiou’s delivery of the one-liners against McDonald’s earnest reactions has Hackett instantly create a believable world and characters. Even quick moments like Joyce Henderson’s scene as a customer describing her experience meeting Karloff just adds to the beautiful quirky world-building. While creative liberties are taken with Karloff’s origins (according to Google maps his heritage plaque is actually above a Fish and Chips shop) Hackett and Goldfarb honour the actor’s creative legacy as the story unfolds into an unnerving thriller. When Merv explores the second floor of the property where Karloff was born, it is an abandoned, derelict place straight out of a horror film. Hackett’s direction is quite tense without devolving to melodrama as the cinematography from Bjørn Ståle Bratberg creates an amazing contrast between the two locations. Meriel Hunt’s production design as well sets an unnerving tone, making the most mundane objects seem gothic and haunted; a disturbing Karloff shrine hidden within a cupboard or a brick fireplace increases Hackett’s foreboding tone. Though the comedy isn’t lost either as Merv seems oblivious to the danger growing around him. McDonald’s delivery of “nice shrine” upon observing the occult imagery was perfect. Hilarious, eerie and brought to life by brilliant performances, Hackett and Goldfarb’s offbeat yet charming tribute to Boris Karloff is definitely one worth watching. Fantastic production design, scripting and direction deliver a simple effective story with an ending that will knock your socks off and brings new meaning to the phrase ‘never meet your heroes’. #CoreyBulloch #shortfilm

★★★★ Directed by: #AbdelmoulaElHadi Written by: #AbdelmoulaElHadi Starring: #AnaHenriques #DanielSimão #VitoriaLima #CatarinaFlor Film Review by: Bruna Foletto Lucas In The Choice, the death of a family pet causes questions about mortality to arise in a family. Alicia, the mum, played by Ana Henriques, holds beliefs that go against Tom’s, her husband, played by Daniel Simão. However, they must put their differences aside to teach their daughter, Amelie, played by Vitoria Lima, about death. Abdelmoula El Hadi plays with the dichotomy between cremation and burial by constructing around each word. Alicia wants to bury Lucy, she believes in honouring the body; Tom, however, wants to cremate the cat because it is “quicker”. Alicia is more emotional and her demeanour is fragile, so much so that she spends almost every scene sitting down; on the other hand, Tom is more aggressive and rational, he stands up angrily and paces the room but, ironically, he tires himself by digging a hole for the cat. One might argue that the discussion presented in the film is much more than just about the dead pet, but about not recognising the person you are supposed to know the most – Alicia asks what happened to Tom, he seems like a block of ice, and Tom’s reaction when listening to Alicia’s reasons to prefer the burial shows confusion and surprise. When we are confronted with a new image that challenges our ideas, we tend to get angry and frustrated, hence Tom and Alicia’s reactions. However, in The Choice, this unrecognition transgresses the level of opinions and bears its significance in the realm of religion - “cremation is the front door to hell”. Here, then, the parents are teaching their kid about mortality and religion. The film doesn’t pick a side, Abdelmoula’s narrative choices place the film right at the middle, standing on top of the fence, but towards the film picks up a tone that becomes too moralistic, trying to teach us something – and I felt that went against the indifferent position the film held until then. The film can be divided in two, mostly due to its cinematography and editing - the first part, which is the majority of the film, revolves around Lucy’s burial, and the second shows moments in the future, focusing on the now grown-up daughter, played by Catarina Flor. The first part is more static, the camera movements are a bit more conservative – we see close-ups, reaction shots, some movements with pans and tilts, but the main use of the camera in the first part serves the purpose of showing how each character is fixated on their own opinions. The second part is more fluid, lighter, the focal point here, the daughter, doesn’t position herself and thus allows for more sophisticated use of the camera. The editing too changes between the two parts, where the editing was mostly between action shot and reaction shot during scenes of dialogues, in the second part the editing cuts between sequences, not following dialogue, but following movements. Amelie is free, quite literally, and is allowed by the camera movements to move forward.

★★★★ Directed by #ElizaHittman Written by #ElizaHittman Starring #TaliaRyder #SidneyFlanigan Film Review by George Wolf With her 2013 debut It Felt Like Love, Eliza Hittman brought a refreshing honesty to the teen drama. Zeroing in on the summer days when two girls began their sexual lives, the film was an exciting introduction to a writer/director with a quietly defiant voice. At its core, Never Rarely Sometimes Always could be seen as Hittman's kindred sequel to her first feature, as two friends navigate a cold, sometimes cruel world that lies just beyond the hopeful romanticism of first love. Autumn (Sidney Flanagan) is a talented 17 year-old in Pennsylvania whose crude father berates her for an ever-present foul mood. She's worried, and when a visit to her local health clinic confirms her fears, Autumn confides only in her cousin Skylar (Talia Ryder) as she weighs her options. In Autumn's home state, those options are severely limited, so the girls scrape together as much money as they can and hop a bus to New York, encountering more hard realities along the way. The over-reliance on metaphor that sometimes hampered It Felt Like Love now feels like that awkward school picture from just a few grades back. NRSA shows Hittman in full command of her blunt truth-telling, demanding we accept this reality of women fighting to control their own bodies amid constant waves of marginalization. Flanagan, a New York musician making her acting debut, is simply a revelation. There isn't a hint of angsty teen caricature in Autumn's dour moodiness, just a beaten down worldview born from all that is revealed in her beautifully brutal interview at the New York clinic. As an off-camera social worker asks Autumn to give the titular response to a series of questions, Hittman holds tight on Flanagan and she never shrinks from the moment. It's a devastatingly long take full of hushed experience that may easily shake you. Just three films in, Hittman has established herself as a filmmaker of few words, intimate details and searing perspective. NRSW is a sensitive portrayal of female friendship and courage, equal parts understated and confrontational as it speaks truths that remain commonly ignored. Given the subject matter, the film's PG-13 rating is surprising, but hopeful. This film deserves an audience, much like the conversations it will undoubtedly spark. #GeorgeWolf

★★★ Directed by #GaryLundgren Written by #GaryLundgren Starring #JamesLeGros #LisaEdelstein #JesseBorrego Film Review by Hope Madden Phoenix, Oregon tells the outrageous story of Oregon hipsters polluting the glorious, white trash game of bowling. $18 pizzas? Organic pilsners? What does a sister gotta do to get a large pep and a Bud? That is, actually, the story it tells, but its focus is more on the small town coming-of-middle-age saga of the hipsters. Journeyman James Le Gros is Bobby, a fiftyish bartender at what passes for a fine dining establishment in Phoenix, Oregon. His best friend Carlos (Jesse Borrego) is the chef who can no longer tolerate the cheapskate ways of whining, entitled restauranteur Kyle (Diedrich Bader). He proposes that Bobby take the fifty grand his mom left him (along with the Airstream where he’s been living since he downsized after his divorce) and invest that cash in a dream: said hipster bowling alley/pie shop. Bobby needs to think—wallow, really—the same way he always does, by drawing impressive panels in a graphic novel/memoire concerning the aliens who pre-determine his life. But really, he mostly draws pictures of his ex-wife. Gary Lundgren’s direction and production values betray a minimal budget and comfortably limited imagination. Like Bobby, Phoenix, Oregon doesn’t set out to impress anybody, so the fully grown slacker kind of vibe actually suits it. Le Gros’s slyly low key performance certainly fits. Quiet and socially uncomfortable, he brings a realism to the life transition, intentionally but not obnoxiously calling to mind the same awkwardness of adolescence. Lisa Edelstein, also bracingly realistic, enlivens all her scenes with the sexy vitality and charm of world worn freedom. Characteristically, Kevin Corrigan is a wrong-headed hoot as a repairman with a chip on his shoulder, but even his generally raucous humor feels subdued. Phoenix, Oregon contents itself with a smirk and a shrug. The entire effort’s lack of showiness allows a hometown authenticity to drive the narrative. Phoenix, Oregon, while pleasant throughout, offers low stakes, low energy, low drama. Rivalries are easily if not tidily overcome and life goes on. It’s sweet and charming in a low key, comfortable way, but it is hardly a thrill ride. #HopeMadden