Filmmaker Interview by Chris Olson One of the official selections for the London Independent Film Festival 2020, short film The Cunning Man is directed by Zoe Dobson and written by Ali Cook. I caught up with them both to chat about their movie... Your short film, The Cunning Man, just won best short film at the London Independent Film Festival. Congrats. How would you describe the film to a new audience? Ali: Thank you! The Cunning Man is inspired by John Harries (1785-1839), a physician and ‘Cunning Man’ – a healer who uses folklore magic. The film tells the story of an elderly and mysterious farmer who drifts through the Welsh valleys collecting dead animals. Nobody knows why or what he is up to... Zoe: An enchanted modern-day fable inspired by a real Cunning Man John Harries (c.1785 – 1839). Despite being a trained physician with a practice in Harley St, John Harries claimed to be able to heal man or beast with magical powers. In our tale, the Cunning Man is a rural practitioner of the dark arts who becomes the target of a conspiracy. When pressed into a corner he draws on his powers to avoid a hefty fine. It’s a tale about the underdog winning out. ( John Harries book of spells can be viewed at the National Library of Wales) Why did you want to tell this story? Ali: Although John Harries was a healer and used modern medicine, he also used folklore magic and so was feared just as much as he was he admired. This really interested me. The film also poses the question: should animals be regarded as a commodity? In the ritual scene where our Cunning Man recites an incantation from his book of spells in Welsh, he is in fact reciting the five key rights of animals as laid out in the EU Lisbon Treaty. Zoe: The message of The Cunning Man is about hope, magic elicits hope and opens up a world of possibilities that can be liberating, especially if it helps us think differently. The short was an opportunity to play at being a wizard, to do the impossible. I grew up on a farm and the stark beauty of the landscape, the anxieties and darkness of a life-lived on the land have long been something that has sparked my imagination and I wanted to make a fictional film that reflected and refracted this otherness. How have you guys been affected by COVID-19 as filmmakers? Ali: Well I’ve gone from no productions to zero productions – so it hasn’t really affected me. Zoe: Yes, massively. Shoots have been pulled and we are biding our time writing and creating from home. What's next for you? Ali: I’ve written a feature film; a folk horror called The Grimoire – it’s about a mysterious and real book on witchcraft written in medieval England. Also, in a slightly different direction, I’ve written a comedy about a new age book centre and the colourful characters such places attract. I’m aiming to make this into a short film with a view to pitching it as a TV series. Zoe: I am currently directing/writing scripts for a short form project with Jeff Goldblum. I am also writing a short scripted film, which I hope to shoot at the end of this year, if we are allowed out! Who are your movie influences and why? Ali: I grew up watching a lot of David Lynch so I love the idea of keeping the audience unnerved, on edge but also amused. Zoe: Lynne Ramsay, Andrea Arnold, Tarantino, Paul Thomas Anderson, The Safdie Brothers, Todd Philips, The Cohen Brothers, Charlie Kaufman, Martin McDonagh. I’m drawn to these directors because of their distinct voice and attitude. Their stories reveal the human condition in all its fragility. Their character studies are accomplished and populated with odd ball, screwed-up, off-kilter, complex and troubled characters. Music is a big part of cinema for me, and these directors each have their own distinct signature style of musical scoring. As for writers: Samuel Beckett, Hunter S Thompson, Eimear McBride. I like writers who disrupt the rules, whether they are the rules of grammar, society, convention or storytelling. What advice would you give to new filmmakers? Ali: For me, I’d spend all my time improving my writing. We only want to watch a story we are begging to see. Zoe: Stop thinking about it and write it, shoot it, cut it, get it out there. If you have limited funds write a two hander around the kitchen table. Just do it. If you could put any two actors (living or dead) into a story, who would they be and what would the premise be? Ali: Mr. Bean goes to the Oscars – where he meets Marilyn Monroe... Zoe: James McAvoy and Florence Pugh. The year is 2050 and the elite have second homes on Mars. James is the night concierge of one of the top hotels, The Mars Overlook, Florence is a native to Mars and the grandchild of Mr Newton, she runs the World Enterprises, the shuttle company who have a monopoly on the planet’s guest list. What would you say if you were a dolphin? Ali: Thanks for all the fish, honestly you shouldn’t have. Zoe: Swim for your life. ‘Life shrinks or expands in proportion to your courage’ (Anais Nin) #FilmFestival #LIFF #FilmmakerInterview #ChrisOlson

★★★★ Directed by Marcus Flemmings Written by: #MarcusFlemmings Starring: #TábataCerezo, #SarahSwain, #HesterRuoff, #JumaaneBrown, #ShaunaRidgard Indie Film Review: by #TaryllBaker Palindrome Movie Review Marcus Flemmings’s Palindrome explores a revered artist’s life after witnessing a tragic event. Worthy of being called an epic, it’s an ambitious piece that flows with everlasting intrigue. The opening minutes contain an interesting array of shot choices, a lavish classical score by Billy Jupp, a title card that begs a question, and then the main logo which kicks us off on a absorbing journey. Palindrome is similar to Strickland’s In Fabric, which collected two stories and combined them into one feature. Much like the aforementioned, Palindrome’s first half was the most entertaining. An expertly crafted series of events that kept ticking along in steady pace. The decision to shoot in black and white was a wise one, adding a beautiful grittiness to the screen. Although this film focuses more on drama, there is one scene with a robbery that made me chuckle. It quickly switches back to its dramatic side, ferociously cutting between environments that Jumaane Brown’s character find himself in, including a dark space that seems very much inspired by those in Glazer’s Under the Skin, or the ‘sunken place’ in Peele’s Get Out. The sound drops out and we’re left with nothing but a beam of light, and the character trying to fight his way towards it. All of this is included in the excellent first half, but then we’re shown another title card that leads us into the second half. Here, the screen turns vibrant with colours as we’re presented with Sarah Swain’s character. Things may begin to become a little too vague, but the shot composition remains wonderfully intact. This half features many long takes with great performances from all. Although the story takes a backseat, thankfully there’s still a lot to appreciate visually. Mike Pike’s editing is practically flawless. He knows exactly when to ramp things up, and similarly let things simmer to good effect. I feel obliged to mention the score by Billy Jupp once more, and not only because he’s from Kent like myself, but because of his unique skill and tackling of this project. The finale plays out especially well with his touch, so much that when the screen had cut to black, I sat back and listened to the credit suite play me out of Flemmings’s world. Palindrome is a phenomenally rich and thought-provoking piece indeed. One that I believe will go on to receive many accolades after its release. #FilmFestival #LIFF

★★★★ Directed By: #NathanielUpshaw Written By: #SethWimmer Starring: #TimeWinters #JustinAvila Short Film Review by: #ChrisBuick Tony (Winters) is a mid-level gangster looking to move his way up the chain by getting in his boss’s good graces. He is tasked with locating and taking out a mark before bringing him back to be dealt with. But rather than do the dirty work himself, he delegates the job to the young and eager new-guy Bobby (Avila), who inevitably does return with a body in the trunk. Badda bing, badda boom, job done it seems. But as it turns out, upon closer inspection, neither of them can be sure that this guy lying in their trunk is the right guy at all. Now Tony and Bobby risk reporting back having royally screwed up or worse, empty handed. What unfolds is a blame-shifting back and forth about what the hell they are going to do and more importantly, who the fuck is the guy in the trunk? Dead Ringer is essentially structured as a one-act play with a real bare-bones attitude throughout, which as it turns out seems an inspired #filmmaking decision as this approach becomes very much a benefit to the piece. We witness the entirety of the increasingly heated exchange between our two leads through the dead eyes of our nameless and faceless victim in what is essentially a one-take trunk-shot (QT would be proud). Besides that, there are no additional gimmicks or distractions to speak of, which allows us to keep our focus completely the characters and therefore appreciate the level of their performances as intended. It’s not just a smart move, but a refreshing one and helps maximise the impact of this character-driven piece and shows a great deal of belief in its two leads tasked with carrying the film. Speaking of those performances, both Winters and Avila seem able to give the film its serious edge when it’s needed, but also allow themselves to slip into moments of exaggeration and tongue-in-cheek pastiche at the expense of the gangster genre stereotypes, and it’s great to see that amount of creative fluidity being given to this #shortfilm from creators Upshaw and Wimmer. Both leads also seem to relish delivering Wimmer’s very colourful dialogue and all this coupled with their characters comical ineptitude (at one point you really start wonder how they could have made it this far in their game) makes for a nice balance of tone, never really leaning too heavily one way or the other. There are a few moments where the mobster shtick comes off as slightly heavy handed and a bit jarring but it’s almost negligible and there are some genuinely funny beats to enjoy as well. A great example of less is more, Dead Ringer is a film doesn’t beat around the bush. Sure, it might throw you right in the middle of things but manages to do it in such a way that initial confusion quickly makes way for sincere intrigue, not to mention giving you a few laughs along the way. #ChrisBuick Watch the trailer for Dead Ringer here:

★★★★ Directed by #KyungSokKim Written by #RexReyesII Starring #AmandaChristine, #TuckerChandler, #JasminJeanLouis, #MignonVon Short Film Review by Jack Bottomley A point of change is something we all have to go through in life. Sometimes it’s a little different to what we are used to, other times it is a monumental turn around and life will never really be the same again. And it feels especially meaningful to be thinking about such things, at a point in time where we all are uncertain about what is coming next and wondering how we will all adjust to the inevitable changes moving forward. However, I write this as an adult, think back to childhood. At this young point in our lives even the smallest changes can be terrifyingly huge, let alone the biggest, and in director #KyungSokKim’s wonderful drama Furthest From, we see this illustrated intimately and carefully. The film is set in a trailer park, as young Jessie (#AmandaChristine) must come to terms with leaving what she knows and loves behind, as the park is being forced to close due to a water contamination. Furthest From is a story about adaptation and how hard that can be, especially as a child. Writer #RexReyesII gives the story an edge of Beasts of the Southern Wilds, in how it opens out a child’s imagination and allows it to blend into reality to a degree onscreen. Covering how reality and its hardships can threaten to take over that dream-like wonder and innocence, this film succeeds because it is told purely from the eyes of a child. As certain details to the story pass by in casual conversation over select scenes or at one point on the radio, the kids are all making sense of it all as best they can. Seeing the situation only through their stressed hardworking parents, or frustrated older siblings, the film transplants us back into the age of childhood. At this age, kids rebel against change because they may not understand it and likewise Jessie does her best to avoid it and challenge it. She is constantly checked on and told about how dangerous it can be out there but is frightened of the results of that danger, rather than the danger itself. The world is ever changing and complex and it can be difficult and even sad to accept when life moves into a different configuration and we are forced to shift - often uncomfortably - with it. And this film captures how hard a reality that can be for a child. In this case Jessie loses not only her home and playground but her friends and is dragged from childhood wonder, towards harsher real life. However, the film does carry with it a sense of unbridled wonder, as it relays this story of a young girl coming to terms with and understanding the world. The stars stuck above Jessie’s bottom bunk bed, eventually are realised onscreen, in a moment of strength with her older sister Sam (#JasminJeanLouis) and through some brilliant cinematography by #TeckSiangLim and equally great production design by #MboniMaumba and #MartinBlanken, the film turns the everyday into a playful realm, as seen through a child’s vision. As that child, Amanda Christine is excellent as Jessie, and after recent big screen films like Doctor Sleep have benefitted from brilliant child leads, this short does too. Christine is powerful and resilient, as she plays perfectly to film’s modus operandi as speaking from a child’s heart. While Jasmin Jean-Louis is great as her older sister Sam, who is going through some of the same battles as Jessie. Some things are on the borders of this story and some characters do not get as much of a look in by the script but Kim’s film casts a light on what it is to be a kid, suddenly forced to leave what you know behind and move forward to an uncertain next step. And it is a rather powerful little story at that and one in some ways well suited to the era as it currently stands. #JackBottomley

★★★★ Directed by #MalgorzataSzumowska Written by #CSMcMullen Starring #RaffeyCassidy #MichielHuisman Film Review by Hope Madden The first step toward freedom is telling your own story. Writer C.S. McMullen and director Malgorzata Szumowska tell this one really well. Between McMullen’s outrage and the macabre lyricism of Szumowska’s camera, The Other Lamb offers a dark, angry and satisfying coming-of-age tale. Selah (Raffey Cassidy, Killing of a Sacred Deer, Vox Lux) has never known any life except that of Eden, the commune where she lives with the sisters, the wives, and the Sheperd (Michiel Huisman, The Invitation). Szumowska doesn’t tell as much as she unveils: Selah’s defiant streak, Sheperd’s unspoken rules, what puberty can mean if you’re a good follower. She strings together a dreamlike series of visions that horrify on a primal level, the imagery giving the film the feel of gruesome poetry more than narrative. Selah’s first period and the group’s migration to a new and more isolated Eden offer the tale some structure. Like many a horror film, The Other Lamb occupies itself with burgeoning womanhood, the end of innocence. Unlike most others in the genre, Szumowska’s film depicts this as a time of finding your own power. The Other Lamb does not simply suggest you question authority. It demands that you do far more than that, and do it for your own good. Selah’s emotional arc plays itself across Cassidy’s face, at first all eyes, piercing blue and eager. But restlessness and defiance outline every expression. Soon Selah’s painterly beauty gives way to the hardness of anger—a transformation Szumowska celebrates. #HopeMadden

★★★★ Directed by #JonathanJakubowicz Written by #JonathanJakubowicz Starring #JesseEisenberg #ClemencePoesy #MatthiasSchweighofer Film Review by George Wolf In the opening minutes of Resistance, a young Jewish girl asks her parents, “Why do they hate us?” Then, just before the end credits, stark onscreen text reminds us of the magnitude of Nazi atrocities, and just how much of that was inflicted on children. And during the nearly two hours in between, writer/director Jonathan Jakubowicz tells an incredible story you probably don’t know about an iconic figure you most likely do. Legendary mime Marcel Marceau was born Marcel Mangel. And while taking a stage name is hardly unusual, Mangel’s motivation was: joining the French Resistance and helping save thousands of children orphaned by the Nazis in WWII. Jesse Eisenberg stars as Marceau, and it’s a perfect vehicle for his offbeat strengths as an actor. Though Eisenberg’s French accent is shaky (he’s not alone), he nails the layers most important to making Marceau’s astonishing arc an authentic one. Early on, Marceau is afraid of his father’s reaction to his ambitions on the stage, and seems most interested in entertaining children as a way to impress the lovely Emma (Clemence Poesy). Eisenberg may never be an action hero, but his delicate, appeasing nature is a valuable tool for Jakubowicz to subtly reinforce how the Nazi threat was (and still is?) underestimated. Marceau’s hardening edges are never overplayed by Eisenberg, just as Jakubowicz wisely steers clear of any overt, Life is Beautiful sentimentality between Marceau and the children he is trying to shield from the horrors of war. Indeed, the film is at its most gripping when juxtaposing the touching and the profane. Gentle moments appear and are quickly countered, never betraying the ever-present threat often personified by the sadistic Klaus Barbie (Matthias Schweighofer). Marceau and Barbie’s face to face meeting – historically accurate or not – is played with fine cinematic tension, demonstrating a passion and assured vision often lacking in Jakubowicz’s 2016 feature debut, Hands of Stone. Marceau ultimately gave his first major performance in front of thousands of WWII troops. And although framing his story around a speech from General George S. Patton (Ed Harris) seems a bit misplaced, it also feels born of the sincere desire to convey the depth of Marceau’s heroism. Resistance is a film built with passion and sincerity, employing a story that will be new for most of us to deliver a timely reminder meant for all of us. #GerogeWolf

★★★★ Directed by: Jason Farries Written by: Jason Farries Starring: Jason Farries and Nick Ewans London Independent Film Festival Review by: Rachel Pullen The Voodoo Man Movie Review I would like to believe that voodoo is real, that I could take a strand of my enemy’s hair, put it into a Care Bear or other ‘’voodoo’’ type doll and then stabby stab them until they fall to my every desire, or I could chuck some herbs, spices and a dollop of hummus into a caldron and create magic...but alas all that had come out is a nice Mediterranean dish. But if it were real, if we knew that the power existed, who of us would employ it? Would you take the opportunity to take down your enemies, or even a loved one? Jason Ferries has decided to tackle this subject, acting, producing and directing his short film...The Voodoo Man. We are thrust into an exotic and sensual atmosphere, a room where you can feel the smoke hanging around you in the air, where you can smell the incense burning; feel the powerful presence of the voodoo man before a word has fallen from his lips. The atmosphere within the room creates the character before we have even begun, an important aspect for a short that only takes place in one location. Our voodoo man is sensual and dominant in appearance, his makeup is nothing to marvel at, he is still human, but we are aware of his relationship to the darker side of life, and with all voodoo there is a lot of pageantry to the appearance of those involved. These details have not been overlooked, they have been researched and detailed well, and as well as that his appearance allows for the stark contrast between himself and his next client. Enter a businessman, a man who looks out of place against the backdrop of colour and pattern, of candles and Care Bears, a man who looks more at home in the aisles of his local Marks and Spencer. He wishes to kill his boss and after a little convincing, our voodoo man decides to help him by creating a chocolate truffle, something that his boss could not resist. Now SPOILER ALERT, the businessman gobbles that little candy up like me at a Mars Delight convention, and quickly dies...bants, it was suicide all along, of course, I’m not gonna lie, could see it coming from a mile away, but still an interesting development, and it’s one that is made even more enjoyable by the flippant response from our voodoo man, he must be accustomed to all these suicidal businessmen. The Voodoo man as a short film is beautiful to behold, the atmosphere is well established, creating powerful mood from the get-go, the use of light and colours help make the moments whereby magic is used look professional whilst clearly on a budget, at the end of the day if glitter and smoke were used it would not be in keeping with the nature of voodoo. Time and effort have gone into respecting voodoo as an art, and like films before it such as The Serpent and the Rainbow, the director and his team have taken care to remember that voodoo is considered a lifestyle to some cultures in the world, and not something to use lightly within a movie. Enjoyable acting, visually stimulating with an excellent script, The Voodoo Man makes for promising careers for all involved, especially the triple threat filmmaker Jason Farries. #RachelPullen #LIFF #FilmFestival

★★★★★ Directed by #RomasZabarauskas Written by #RomasZabarauskas Starring #EimutisKvoščiauskas, #DoğaçYıldız, #DariaEkamasova Film Review by Amber Jackson Marius (Eimutis Kvoščiauskas) is a wealthy corporate lawyer from Lithuania who, despite his prosperity and privilege, feels as though something is missing from his life. After encountering Syrian refugee Ali (Doğaç Yıldız) on an online chatroom, the two men form a connection with one another. Ali lives in Serbia and Marius, who appears to be craving a deeper connection than what the chatroom has to offer, goes to visit. The reality of their meeting extends far greater than both men could have anticipated. The Lawyer (Advokatas) is a beautiful multi-lingual film with important social commentary on what contemporary Europe offers immigrants and refugees. The film begins with a series of scenes that highlight Marius’ experience living as a rich gay man in Lithuania. His story is contextualised in Lithuania with his friends and ultimately represents the gay white male experience. The narrative is quick to point this out, particularly with trans FTM character Pranas (Danilas Pavilionis), who sets the catalyst for Marius realising that the gay experience is not universal. From the offset, Marius is built to be a confident gay man who is happy with his life and those in it, yet later scenes expose his reality. The lawyer is revealed to be lonely in love and struggling in life with the assumed burden of his unapproved sexuality. This vulnerability he later shares with Ali, providing a contrast to the refugee who refuses to present himself as a victim. Both afraid of not being accepted, they find solace in each other. Writer and director Romas Zabarauskas uses his experience as a Lithuanian film director to inject copious amounts of realism into his characters. Lithuania as a nation does not recognise same-sex couples, which ultimately poses the legal and social difficulties that are explored in The Lawyer. Kvoščiauskas and Yıldız’s acting dynamic is incredibly raw, exploring every emotive aspect of Marius and Ali’s challenges to want to live as openly gay men. Zabarauskas enables the actors to explore multi-facets of masculinity, through what is learned alongside what is toxic and how having money does not necessarily constitute happiness. Marius unconsciously blends fantasy and reality in this way; it appears that he is helping Ali ultimately because he is falling in love with him, but when he realises that he cannot use his wealth and privilege to benefit Ali, he finds this frustrating. Every aspect of the film builds up to that final moment. The lingering and deliberate camera allows the audience to see Marius’ inner turmoil, along with budding sexual tension between him and Ali. These poignant shots serve as a fantastic commentary on how privilege does not reward happiness, another call back to what Zabarauskas is conveying to us in his narrative. Light-work also reflects Marius’ deep desires, as the scenes are often dark and use the colour red consistently, contrasting well with the bright natural light that floods the scenes in which Marius is experiencing happiness. Light also does well to capture the contrast in tone between Vilnius, Lithuania and Belgrade, Serbia. Belgrade appears sunnier, simplistic and more crowded, wheras Vilnius is cold and distant both in proximity and in feeling. Zabarauskas takes a sensitive approach with the film’s activism. This is a story about individuals, reflected in an unpredictable and delicate script – along with a very unexpected plot. Marius and Ali learn as their relationship develops and they succeed in helping the other to succeed in vulnerability. They are both willing to do whatever it takes and the narrative ends just as the audience is craving more. This film is intelligent in that it is not a typical ‘fall-in-love’ story; it is also a think-piece on how every country has room for improvement, not only with regards to its refugees, but with LGBT+ and human rights. The film becomes an exploration of what it means to be a LGBT+ refugee in a country that is not gay friendly. Zabarauskas offers audiences a deeply thought-provoking contextual story through the relatability of a same-sex romance and does so very effectively. Being a part of BFI Flare allows UK audiences to consider UK shortcomings with regards to these contemporary issues, gaining insight into what it means to be LGBT+ elsewhere. To stay up to date with The Lawyer and when it becomes available in your area, sign up here - bit.ly/TheLawyerUpdates Resources Advice: https://www.petertatchellfoundation.org/asylum-advice-for-lgbt-refugees/ UK Lesbian and Gay Immigration Group: https://uklgig.org.uk Further reading on the issues discussed: “The UN Geneva Convention is clear: sexual orientation and gender identity constitute solid grounds to claim refugee status.” https://www.weforum.org/agenda/2018/01/forgotten-twice-lgbt-refugees/ LGBT+ refugees in the UK (2019): https://www.theguardian.com/uk-news/2019/sep/02/home-office-refused-thousands-of-lgbt-asylum-claims-figures-reveal #AmberJackson #BFIFlare

★★★★ Director: #MarcoDellaFonte Film Review by: BrianPenn In such uncertain times we might imagine the more carefree days of summer music festivals. However, the Porretta Soul Festival would not immediately spring to mind. Italian Graziano Uliani was inspired by an event in Georgia to commemorate the 20th anniversary of Otis Redding’s death, and decided to dedicate a festival in his honour. And so the festival was born in 1988 at Porretta Terme in Bologna. It has now become an annual event in the third week of July at a park renamed in honour of legendary Stax artist Rufus Thomas. The Festival now draws in soul fans from all over the world who view Porretta as an annual pilgrimage. A Soul Journey features the festival and interviews with performers who explain how important the event is to them. What’s remarkable about Graziano Uliani is that he appears not to speak a single word of English. Yet, he has a passion for music performed in a language he cannot understand. This is the essence of music and its universal appeal. Much like the opera we don’t need to understand Italian to appreciate its emotional impact. The Festival has hosted genuine legends of soul including Solomon Burke, Isaac Hayes, Wilson Pickett and Mavis Staples. However, as time marches on, many artists have sadly died or become too ill to perform. Etta James was due to perform at the festival in 2012 but died six months before the event took place. The artists that now gather are a dwindling band of performers who are still able to carry the torch. However, the Festival does occasionally uncover lost legends of soul. For example Spencer Wiggins, a major exponent of deep soul was working as an insurance agent when Uliani coaxed him back to the live stage. Many performers now find Porretta a more fulfilling experience than playing concerts in Memphis; the very cradle of American rhythm and blues. Director Marco Della Fonte demonstrates the healing power of music and how it is a force for good. Proof that cultural appreciation can be found in the most surprising places.

★★ Directed by: #HarryMetcalfe Written by: #HarryMetcalfe #TommyKear Starring: #FrancescaLouiseWhite #IvanMoy #GeorgeClare Short Film Review by: #ChrisBuick Death sucks. There’s no two ways about it. Although one can imagine dying might become all the more frustrating when you discover that after your demise, you find that you still have to go to work, employed in a position helping others pass through to the other side no less. Such is the unique premise of silly comedy short Becoming Grim. Libby (White) is a young woman not exactly living her best life, but far from being a completely lost cause either. After an incident one fateful day in a coffee shop, Libby finds that not only has she indeed shuffled off her mortal coil, but due to her previous earthly existence being uniquely and perfectly balanced by equal amounts of good and bad deeds, she is not yet ready to move on to either afterlife and thus has landed what might be the most unconventional apprenticeship ever as she trains to become the next Grim Reaper, learning the trade from none other than the current incumbent himself (Moy) Becoming Grim is a film that looks for inspiration from genius comedy shows like 30 Rock and the also spiritually-centric The Good Place, which of course are the correct dizzying heights to aim for. Sadly though, that is quite a far reach for this short. That’s not to say that the comedy is awful; it’s not. There are some solid one-liners to be enjoyed as well as the odd visual gag, but it is at times guilty of some lowest common denominator humour and its severe inconsistency in how funny it is makes this piece feel less like prime-time comedy sitcom and more like an after-school kids lark. Where the film does shine brighter is during its more dramatic beats. When the #shortfilm takes its time to slow things down for a deep poignant breath, things begin to come together much more naturally and it becomes apparent that this film to its credit, rather than just simply trying to throw countless gags at a wall to see what sticks, has something it is trying to say. These ups and downs are mirrored in the performances from both White and Moy. They take a while to settle, and it seems the delivery on certain lines, mainly from Moy, is at times under-serving some of the jokes. But they are likeable, it’s hard not to grow affection and become a bit more forgiving towards these characters as the film goes on, and they too manage to help add a certain gravitas when the film is beginning to show its heart. Becoming Grim is at the end of the day what it sets out to be; a silly story with a warm message at its core. It has some creative touches throughout, it’s just a shame that as a comedy it’s quite lacking and apart from the odd chuckle, it most likely won’t tickle you for too long. #ChrisBuick

★★★ Directed by: #LukeBradford Written by: Luke Bradford Starring: #RefilweModiselle, #AubreyMmakola, #WitnessMagoswana, #ShadiChauke Short Film Review by: Corey Bulloch Gorgeous visuals compliment a revenge tale inspired by the horrific realities of albinism abuse within the African continent as White Gold follows an albino amputee Mansa seeking revenge against the witch doctor who cut her arm off. Writer-director Luke Bradford doesn’t indulge in the revenge genre tropes too vigorously, having his film focus more on Mansa’s trauma and the mentality of a society that overlooks such inhuman crimes. Bradford intends to educate the audience of this barbarity through an emotionally powerful story that sees how superstition and profit become prioritised against human rights. While everything narratively comes together in the end, Mansa’s story does have its weak points in pacing. At times feeling like Bradford who also served as editor is just buying time until the climactic confrontations. Though not exactly specified which country the events take place, cinematographer Scott Milton crafts a striking visual experience for the audience. In location and in performance as you are immediately drawn into the history of these characters, with the use of natural light hightailing the dilapidated environments and skin colour. This camera work allows Bradford to have the albino representation be eye-catching against the ramshackle villages, to give that sense that Refilwe Modiselle and her younger co-stars can be viewed as commodities. However, White Gold never loses sight of the humanity and pain that is being suffered or awaited as Modiselle’s performance as Mansa is captivating, delving into the emotional anguish as she builds strength to be able to confront the witch doctor Natron. Men like Natron claim that Albino body-arts used in rituals can lead to magical healing, while Mansa is left with a severed arm the opening of the film clearly states other gruesome atrocities occur including murder and cannibalism. For such an archaic practice and mindset it is hard to believe such actions could take place in civilised society, that in the age of modern medicine people would resort to such butchery against their fellow man. White Gold, however, is that stark reminder to the cruelty of the human race and the selfishness that drives our behaviour, as even in revenge people are pushed to uncomfortable limits. That unspoken bigotry of the albinos being “different” to everyone else so therefore they are expendable or that their difference allows them to be treated this way since it seems to serve a majority. Bradford doesn’t delve too deep into the social injustice or hierarchy but it's clear how dehumanisation is a factor in this criminal behaviour. The film explores the aftermath of the crime and how this status quo leaves people like Mansa helpless to no access to healing or justice. Bradford creates a believable world out of seemingly unbelievable circumstance from Mansa’s cruel reality though small elements such as Aubrey Mmakola’s portrayal of Natron can seem a little far fetched at times, playing into stereotypes. Effective and eye-opening in a way that will have audiences delve deeper into this subject matter after the credits, Luke Bradford’s White Gold may not maintain its compelling drive throughout but the importance of its message is never lost. Great immersive cinematography and lead performances allow this cinematic realisation of real-life horrors to take hold and get under your skin. #CoreyBulloch #shortfilm

★★★ Directed by: #OliviaBernhardtBrogan Written by: #OliviaBernhardtBrogan Starring: #Jean and #Les Film Review by: Bruna Foletto Lucas Les is a short film directed by Olivia Bernhardt Brogan and it was part of the Shorts Block 3 at the London Independent Film Festival 2020. In this documentary we meet Jean and Les, a married couple who, at the end of their garden, have a hand-built bird shed where they take care of dozens of pigeons. In an interview-style documentary, Jean tells us how Les tricked her into having the birds at home long ago and, although it is hard to imagine myself having a good reaction if I were her, Jean and Les remember the story with such contagious fondness that we lose ourselves in the story and put away our judgements. I have seldom seen films like Les – it manages to tell an “irrelevant” and particular story, but through its lenses the story takes enormous proportions that last a lifetime, and which, in turn, manage to be relatable to us all. Les sees his pigeons as “athletes” with multiple prizes he cherishes. He has devoted his whole life to it - as Jean puts it, he is an “addict”. Unfortunately, there are some consequences to it, Les’s whole life comes in second, and thus his relationships with his kids were to some extent hurt by his passion. It may sound strange, or even ludicrous, to imagine this situation, but as Les puts it himself it is an odd thing to explain if you have never done it. The camera in this documentary is objective – we are solely observing Les and the pigeons, we see the affection he has when he cares for them. This makes it so that Les’s “weird passion” becomes identifiable – we all have something which we care about and maybe have been deemed as “weird”, but for some reason it is so dear to us. Here caring for pigeons is equal to collecting coins, stamps, cars... it doesn’t matter what it is, what matters is how universal and familiar the feeling is. In turn, so is Jean’s response to it – she loves Les and is accepting of his quirks in the name of love. With Les Olivia Bernhardt Brogan has taken this singular story and has turned into a mundane narrative we can all relate to, demystifying the aura of “strange” that surrounds Les’s passion.