★★ Directed by #JeffFowler Written by #PatrickCasey #JoshMiller Starring #BenSchwartz #JamesMarsden #JimCarrey Film Review by George Wolf Even before the masses were recoiling in horror at the people/feline hybrids of Cats, the early look of Sonic the Hedgehog caused such a fan uproar that the little blue speedster got a full CGI makeover. Well, he's here now for his (otherwise) live action debut, he looks fine, and while his film doesn't follow in Cats memorably bad paw prints, it never finds a way to be memorable at all. Anyone who's followed the Sega video games of the 1990s will feel right at home, as the world-hopping Sonic (voiced by Ben Schwartz) does battle with mad scientist Dr. Robotnik aka "Eggman" (Jim Carrey). Sonic's been quite lonely during his uneventful time on Earth, but a helping hand from an aw-shucks small town sheriff (James Marsden) sends them both on a convoluted road trip. Sheriff Tom wants to prove himself a hero, while Sonic just wants a friend. Cue the strings - no wait! Dr. Eggman and his robot drones are closing in! Muuuahahahaha! Carrey sets his mugging level on stun, but really, with director Jeff Fowler keeping each actor exaggerated and a script-by-committee committed to over-explanation, it doesn't seem as comical as it should. Still, Sonic is harmless enough to land somewhere near the top of the dung heap that is video game film adaptations. It's got a pop culture gag or two that lands, a mid-credits stinger that shows promise for the next chapter, and a pace that never becomes overly laborious. So after its rough start with the fanboys, you might say Sonic avoids becoming a real.....CATS-tastrophy. I won't, but you might. #GeorgeWolf

★★★ Directed by #StellaMeghie Written by #StellaMeghie Starring #IssaRae #LaKeithStanfield Film Review by Hope Madden Tis the season, and as Valentine’s-aimed romantic dramedies go, the blandly titled The Photograph could be worse. Issa Rae (Insecure) leads the cross-generational love story as Mae, NYC museum curator trying to process her grief and an incredibly long letter, both hers now because of her estranged mother Christina’s recent death. Christina (a solid Chanté Adams), mainly unveiled via flashback, broke from her own difficult mother as well as the love of her life back in Louisiana years ago to follow a career as a photographer in New York. As Mae learns some painfully obvious truths by way of Christina’s letter, writer/director Stella Meghie (Everything, Everything) weaves two romances together across time to look at the wages of a woman’s ambition and the ways we relive our parents’ mistakes. There’s plenty to like here, and Meghie’s film certainly looks like a dreamy romance waiting to happen. Scenes are beautifully lit, gorgeously filmed and romantically scored. You can’t fault the casting, either. LaKeith Stanfield (Sorry to Bother You) has an easy chemistry with Rae as the journalist interested in Christina’s life, and Meghie surrounds her leads with vibrant supporting characters. Lil Rel Howery, Courtney B. Vance and an underused Kelvin Harrison Jr. all round out the ensemble, adding much needed life. Rob Morgan (Mudbound, Last Black Man in San Francisco, Just Mercy), wonderful as always, steals his few scenes with a restrained, mournful presence that enriches an insubstantial story. There’s a ragged weariness to his character, one that’s all the more poignant when offset by the buoyancy of Y’lan Noel’s turn as the younger version of the same character. Meghie has assembled a fine cast, she just doesn’t give them enough to do. Neither love story gets enough room to grow and Mae’s arc feels forced and rushed. Because Christina is gone before the cameras role, Meghie handles Mae’s conflict with her mother exclusively through clunky dialog, and the usually reliable Rae has trouble conveying any convincing inner turmoil. For a low stakes romance, The Photograph is a very pretty picture. #HopeMadden

★★★★ Directed by #DylanStrzynski, #PadrickRitch Documentary Film Review by Jack Bottomley Despite academic figures telling you otherwise, life does not really have a set structure and in pursuing your passions it is possible to find that the path is much harder than just finding any job and making ends meet. The arts especially can be a winding, hard and sometimes near impassable road but, as those of us who are a part of them know, it is still a journey with some gratifying turns. The Life We Make is an insightful documentary about this very kind of journey and it is an unusual, welcoming and warm offering that acts as a tribute to its varied and diverse subjects, grouped together by their equal love of creating and sharing. The film offers a glimpse into the world of travelling Art Fair artists, who drive across America to sell and show their pieces of work. Their lives are interestingly varied and sometimes tough but this film, while acknowledging the tests of this profession, also casts a light onto why they do it and why it is worth it. They always say you struggle for your art and this selection of open and affable individuals know very well that they have and/or do but that is just another part of doing what they love. At one point the American dream is mentioned and this film very much suggests that, for all the gas money and lives spent on the road, these people are freed by their work and liberated by how they can share it with a wider audience. The look at actual art fairs are interesting but more interesting are the anecdotes shared, discussions of personal lives and even - in one instance - a fascinating gaze into a turbulent political history that has inspired the art and artist. The interviews, conducted by co-producer/artist #HelenGotlib and co-producer, co-director and cinematographer #DylanStrzynski, are less conventional and more like a chat with friends and this relaxed style spreads into the entire project itself. Certain snapshots of photographs onscreen or location information are sometimes delivered with dash of comic wit and it helps even more to give the film a friendly, inviting, feel. You never feel like you are being lectured about the ins and outs of the industry but rather as though you are along on the ride. There are trials and tribulations but what very much comes across here is the sense of community and friendship, this is a profession but more than that it is like a social circle and this film captures that feeling. Money is needed but you feel like it really is not the most important thing here. There are some unorthodox scenes of people showing off their weird and wonderful artefacts, homes, artwork and telling their stories of fun, growing up and struggle but it all adds to this film’s realistic and unjudgmental style. Directors Dylan Strzynski and #PadrickRitch (who also serves as editor) are as interested in the people holding the brush (in fact more so) than what they have painted because to understand the art it helps tenfold to meet the artist, and in The Life We Make you very much feel as though you have met and chatted with these charming people yourself. #JackBottomley

★★★★ Directed by: #JimmyOlsson Written by: #JimmyOlsson Starring: #EvaJohansson #MadeleineMartin #JoelÖdmann Short Film Review by: #ChrisBuick Fresh off the back of his multi award winning short 2ndClass (over 40 in fact) Swedish #filmmaker Jimmy Olsson now presents Alive, a wonderfully endearing film about one person’s simple longing for intimacy. Viktoria (Johansson) is a disabled woman who spends most of her time with a number of live-in assistants but has a special relationship with Ida (Martin), theirs perhaps bordering on real friendship. After one day meeting Ida’s boyfriend Bjorn (Ödmann), Viktoria begins to yearn for the kind of intimacy she sees in their relationship but believes such things might be out of her reach. In an attempt to help lift Viktoria’s spirits, Ida decides to help her create a dating profile, but when Viktoria eventually ends up with a match, the gentleman’s own profile causes Ida to worry that he might not have Viktoria’s best interests at heart. At the core of Alive lies a thought-provoking message that highlights society’s preconceptions and somewhat lamentable attitudes towards disabled people; too often sympathising without ever actually attempting to empathise. But Olsson manages to put his audience in such a position that allows them to see the world through Viktoria’s eyes, and what they witness is a constant contrast of her frustrated life against the freedom non-disabled people take for granted. His use of moody themes, melancholic score and dimly lit settings all point to a filmmaker who has carefully thought about the overall gravitas and tone of his film which is great to see but it is all mixed with a certain level of some welcome levity in places. What really helps the films significant message carry its weight is its two leads. Johansson’s honestly vulnerable portrayal captures all of Viktoria’s frustrations and anger at a world she feels a mere bystander to, which causes her at times to lash out at those around her, but still a woman full of gritty determination. Martin as the ever patient and compassionate Ida, who yes may be guilty of her own prejudices as we all are but always in the interest of Viktoria’s well-being, delivers a performance that not only carefully offsets Johansson’s but harmonises with it. Ödmann’s role is smaller but still significant, Bjorn after all is the catalyst for Viktoria’s newfound resolve and does have one or two standout lines of wisdom, not to mention there is also a small appearance from Olsson himself as Viktoria’s gentlemen caller. We, like Ida, might see Viktoria’s quest as one fraught with pitfalls and obstacles, a train racing down a broken track with inevitable results. But the stark lesson here is that disabled does not mean unable. There is little doubt that Olsson’s goal here is to take our expectations and completely subvert them, but rather than simply looking to pull the rug from under our feet, he instead seems to want to deliver a life affirming story that will lift you up and restore a little bit of our faith in humanity, something we could use a little more of these days. #ChrisBuick Watch the Movie Trailer

★★★★ Directed by: #AlexanderJeremy Written by: #AlexanderJeremy Starring: #SusieKimnell, #SamuelWoodhams, #ShaunPrendergast, #NathanGordon Film Review by: Darren Tilby Fred is described on its own Twitter page as being “a short film about grief, obsession and our ghosts.” I’m not so sure. I mean, it has all those things in it, sure, but I don’t know if that’s what it’s really about. A lot is going on in Fred: a lot to consider. And I’ll be damned if I can tell you precisely what. But I do know one thing...I really like it! The confusion starts from the beginning: who is our lead character? Is it Lily (Susie Kimnell), the young woman who’s recently lost her partner James and with whom we begin the film; is it the titular Fred (Samuel Woodhams), a somewhat shady character with a flair for theatrics: or is it both? For my money, it’s both. Woodhams is possibly onscreen for longer and is, arguably, a more memorable character. But it’s with Kimnell’s Lily that we begin the film and really bond with. However you look at it, the juxtaposition of both characters is pitch-perfect. The performances, too, contrast greatly, and both are utterly mesmerising in their own right. The beautifully understated poignancy of Kimnell’s performance resonates deep within the viewer, and the efficacy of her ability to create such resonance almost entirely physically is quite stunning. Then comes Woodhams, whose friendly shoulder-to-cry-on facade soon gives way to reveal a decidedly more sinister character. Bubbling in intensity and wholly histrionic in nature, Fred can better be compared to Andrew Scott’s brilliant portrayal of Professor James Moriarty in BBC’s Sherlock - and Woodhams nails it. Polar opposites indeed! Fred is a well-put-together movie which suffers slightly from narrative clarity or the lack thereof. The pacing is perfect, as is the atmosphere the film creates. Where it stumbles slightly is in that things aren’t clearly explained or shown to us. This isn’t necessarily a bad thing, not by any means, most movies are far too keen to lay out the plot and leave the viewer with nothing to ponder. But when after three viewings you’re still unsure of the finer points, you need to consider that it may have been a little too vague. However, I’d be lying if I said this hadn’t kept me thinking about the film for longer. Another issue I noted during my viewings was that the night-time scenes were just too dark to see what was going on. Where the movie really won me over, though, was with its sudden evolution into a musical around six-minutes in. I didn’t see it coming, but my god was it the right decision! The 1950s vibe, with both the music and the dance itself, is put to screen superbly, while the muted blue colour palette used throughout most of Lily’s scenes conjures a palpable sense of despair and foreboding - lending the film an inflexion of horror. Indeed, seeing that eerie grin form on Fred’s face as he gradually begins tapping his feet, before breaking into a full-on song-and-dance number – all to the tune of Lee Wiley’s Time On My Hands – is an incredibly haunting moment. One I’ll never forget. Please see below for the teaser trailer. Alternatively, keep scrolling to find a link to the recently released full film. Fred Teaser Trailer Fred Short Film

★★ Directed by #ChristopherBeech Starring: #ChristopherBeech #JosiStTovi #LynneSellers Film review by Nathanial Eker ‘Rock & Roll is here to stay’ say Danny and the Juniors. Well, let’s hope it’s not for long, as Actor-Producer-Director Christopher Beech’s surreal black comedy Rock & Roll is a directionless affair that ambles along at a pace more akin to slow jazz. Although Beech experiments with exciting visual techniques, too often the film is defined by pantomimic acting, pointless tangents, and a penchant for crass jokes about bodily fluids. Clearly enthused by one too many Ramones ballads, Johnny Ghost strives to be a Rockstar. It’s unclear to what extent he’s successful in this endeavour, due to the small stage seen during the film’s climax, but ho-hum. What is clear is that Johnny is late for a gig and he needs to get moving. Unfortunately, a combination of Ghost’s vices and various hangovers from a big night before might have something to say about that. The biggest sin Rock & Roll commits is its lacking stakes. The cuts back to the green room should encourage urgency, yet the performances of Lynne Sellers and Josi St. Tovi as Johnny’s manager and bandmate respectively are so painfully stock that the situation is entirely unbelievable. Equally, Johnny is written in such a haphazard manner that he often seems to forget the gig’s existence altogether. Yes, he’s coked off his head, but the lack of rises in tension create a film that bores and makes a compelling case for additional script drafts. Beech’s performance as Johnny is comparatively strong when examining his co-stars. Though he does have a tendency towards cartoonish squeaks and over the top glares, Ghost grounds the film with verisimilitude and likability. His passion for his dream is admirable, though it’s unclear why Johnny talks directly to camera in scenes randomly placed throughout. Often these segments hold for too long and function as merely as another diversion to distract us from the core conflict. Had Rock & Roll been stripped to ten minutes, keeping a tighter narrative, its charm could’ve outweighed its more frustrating elements. Fortunately, the film fares much better technically. Bar the odd irritating shaky cam (and a weird cameo from the crew), the mise-en-scené is strong. Beech layers his sets with generic formalities; cocaine, a half-naked chap on the sofa, and a never-ending spinning bottle. The monochrome aesthetic works and the transition to colour is striking and effective. Close ups to put us in the boots of Johnny are also implemented well and overall the combination of camera, editing, and costume collaborate to craft a compelling black comedic tone. It’s a shame then that the script lets the side down so staggeringly. Woven throughout the poo joke-laden Rock & Roll is a genuine comment on the struggles of carving out a dream career; an admirable observation indeed. Johnny laments a lack of identity; the moment where he struggles to name a hobby or interest is a genuinely humanising one. Equally, the notion not to ‘live in the shadow of another’ creates intriguing food for thought about how far we take our idolism. Had the dialogue been stronger and unnecessary scenes cut, Rock & Roll could’ve said something engaging about the price of fame and the perils of hero worship. Of course, it’d first have to sacrifice the gripping moment where Johnny sticks his hand into a particularly filthy toilet bowl. Rock & Roll is close to being compelling. It boasts a solid core premise but is let down by poor acting, ham-fisted dialogue, and a serious lack of stakes. The importance of redrafting can’t be overstated, yet there are shades of greatness in this monochromatic mess. With a tighter focus and a shorter runtime, Rock & Roll could’ve been a thoughtful piece about the notion of what it truly means to be a Rockstar. As is, it’s too clunky and unfocused to deserve true praise. Sorry Joan Jett, I don’t love Rock & Roll. #NathanialEker Watch the Movie Trailer

★★★ Directed by: #ShridharDevSharma Short Film Review by: Rachel Pullen Not My Problem Movie Review Trash is everywhere, floating around in our oceans, in piles the size of small islands, often owned by some kind of raccoon family who have created their own society and plan on over throwing our government. So what’s the solution to this never ending pile of trash that we keep creating? Use the canvas bag, use the rubbish paper straws that we are now forced to endure, use the proper recycling bins! Do the things so we can live, and for god’s sakes has no one thought about the children! Well, #filmmaker Shridhar Dev Sharma has, and in his new short film Not My Problem, he decided to take a look at the every growing problem of the country where he lives, India, which produces up to 62 million tons of waste a year. Sharma tackles the subject with a short instrumental piece, gliding shots of the place he calls home, displaying the piles of waste that build up around its residents; from the bustling city streets to the beaches and riversides, we are thrust into what seems like a wasteland from a post apocalyptic video game. We can see the beauty of the country shining through, desperate to break free and flourish, but it is trapped beneath the human consumption, short film Not My Problem shows the sheer disregard from the people who created the mess, and like the title says, it’s so easy just to say it’s not my problem, let someone else deal with it. This eye opening short movie is well produced and shot with care and precision, it encourages us not to look directly at India’s waste issue, but more at our inability to take responsibility for a problem that we have caused. So next time you think that you need that 5p bag from Tesco’s, rummage deep, pull out that canvas shopping bag. #RachelPullen

★★★ Directed by: #JackSambrook Written by: #JackSambrook, #WillUnsworth Starring: #JackSambrook, #WillUnsworth Film Review by: Darren Tilby Jack Sambrook’s criminal road trip movie – made in the heart of Sussex and on a budget of just £200 – is a relatively typical example of the genre. This is both the film’s greatest strength as well as its greatest weakness: Bad Guys achieves the same as many of its big-budget brethren, and that’s an impressive feat. Unfortunately, it also means that despite this being a competently made movie, it’s predictable and unoriginal. Gaz (Jack Sambrook) and Cal (Will Unsworth) are your typical criminal underlings; two childhood friends, living in the south of England, whose lives haven’t turned out as either of them had dreamed. And they spend their time going door-to-door threatening clients and collecting money owed to their boss. Unfortunately, Cal is a loose cannon and has been known to rough clients up a little too much. Bad Guys takes place after one of these visits goes very badly wrong, and sees Gaz and Cal go on a road trip up North (“To the North”) to dispose of the fallout. Bad Guys takes place entirely with these two characters and almost wholly from Gaz’s car. So it’s crucial, particularly for a film with a runtime of 70 minutes, for the characters to have good on-screen chemistry, as well as to be empathetic. This is something the film does really well and having both leads (Sambrook and Unsworth) co-write the movie, I think, has really helped with this: it makes the dialogue feel more natural (even if some of it doesn’t quite land right). And it allows each actor to inject their character with their own unique inflexion. And, as you may expect, both Sambrook and Unsworth give strong performances in the lead roles that they’ve essentially created. Credit where credit is due, there are some surprisingly heartfelt moments here, despite the occasional crassness of the characters on screen. Video quality is considerably better than you may expect, given the film’s limited budget, and Sambrook’s direction and editing are superb throughout. But it’s thanks to Rowan Holford’s sublime cinematography that we’re able to enjoy almost every visual facet of this movie entirely. Sound design, however, is where the film falters slightly, as it’s generally quite poor - with the dialogue, in particular, sounding a little tinny or reverberative in places. That being said, it’s totally acceptable, and I didn’t encounter any problems with actually hearing any of the dialogue. The movie’s main issue, however, is its predictability. There’s a little more going on with this trip than first meets the eye, but, and particularly if you’re a fan of the genre, you’ll likely see this twist coming very early on in the film. There’s just nothing remarkable about the movie; nothing (other than the characters themselves, maybe) to set it apart from any other. But, all said and done, what the filmmakers have achieved here with a nearly non-existent budget is really quite impressive. There’s much to enjoy here and a lot to keep the viewer invested in the film, not least the characters, the bond they share, and the predicament they now find themselves in. Bad Guys is well worth your time.

February is an important month in the cinematic calendar (what with the Oscars and all that). However, it will now be even richer for being the same month that a brand new UK Film Magazine was born - UKFR. Packed full of movie reviews, filmmaker features, and cinematic chat, we wanted to give our readers another way to enjoy some of the content we have on the site. In the first edition, we have included a fantastic selection of reviews from this year's International Film Festival Rotterdam (#IFFR) - from the UK Film Review house critic Nathanial Eker. His coverage included some incredible movies from this year's #filmfestival - and we have displayed them gloriously in our UK Film Magazine. Work is well on the way for our second edition, which will cover movies being released in March 2020 (including reviews from George and Hope AKA Maddwolf), as well as a new selection of exclusive filmmaker interviews - known as Twinterviews. This is due to them being carried out on Twitter by our Editor-in-Chief Chris Olson. We can't yet reveal whom, but let's just say we have something special in store for those who buy and subscribe to our film magazine. Speaking of which, click the button below to visit our dedicated page where you can buy the mag as well as SUBSCRIBE so you get first access to future editions. The current price of the UK Film Review Magazine is just £1 - and you can't say fairer than that. That's all for now folks - stay tuned for more from us. #UKFilmMagazine #UKFilmReviewMagazine

★★★★ Directed by #LewisCoates Starring: #NicoMirallegro #NathalieCox #RosieGray Film review by Nathanial Eker How far would you go to rediscover a memory lost to trauma? This engaging premise is the central conceit of Redisplacement, though its more notable points of interest lay in its rather magnificent visual style. Though its plot is secondary, concluding abruptly at a frustrating dead end, its creative concept of futuristic therapy and its dream-like aesthetic make it a joy to watch. Leo (Nico Mirallegro) is attempting a modern form of psychotherapy in an attempt to resolve an underlying trauma. His therapist, Doctor Michelle (Nathalie Cox) dives deep into the recesses of his mind, stripping back layers of short and long term memories to find the root of the problem. The thematic trope of therapy via technology is an all too common quasi-sci-fi beat in our post-Black Mirror landscape. Appealingly however, Director Lewis Coates crafts a narrative that mercifully avoids the predictable ‘twist’ where the protagonist rediscovers a long-suppressed crime, Shutter Island style. Fortunately, this particular narrative is more interested in creating a playground for Coates to demonstrate his eye for visual filters and beautiful landscape cinematography with a wonderfully intimate depth of field. That’s not to say that the narrative is without fault, however, as it often feels directionless; existing purely for the creation of such beautiful imagery. The blurring of reality is initially gripping but it ultimately confuses more than it confronts. The inconclusive ending hints at the unreliability of Leo’s therapist, as well as hope for this troubled young man, but the vague dialogue is too non-committal to be entirely satisfying. Coates’ tendency to place style over substance bleeds into the performances of his leads who, while competent, favour a subtle approach overpowered by obtuse visuals. Doctor Michelle in particular is defined by the editing that accompanies her. Oppressive close ups of her mouth hint that her words might contain unseen despotic poison; a nice touch. Leo is given more to do, yet Nico Mirallegro often holds back, never quite giving us the emotional release we crave in a story so driven by discovery. What does deliver is the stunning sound design, both diegetic and non-diegetic. Composers David Housden and Hugh Major present a stunning tableau of orchestrations that all at once create the strange, semi-dystopian sound of a future gone wrong, and a dream that can’t be woken from. Equally, the surreal colour palette and often alien lighting and imagery are supported by a stunning soundscape that’s instrumental in transporting us somewhere far from reality. Redisplacement is a stylish short that creates a visually pleasing world unconcerned with the bindings of realism. Nathalie Cox delivers a scene stealing performance as the clinical Doctor Michelle, while the remaining cast offer adequacy in spades. Where the film truly excels is through its technical craft, as Coates blends a bright wheel of colour with disjointed visuals and experimental ambience to great effect. The somewhat damp conclusion is frustrating, yet its aesthetic is so strong that the film is able to remain eminently entertaining regardless. Stunning and engaging (if a little wonky on plot), Redisplacement has to be seen to be believed. #NathanialEker Watch the Movie Trailer

Filmmaker feature by: Bruna Foletto Lucas Jessica Hausner is an Austrian filmmaker who has been receiving due praise around Europe, especially now with her latest film Little Joe (selected to compete for the Palme d'Or at the 2019 Cannes Film Festival), and is now the focus of a “season” at the British Film Institute, in London. Although Hausner has been working as a filmmaker since her first short in 1992 titled Geburtstag, it hasn’t always been easy for her. As she mentioned in interviews before, because Austria wasn’t very influential in the cinema world, she realised she needed to create her own company (Coop99, founded later in 1999)in order to market her films internationally. By taking this first step and tightening her bonds with a group of film professionals, which would remain with her throughout all of her films (Tanja Hausner, costume designer, Katharina Wöppermann, set designer, and Martin Gschlacht, DOP), Hausner paved a path for herself. In 2001, with her film Lovely Rita, Hausner made her debut at the 2001 Cannes Film Festival having her film screened in the Un Certain Regard section (created for “less conventional” films). She returned to Cannes three more times, in 2004 with Hotel and in 2014 with Amour Fou, and, as mentioned before, last year with Little Joe. Some have labelled the Austrian filmmaker as Kubrick’s heir, which can be a blessing but also a burden. Her work lies on the verge between mainstream and experimental films, which makes some of her films difficult to watch, sometimes narrowing her audience. Nevertheless, it doesn’t lessen the fact that her films are beautifully done and the whole ensemble creates an impressive body of work. Being aware of the irony, as films rely on images, the most interesting thing about Hausner’s work is the invisibility. More than mainstream filmmakers, Hausner’s films, instead of making use of words, are explored through images, the visual means and the atmosphere they create, allowing for different and personal understandings of the film. Thus, the importance is placed upon the images as she delves into a pre-linguistic stage to explore feelings she doesn’t dare naming, nor defining. Moreover, the contradiction offered between the documentary tone and the artificial element that her films bare, creates mood pieces that are more interested in creating doubt on the spectators’ mind rather than explaining it. Furthermore, another important detail to mention is her films’ characters. In the majority of times, Hausner’s characters are lonely and quirky, and her protagonists are often women – not because she wants to make a statement, but because it feels more natural to her. She also explores her characters’ innermost feelings - focusing on what they might be feeling behind their mask – through a cold and refrigerated photography. Despite having said that nowadays it is more difficult to make a film due to her own high standards, Hausner continues to “deal with the inexpressible” – that is her own vision of cinema. Get 2-4-1 Tickets at the BFI event for "The Cinema of Jessica Hausner" using code: UKFR241 Click the banner below to BOOK NOW

★★★★ Film Name: Métèque Directed by: #LaurenBlackwell Written by: #LynaDubarry, #LouStassen Starring: #LynaDubarry, #LouStassen, #OisinNolan Film Review by: Darren Tilby Métèque attempts to tell the (based on a) true story of a young banker who suddenly finds her UK visa revoked and facing deportation. It’s a film made with our current political climate in mind and aims to articulate the “voices of everyday people”, and understand how the “actions of politicians who like to play God”, affect their day-to-day lives. The massive shift to the right (politically) in the UK over the last few years has been truly terrifying, and movies like this work to bring home the stark realities of hate and paranoia-filled politics to a broader audience. Not knowing anything about the “true story” the film is based around, I can’t comment on how well it’s been put to screen. But it almost doesn’t matter. We know this sort of thing is happening on an ever-increasing basis, and Métèque presents itself in a way that really rings true. First-time writers Lyna Dubarry and Lou Stassen have crafted a weighty and moving narrative which challenges the already ridiculous assumption that only “bad immigrants” (an equally absurd term) are deported. At its heart is a film about identification and finding where one’s home is. And in this film, the answer to that question isn’t quite what you’d expect. The first-timers also star in the lead roles of Samia and Zoe, respectively. The performances are genuinely brilliant, and the chemistry between these characters forms an essential emotional anchoring throughout the film. They’re well-written and well-developed characters who share a compelling past. It’s a history that is only ever hinted at, never fully fleshed out, no exposition. For me, this worked well. Not revealing the extent of their shared past allows us – the viewer – to speculate and come to our own conclusions on the nature of their relationship, how they met, or what brought them to the UK in the first place. The same attention to detail hasn’t followed through to the supporting cast, however. As a consequence, and while performances are generally fine (including a very solid performance from Oisin Nolan), most of the secondary characters feel of little import. In truth though, this had little bearing on my enjoyment of the film as a whole, as it grounds itself with such eloquence in Samia’s story. It’s also, occasionally, apparent that this is an inexpensively made film: at times the picture quality doesn’t hold up very well, and the audio, particularly the dialogue, can be very quiet and difficult to hear. This, again, isn’t something likely to really bother you though as the direction and cinematography (Romain Rampillon) itself is absolutely sublime. There’s a breathtaking sequence in a dance studio between the two lead characters (that I can’t talk too much about without going into spoilers) in which the camera captures a genuinely moving and powerful moment, and where the elegance of its movements and framing seems to elevate the entire film. While Métèque stumbles at a few hurdles, it’s a superb directional debut from Lauren Blackwell that succeeds, in no small part, due to its extraordinary writing and camerawork. The importance in the unfortunate relevance of its subject matter and the realism with which it portrays it can’t be understated. However, there’s also a sincere exploration of the fantastic central female relationship, written by both of the film's stars. Which is just an absolute delight to digest.