★★★★ Directed by: #KeyvanSheikhalishahi Written by: #KeyvanSheikhalishahi Starring: #MattPassmore #BrigitteMillar and #AgnèsGodey Film Review by: Bruna Foletto Lucas Nox is French filmmaker Keyvan Sheikhalishahi’s third film, having directed the feature Turba in 2014 and the short #Vesper in 2017. There are a few things that differ Nox from his previous films, it is the first English-speaking film, it was shot in Paris, and the first one Sheikhalishahi himself doesn’t have an acting role in. Before we delve into the film, it bears an importance to look at Sheikhalishahi. It is so rare to see a director, let alone such a young director, with the maturity Sheikhalishahi presents in his work. The story in Nox, as well as in his previous films, is very intriguing and the narrative style used to depict the story exacerbates the power of the narrative. Nox follows a burglary that happens on a senatorial election night. We learn as we go along that the facts we are presented with shouldn’t be trusted. Although this revenge story is told with a realistic aesthetic, for the most part of the film, it feels like a dream sequence – as I mentioned before, some details are amiss and some others happen with a too perfect flow. This doubt, however, is not a flaw of the film as it is resolved at the very end when we learn new information. The narrative of the film is very concise, it doesn’t try to be more than a piece of a bigger story - Nox works well in the confines of a short film. And here is where Sheikhalishahi should be praised – in eleven minutes he manages to establish the setting, raise questions and tie the story together in a very intelligent and sophisticated way. The praise, however, should be extended to all of the crew, especially to the actors – Matt Passmore and Brigitte Millar who play Peter and Claire, the burglars, and Agnès Godey, who plays Michelle, the cold-blooded wife – who create a flawless ensemble; and to the DOP, Jean-Clause Aumont, AFC, whose beautiful camera work flows smoothly throughout the film. The sound design and music (Gréco Casadesus and Gregory Cotti) goes unnoticed, which is a huge doing since in no specific moment are we pushed out of the narrative because of glitches in the audio, especially in subtle moments such as when Peter is trying to open the safe and Claire throws things on the floor, distracting him and aggravating our anxiety. Nox is an excellent short film and I cannot wait to see what other films Keyvan Sheikhalishahi will be involved in next!

★★★★ Directed by #WillLiney Written by #WillLiney, #RoddyDeLaRosa Starring #NeilHobbs, #RoddyDeLaRosa Short Film Review by Jack Bottomley The Hearing Movie Review A confined cast can work wonders for a film or TV show, be it short or long. Narrowing your story to a small number of characters can work to enrich those characters and if a filmmaker has a handle on their story, then you are well and truly off and away. Director/co-writer #WillLiney’s The Hearing is an example of exactly this and is a short film and story that plays out remarkably methodically considering the brief length, and it works really well in pulling you in to an ultimately sci-fi infused drama. To go into the synopsis too much would give away too many details and this is a film that works best when you have more to do in listening to the dialogue and the story information. However, the plot sees a man feasting at a table full of fine goods in the middle of the woods, a younger man wakes at the other end of the table, unsure of how he got there and the two begin discussing his life. But something is not quite right about this situation, and the stakes are far higher than they seem for both men. Opening with brief details, almost like Alien-esque text on a computer screen, The Hearing soon unfolds into a nicely building exercise in dramatic intensity and is a story about hindsight, reflection and life itself. You immediately notice the production design by #TeddieHargrave, and were it not for that opening text clue, you’d possibly think this would be a historical offering, set a century or two back, as this seeming feast takes place. However, through some gradually impressive sound work and certain visual techniques (some of which initially - in the opening minute or so - seem like flaws in the film), the real game starts getting clearer and clearer. The dialogue hints at extremism, abandoning loved ones for a cause and the nativity of youth, and as the exchanges get fiercer, the film kicks into fever pitch. The intentionally overpowering score by #EdwardRogers comes into play, the initially jittery sounds grow in their power and #BenjyKirkman’s cinematography becomes distorted and disrupted by visual effect. And as the game becomes more visible, the tension in the air is really quite palpable. As Lifer 00408 #NeilHobbs is passionate and emotive and turns in a shattering and desperate performance by the apex of the film, which is a great stretch from his initially calm and collected presence. While the film’s co-writer #RoddyDeLaRosa is equally enthused as the young man Gabriel, who is dead set on his beliefs and contrasts with his older onscreen cohort, yet shares much in common with him. While #GemmaBowles makes her presence felt as “the voice”. I really enjoyed this short. The narrative - of all things - actually reminded me of a particular episode of comedy sci-fi series Red Dwarf called “The Inquisitor” in its philosophical edge, as we are forced to ask ourselves what would we say? How would we change our present with knowledge of both our past and our future? #JackBottomley Watch the Movie Trailer

★★★★ Directed by: #MollieMoore Film Review by: Darren Tilby Thankfully, most of us will never know how it feels to live in fear of being thrown out of our homes; murdered; forced into slavery, or dying of starvation. But for young Cosmo and his family, these were the fears that prompted them to flee for the US during the Sudanese civil war. But adapting to a new way of life isn’t easy, especially not when your new home is so vastly different, both culturally and socio-politically. So, asks documentarian Mollie Moore, what does it mean to relocate to another country after being forced from your home? Well, for Cosmo’s dad, John, It means a fresh start in the land of opportunity; somewhere safe for his family to start again. But while the American dream may seem like an ideal solution to anyone wanting a fresh start, the reality is often very different. In A Word Away, we primarily follow Cosmo, a Sudanese refugee, living with his family in America as they try to adjust to life away from home. But we also hear from Cosmo’s dad and friend/poet, Moon. But, no matter who is speaking at the time, filmmaker Mollie Moore ensures their voice is heard loud and clear. Which is appropriate really. Because while this is a movie about finding a home, it’s also about finding one’s voice and what it means for it to be heard. Now, if I have one complaint, it’s that at times the film can feel a little messy. Most notably is the editing. The narrative structure tends to dart about between Cosmo talking about one thing, his dad talking about another, and then back to Cosmo, who’s now maybe talking to Moon. There are simply too many subjects here to cover adequately, given the short runtime. However, this unusual style of filming is also its strong suit. There are no “sit in front of camera” interviews here, this is a story-driven, on-the-spot kind of documentary. One which does not interfere or attempt to confer its own views, and instead, stays wholly respectful to its subjects. And, with its crystal clear audio and superb visual design (#LuciaFlorez), this is a movie that’s incredibly easy to engage with. While Moore’s attempt at asking some pretty big questions about what it means to belong, or to be heard isn’t entirely successful, this is a superb effort nonetheless. This narrative-driven style of documentary filmmaking is wonderfully unique and criminally underused. And it can elevate a documentary film to a whole other level of being. It’s great to see it put to such good use in A Word Away.

★★★ Director: Sam Bradford Writer: Vincent Jerome Starring: Marta Kane, Vincent Jerome and Wallace Sollars Short Film Review by: Jack Cameron The Easy Lift Movie Review Veronika is a private eye, who one night, finds a man rifling through her case files. Thinking his job is finished and that Veronika poses no threat he tries to leave, but things soon turn violent as Veronika reveals she’s not as meek as he may have thought. In just a few short minutes of screen time Marta Kane, as Veronika, impressively shows that there’s more depth to her character than may at first meet the eye. Similarly, Vincent Jerome who, as well as writing the script, stars as Wallace, the ne’er do well attempting to steal from Veronika, goes from having all the power to none of it. While Wallace is forced against a desk he has to try and deliver all his dialogue as Veronika methodically breaks his arm. Certainly not for the squeamish! The Easy Lift plays well with audience expectation, often flipping the power balance; as Veronika interrogates Wallace, she will learn that she is only getting more out of her depth. This is escalated when a third player enters and further throws off the characters’ power dynamic. However, unfortunately, there isn’t much to hold our attention. The precise nature of the crime, and the files that Wallace is stealing, is never very clear. Instead, the short film focuses on the interaction of the characters, rather than plot to drive the movie forward. In many ways this is successful. Sam Bradford directs the action scenes well; movement is fast, and fluid and bones break with nauseating cracks and crunches. The decision to flood the room with neon coloured light, sets it apart from the current trend of gritty, grey action sequences. Indeed, in that way, it's reminiscent of the John Wick franchise. However, violence without established cause, can make for pretty mindless viewing. In part, it’s a classic throwback to the noir era. The characters are charismatic, and we can imagine that nearly everyone is harbouring secrets. The film isn’t long enough to build on this sense of mystery however and the imbalance of action and story does leave the audience wanting. The film’s core lies in the fight sequences and the production design both of which are really well-judged. The Easy Lift does get a lot of things right, but if it expanded its plot just a little more this would have been a really excellent short action thriller. Nevertheless, both Bradford and Jerome remain talents to watch out for. #JackCameron #LIFF #FilmFestival

★★★★ Directed and Written by #CharlieSteeds Starring #DavidLenik, #TessaWood, #BarringtonDeLaRoche Film Review by Jack Bottomley Horror is always striving for new places to spread its sinister wings but sometimes it really is the simplest of traditions that chill the most. Be it a bump in the night, a fear of the unknown, a mind bending foray into the strange or a toothy monster under the bed. Many modern horror films continue to proudly embrace the past, be it the German expressionism of silent screamers like Nosferatu and The Cabinet of Dr. Caligari, the old school shared universe thrills of Universal Monsters or the impeccable stylings of Hammer Horror. And as great as it is to see the genre wildly swinging in so many different directions, sometimes it is fabulous to be taken back to such vintage work, for instance by a well crafted British ghostly tale, and writer/director #CharlieSteeds’ An English Haunting is just that. And I was lucky enough to catch it at this year’s #StarburstInternationalFilmFestival. Set in the 1960s, young man Blake Cunningham (#DavidLenik) and his his alcoholic mother Margot (#TessaWood), are forced to move to the vast and largely empty Clemonte Hall, to care for ailing father/grandfather Aubrey (#BarringtonDeLaRoche). Soon though, the dark and mysterious past of this old house begins to seep out and as supernatural activity begins to haunt Blake, his investigation into this home’s history uncovers terrifying secrets. An English Haunting is a return to the atmospheric days of Hammer. A British ghost story with an air of tragedy and that has the spectre of Hereditary looming over it, as its underlying story kicks into gear. Blessed with outstanding production values, An English Haunting absolutely looks the part, managing to capture its era but also works as a film that feels to have an even older epoch and is like a real tip of the top hat to the spooky English horror tales of old, with that very British edge of eccentricity. Clemente Hall itself is winding and treacherous and while the plot hides secrets, the setting, with hidden doorways and cold colour-drained halls, feels to literally conceal such mysteries. To that point the cinematography by #MichaelLloyd makes a fine use of this, and the grey, outdoor, stretching landscape and overgrown nature-claimed greenhouses, as it all adds to the overall feel of the film. As does the impressive score by #GrahamPlowman. Steeds superbly directs with this in mind, making the utmost use of the resources at hand and editing the film to achieve a sometimes dreamlike effect, this all helps tremendously for building the character of the film’s central ghoul. Like some of the best “monsters”, the film’s central horrific figure comes with an overcoat of pain, and the film works well in keeping this avenging phantasm mostly concealed by lashings of shadow or quick look shots. These glimpses however do give us great insights into the brilliant make-up design and for that matter an equally effective costume and props department. Admittedly, like some entries in The Conjuring Universe, which this reminded me of to a degree, you have a ‘go for the throat’ jump scare approach at points, with all the out horror tropes coming into full effect and a heavy reliance on the atmosphere to keep the story ticking. As such, many viewers may be ahead of the film a few steps and know where things are heading, although some supporting developments (ala Ari Aster) provide the film with a surprising and not overly explained sinister side act. And the ending is welcomely downplayed and rather downbeat, which I sometimes like and here it worked out great. The acting is of a high degree, with strong a performance by Tessa Wood who is sometimes to the bone and sometimes funny but as a character is forced to evolve past her afflictions to save her family from the plague of history. With some good supporting performances from #JéssicaAlonso and #EmmaSpurginHussey, as well as Barrington De La Roche, the cast fully commit, none more than lead David Lenik. Lenik’s initially timid but ultimately resilient protagonist is one you hope comes away from this nightmarish haunting, and that makes all the difference, as the film and its spectres zone in on him, the audience becomes invested in this story of twisted heritage and spirits who cannot rest in peace. #JackBottomley

★★ Directed by: #JennaSuru Written by: Jenna Suru Starring: Jenna Suru and #SébastienCipolla Film Review by: Bruna Foletto Lucas The French film The Golden Age is Jenna Suru’s first feature and it opened the 2020 London Independent Film Festival. The drama is set in 1967 France and it follows two young artists who meet in Paris. The French, theatre actress, Angèle, played by Suru herself, meets an independent film producer that has just come from Los Angeles, Sebastian, played by Sébastien Cipolla, and together they walk through the city, almost alluding to the walks in the Before Trilogy. Angèle and Sebastian talk about their hopes and dreams and realise that they have a lot in common, mainly a desire to create art and live through art. Eventually, Sebastian proposes they start working together to “change the world”. The film is clearly a love letter from the director to the period that has birthed so many important artists. The film oozes beauty with its stunning locations, from Los Angeles, to Paris and Saint Tropez, and with its costumes. Indeed, the visual of the film is its strongest feature – there isn’t one scene where Suru’s character is wearing the same outfit. By watching the film we can tell that there was special care given to the art design and even when the actors are in location, the outside and the extras that come into the frame are dressed accordingly. Another important aspect of the film was its technical endeavors. The sound design, especially the mixing and the score, raised the intensity lived by the hopeful young couple. The cinematography, however, felt frozen at times, relying too much on the 180-degree rule with an establishing shot and medium close-ups with action and reaction shots. Because the film focuses heavily on the diegetic art, it would have been interesting to see how the camera could have brought the film to another aesthetic level through camera movements or even different stationary angles. The narrative, as I briefly mentioned before, is simple – two young artists have a dream to change the world through art and they must fight for what they believe and be strong to keep focus in moments when the easy way out presents itself. The problem here is that the stakes of the film weren’t high enough. Although the characters mentioned their ambitions, the contrived action failed to show us how sincere they in reality were. As a consequence, the characters and their intentions didn’t feel believable and it was difficult to engage with them. The Golden Age is an exercise in style that, unfortunately, fails to change the world – as its characters strive so much to do.

★★ Directed by: #JulianRichards Written by: #MichaelMahin Starring: #BarbaraCrampton, #MichaelParé, #KayleighGilbert, #RaeDawnChong London Independent Film Festival Review by: #TaryllBaker Reborn Movie Review Somewhere between thriller and horror, Reborn takes a look into a world in which a stillborn baby can somehow reanimate... with superpowers. If you hadn’t realised already, this is a pretty ‘out there’ flick. It has some reasonably good action scenes, with some of the bloody deaths being quite cool to watch. Props to the visual effects team who did some splendid work — this is some of the best stuff I’ve seen in lower budget films. There’s a lot to like and appreciate visually, that’s for sure. Although it has its charms, notably found in some of the acting talent, Reborn doesn’t really thrill as much as you’d hope. It sets off on an entertaining enough journey, but due to some of the writing choices, it never really gets much of a chance to breathe. By the end, it all seems like a rush that perhaps ended too soon. But as B movies go, this is one of the better ones. It does feature an interesting score that works pretty well with the visuals. Simon Lambros creates a sort of electronic bed of sound for the more traditional strings to sweep over. Fusing together the two creates a mysterious and satisfying result, very similar to that of Danny Elfman’s style, but unique enough to become its own entity. The aforementioned cinematography by Brian Sowell is among these positives. Brian has worked on several bigger productions as additional camera operator, so here’s hoping we see him solely helm something brilliant in the future. To add, Barbara Crampton, Chaz Bono and Michael Paré were terrific at delivering the lines they were assigned. Perhaps the film could have been longer in order to flesh out their characters and give them some more room to explore, but alas. Kayleigh Gilbert has some solid moments sprinkled in there, but for much of the runtime it felt like a forced effort. However, she certainly looks the part. Her hair looking like she’d been hit with high voltage, though more likely just rubbed with a helium balloon. With a tinkered script and more carefully paced scenes, Reborn has the potential to be the fantastically thrilling and gory horror piece it set out to be. #Horror #FilmFestival #LIFF Watch the Movie Trailer

★★★★★ Directed by: #ManuelPimentel Starring: Manuel Pimentel, Patricia de Santos, Eddie ‘’the produce guy’’, Michele Cobb Short Film Review by: Rachel Pullen Dominican Friday 13th Movie Review Let’s lay something out on the table, I love, not like, not enjoy, not sometimes consider viewing, no...I love Friday the 13th, and I especially love Jason. I love his dumb face, wandering about the woods looking for sexy teens who have been having sexy fun, to slay, just cos his mommy said so. What an adorable goof, now I don’t normally date a mommy’s boy, they make me sick, but for Jason, I would make an exception. Friday the 13th has been a successful franchise, contributing to pop culture since the 80’s, and although we can all agree these films don’t really break any cinematic boundaries or bring spectacular acting or directorial skills, they have been incredibly successful, with a legion of diehard fans...but why? Easy...because it knows it’s garbage, it’s satire and with that knowledge, it knows that we just want to see people get killed in stupid and unrealistic ways by a stupid and slow moron in a hockey mask...does Jason ever play hockey? Hmmm, I’m gonna Google that, I want to see that....anyway it’s this self-awareness that makes it work, and director Manuel Pimentel picked up on that. Short film Dominican Friday 13th is the tale of a screenwriter who is putting to paper a traumatic experience he has endured; a weekend away with friends becomes a #horror movie nightmare when they are attacked by my boy Jason...lucky, I would kill to have that oaf come at me. But like we discussed, Manuel decided to poke a little fun at this horror classic, the characters fall into all the typical horror roles, the desperate guy trying to get a girl, the sexually charged couple dry hump everywhere, and a variety of ladies with ample cleavages run around ...it’s everything we hope for and I’m not complaining. They goof off by bodies of water, pissing Jason off, he hates water, talk around campfires, pretty sure Jason hates that too, they breathe....that one really gets to Jason, Manuel picks everything we associate with this genre and plays it out before us; we know the outcome, he knows the outcome, Jason is not smart enough to know the word outcome, we have seen it all before, so why not have some fun? Jason is goofy, dumb and a little more humanised in this short film which is hugely enjoyable. They treat Jason as not a imposing force, but someone that maybe they can outsmart, run from, an interesting addition to any Friday 13th flick, and to Jason’s persona, we have always been given the subtle hint that Jason is a bit dumb, but this short really gives that idea the green light, and with excellent writing and comedic timing, it makes for actual quality laughs. And in a strange way, makes Jason even more enjoyable as a character. This movie is well shot and camera angles are thought out well, imposing threat and tension when needed, using low level angles to ensure Jason still seems an imposing, giant compared to his victims. The acting was surprisingly good; each cast member was confident to perform a wide range of emotions. We know sometimes that horror scream can be a bit hammy, but with the constant awareness of satirical humour, it fits perfectly here. So in conclusion...I tip my hockey mask to Dominican Friday 13th, the fun, quirky, satirical approach made for a refreshing addition to a set of characters we have seen time and time again...and now I’m off to hang around lakes waiting for my dreamboat Jason... #RachelPullen

★★★★ Directed by: #EmilyHaigh #AlonYoung Written by #AlonYoung Starring: #MhairiCalvey #JamieLeeHill #PeterCharlton Short Film Review by: #ChrisBuick In the wake of the #MeToo movement, there have been an encouraging number of cinema projects geared towards speaking out against the frankly prehistoric culture of toxic masculinity and predatory behaviour that women are often subjected to in many environments. That is thankfully an issue that is moving more and more to the forefront and hopefully, beginning to be cut out of society. Patron, an award-winning short film by filmmakers Emily Haigh and Alon Young adds another rather unique but every bit as important voice to an equally important message. “What kind of world is this!?” “Not yours.” Vickie (Calvey), an ambitious young woman, is looking to progress her career and manages to secure herself an interview with a rather prestigious company that might be her way of getting a strong foot in the door. Vickie arrives confident, determined to make a good impression but soon discovers that her interviewer (Lee-Hill) and the her much older would-be mentor (Charlton) are less interested in her CV, and much more interested in her other “credentials”. Patron certainly delivers a new and surreal way of presenting its subject matter. Almost Lynchian, the film sometimes seems a bit raw, rough, scrappy even. There are beats of dialogue here and there that dangle intriguing threads but which are seemingly never resolved, but its surreal nature never manages to derail its overall message, and in fact all aspects of the film seem to be moving in the same positive direction. It’s a directing collaboration that clearly works as both Haigh and Young are clearly on the same wavelength at all times here. The #shortfilm plants its feet firmly and quickly, it’s close-quarters setting, unnerving score and sinister mise-en-scene immediately serve us with an uncomfortable atmosphere which only grows more awkward as the film goes on. This, along with some impressive and creative writing, keeps the viewer on tenterhooks the whole way, quite unsure and in fact a bit worried about how this is going to all pan out. The cast also manage to play their part with some performances that might seem larger than life, but sadly probably don’t stray very far from the truth. Both male leads deliver an abundance of chauvinistic bravado and sickening behaviour, shrugging off innuendo and sexual suggestion therefore emphasising the point of the film, Lee-Hill’s interviewer is positively dripping with sleaze and Charlton’s lecherous old man is sat practically drooling in the background. But Calvey’s performance as well as Vickie’s resolve are more than a match, managing to show both the strong outer shell she has developed through too much similar experience, but also allows us a small window to clearly see the psychological scars such battles have left before. Empowering and very different, Patron manages to show how women have historically been cracked and broken by male oppression, but ultimately, it’s now time to fight back. #ChrisBuick Watch the trailer here:

★★★★ Directed and Written by #NeasaHardiman Starring #HermioneCorfield, #DougrayScott, #ConnieNielsen Film Review by Jack Bottomley At the opening of the classic Star Trek television series, William Shatner’s James T. Kirk would say that space was the final frontier, however we need look no further than our very own seas to discover new worlds. In a year where the final 20th Century Fox production (before the mighty Disney claimed control) in William Eubank’s underrated Underwater rebirthed the aquatic horror genre, by submerging the cinematorium into the otherworldly and rather alien depths of the sea, so too does Sea Fever. This Irish horror/thriller from writer/director #NeasaHardiman, who makes her feature film directorial debut, had its English premiere at this year’s #StarburstInternationalFilmFestival and it is one to wait for when it receives its hopeful release next month (possibly now on digital thanks to that bloody virus!!). Unlike Underwater, this movie holds back on the spectacle in favour of a refreshingly restrained film that blends seafaring myth with gory body horror. The plot centres on a group of fishermen, who set off for their latest haul, among them is a science student who aims to research patterns of - and potentially new - sea life, but soon the ship is delayed by an unknown presence and the crew begin battling new strain of parasite that threatens their lives. While evoking 1989’s Leviathan on some fronts, this is a story that is commendably pulled back, obvious The Thing and Alien comparisons can be made, but unlike others in the genre (Deepstar Six, Virus), this nautical nightmare refrains from a showy climax or monster movie set pieces. As a matter of fact, the film keeps its mysterious beast largely in the dark depths. In fact Sea Fever has an eco-driven edge, as its "monster" is more a powerful force of nature surviving mankind than being out to get us. This film shows how we disturb the natural world and stray into places we shouldn’t and as a result, we awaken deadly forces beyond our comprehension. There is a touch of The Abyss about it but with far more brutality, as the crew engage in a fight for survival against an aggressive strain of parasite on board. Tensions flair amongst the characters, as this strange strain worsens, and the film neatly folds in maritime Irish mythology and superstition, as Hardiman focuses more on the building enveloping desperation, than wowing us with effects or monster mash carnage. That being said, this is a very well crafted film, the sets are superb and really bring you into the stranded at sea setting, as does #RuairíOBrien’s cinematography, and this set’s confined nature makes the plot’s manic outlines (harnessed from its roster of characters whom are mostly nearing psychological breakage) really spread. Additionally the special effects put to use do have ethereal quality and make this creature a quite impressive creation onscreen, and one to add to the aquatic horror’s lineage of intriguing oceanic organisms. While #ChristofferFranzén’s scoring does its job nicely, in fuelling the overall atmosphere. Young #HermioneCorfield (The Last Jedi) as researcher science student Siobhán leads the film well, alongside some more veteran stars in Wonder Woman’s #ConnieNielsen and Mission: Impossible 2’s #DougrayScott. And there is good supporting turns by Mandy’s #OlwenFouéré and Greyzone's #ArdalanEsmaili. Overall, this is one doomed voyage that gets its hooks into you and an entry into a fast resurfacing sub-genre that stands out. Sea Fever is a real catch! #JackBottomley

★★★ Directed by: #FloraTennant Written by: Flora Tennant Starring: #ChristopherSherwood, #RoseWardle Short Film Review by: Chris Olson Mr Alan on Saturday Movie Review Christopher Sherwood plays the titular Mr Alan (named as just Alan on IMDb, so it’s confusing whether his name is Alan or Mr Alan), a swimming instructor who spends the majority of his time on screen donning only a pair of yellow swim trunks. Whilst this level of exposure for a character may suggest an open soul, Mr Alan appears to be less comfortable with his own sense of self-worth, constantly trying to impress others with his body and behaviour. A charming and barmy short film, Mr Alan on Saturday feels akin in tone to Wes Anderson movies but with distinctly British armbands. During his day, Alan attends a christening in which he is to become a godfather. This all takes place in a small household bathroom (religious representative and all) and sets the decidedly baffling tone very well. There are short moments where we get reflection and introspection, such as Alan sitting down to chomp on a sandwich in the locker room or getting changed next to some other guy in his y-fronts, which persuade the audience to consider this character we are being presented with and what the events and his reaction to them mean. The stylistic choices that writer and director Flora Tennant makes are curated well. Supermarket-style music accompanies the piece, offering a sense of triviality which is immediately disarming, whilst the use of vivid colour in many of the scenes have an almost childish appeal to them which perhaps reflect the central character’s sense of immaturity when it comes to “grown-up” stuff. This then gets cemented in a later scene involving Helen (Rose Wardle) who confronts Alan in his place of safety, challenging him to take a dive - ironically in front of a sign stating very clearly “No Diving”. This part of the movie has no cheesy music in the background and feels infinitely more serious for our man in the banana hammock. Whilst Tennant creates a good rhythm and the form looks good, this swim feels leisurely and lacking conviction. The slow pace of the #shortfilm will likely result in a lot of switching off, and Alan’s social imbalance may very well go unnoticed if audiences are looking for something in the wrong direction. Some of the dialogue is also hard to hear due to the swimming pool locations being used. A fun and mildly diverting backstroke of a film, the water is calm and tepid allowing for a decent character study to unfold. Just don’t expect any Michael Phelps level competitiveness. #ChrisOlson Watch the Movie Trailer

★★★★★ Directed by: #RémiAllier Starring: #EmileMoulronLejeune, #JanHammenecker, #SteveDriesen, #SandrineBlancke Film review by: Alexandra James Little Hands Movie Review Little Hands (Les Petites Mains) is a brilliantly directed film by Rémi Allier, which was able to create a huge impact through a small individual; a toddler to be more specific! This film explores a child’s view on the violence and uprising from factory workers who have lost their jobs, highlighting the desperation of one of their workers who believes he is able to negotiate a deal with his boss by abducting his child. The film slowly unfolds to reveal a breakdown from that worker, Bruno, whose anger and hostility takes him to the edge. The audience eventually are exposed to a sweeter and fragile man who has been forced to commit a drastic act in order to provide for his family. The majority of the film is from the child’s perspective, his fear and curiosity and simple viewpoint of the anger and struggles happening around him, becomes illuminated when through the eyes of a child and adds to the panic and chaos of the scene. It is the child who completely mesmerises Bruno (the kidnapper) his fears and worries are completely washed over as he sits and calmly watches the child explore the forestry and berries around them. This short film was brilliantly written as it raised a lot of emotions as well as placing a spotlight on serious issues. It highlighted to what extent a human can go to in order to save themselves or family. It was interesting to see how the emotional side or even the rational side of beings are supressed and ignored when faced with pressurised situations, it was the desperation which overcame Bruno’s senses completely. The short, sharp cuts really added emphasis to the frantic and crazy scenes that were happening on screen, it fed into the anxiety of the characters. If you do choose to watch this short, you do feel for both the toddler and kidnapper which is unusual as this is never really the case from an audience. The audience are often encouraged to feel empathy for the victim as they are the ones in danger. However, both victim and kidnapper are confused and are both wrapped up in an unpredictable scenario that can cause harm to each of them. However, what was sweet was that it was the child that managed to produce a calming aura and allowed a stressful Bruno to breathe and come to his senses. What made this short film so captivating was the range of emotions that were portrayed throughout. From anger and hostility to pain and upset and then finishing with content and calmness. It was truly a masterpiece and I highly recommend. A beautifully written story that will have you on the edge of your seat to at the brink of tears! #AlexandraJames