★★★ Directed by #ZaneVanCleave and #DevinVanCleave Written by #MatthewParis Starring #TaraDavis, #BrandonBox, #MatthewParis Short Film Review by Jack Bottomley Sometimes the scariest thing in life is knowing you are being watched but an even more horrific prospect is not knowing at all. In this day and age there seems to be an alarming amount of people obsessing over someone or something. You can’t open Twitter or Facebook without seeing such sad, angry or unsettling sights. But what happens when this obsession turns really dark and goes beyond the point of return? Such is the case in directors #ZaneVanCleave and #DevinVanCleave’s short film The Eyes On Me, which sees young woman Jenny (#TaraDavis) arrive home from a evening out, only for her solace to be disturbed by a sick individual willing to go to extreme lengths to get what they want. Starting off with its protagonist winding down with a glass of wine after her evening, things soon turn sinister with that first knock at the door. For anyone who has ever seen a home invasion thriller or slasher, you know the signs and are immediately hooked in to what is, really, a very basic plot but it is the surrounding matter that is most important. This film shows the very real result of a person’s sexually driven mania and objectification of their target, but is a little light on the themes and explanations of how it develops, as only a few text messages fill in the story gaps and overall, The Eyes On Me is less detailed being played more for a short adrenaline shot of fight or flight survival in the face of this dangerous force. That’s not necessarily a bad thing but it does mean that the narrative does not get the opportunity to delve deeper than surface level thrill, which leaves the finale to arrive a bit suddenly and an explanation that is essentially: this person is a creep. That being said, this is still a rather tightly wound affair that does build some suspense in its earlier moments, thanks in part to some great original music by #JimMcAllister (including a vinyl player sequence which reminded me a tad of 2008 film The Strangers) and the small feeling this home setting (and #JamesFarns’ cinematography) exudes, which feels at once overpowering and isolated. In fact, it is a shame there was not more build up with this setting and prolonging of this early tenseness, as it would have made the finale all the more powerful and given chance to widen the lead character, while doubling down on the film’s approach. The acting is good, with the odd line sounding a tad strained but Davis is good as Jenny and sells the heart racing panic, while #BrandonBox offers some strong support as he plays up his character’s animalistic anger and lust. Once the shock kicks in, it is all to the big finish, and very quickly at that, which may leave some feeling a bit annoyed by the concluding openness but which quite literally ends the story with a bang. A short story of obsession and objectification that could go deeper with its themes but still hits effectively enough and shows the deadly endgame of such fixations and how one young lady bravely combats them.

★★★★ Directed by: #RGGreiner Written by: #RGGreiner Starring: #FrancescaGoodridge, #GeorgeThompson Film Review by: Darren Tilby When it comes to short films and comedy, there’s really only one way to do it properly—snappy and to the point! And with the use of some Edgar Wright style quick edits, knife-edge sharp dialogue, and inventive storytelling, Writer/Director RG Greiner achieves this almost embarrassingly easily. Peach (Francesca Goodridge) and Pooch (George Thompson) are...unusual thieves, to say the least. Their modus operandi? Glueing people down so they can rob them because “we don’t have any rope.” We follow one of their more productive sprees, as they go door to door like a slightly more sinister, yet considerably more pleasant, salesperson, one Valentine’s day, robbing the occupants then enquiring as to where they should move onto next. There are some hilarious results: from one man suggesting they should rob a couple down the road because they keep blocking the pavement with their rubbish, to another suggesting a neighbour. After all, he’s “a prick.” Pooch, though, lets himself get too close to Peach and develops a bit of a crush on his partner. Something he plans to make clear after their night of thieving - it is Valentine’s day, after all. But does she feel the same about him? Unfortunately, there’s nothing that really propels this film to the level of excellence I hoped it would reach: the narrative especially, while concise and well told, is a little predictable and not terribly original. But that's my only complaint, and there’s something intrinsically British about the whole affair that just made me smile the entire way through. The humour is right on point, with brilliantly written dialogue and fantastic line delivery by the film’s cast. Goodridge and Thompson, in particular, give outstanding performances in the lead roles. Performances which are anchored by the marvellous chemistry between the two actors and dynamic relationship between both characters. Super Glued Up really puts itself across well and feels incredibly technically literate. Roger Heathers’ score is a relatively minimalist piece of work, but no less effective for it, and James Holbrook’s cinematography – particularly its framing – is a cut above what you might expect from a film like this. Still, it’s the film’s editing (Connor Law Twigg) that makes this movie work so well, as it magnificently sets the pace and character of the movie as a whole. There isn’t much more to say about Super Glued Up, other than I really, really enjoyed this film. Yes, it just falls short of reaching its true potential. But this is still a brilliant, funny, well-made piece of British, independent filmmaking that deserves an audience. And the best thing? It’s available for anybody to watch on YouTube, right now! Do yourselves a favour and give it a look.

★★ Directed by #BradenKing Starring #PhilipEttinger #MarcMenchaca #RossPartridge Film review by Nathanial Eker A story with a gluttonous excess of drug laced thematic undertones, The Evening Hour aims high, but falls short. Against spectacular canvases of stunning West Virginia, this tale of redemption attempts to spin an admirable number of narrative plates. Director Braden King crafts a story that makes sweeping statements about small town economics, the nature of human morality, and the desperation perpetuated by the narcotics trade. Despite these compelling themes, King’s small-stakes tale is unfortunately more a bad trip than a welcome shot of adrenaline, thanks to stereotypical characters and sluggish pacing. Cole Freeman is a caretaker of the elderly in the rural town of Dove Creek. He’s also a supplier of illegal painkillers, standing a stone’s throw from a slippery slope to dealing. Cole keeps to a personal code though, insisting that he can remain both drug provider and a good man. Through evolving relationships within his tight community, Cole must challenge both the brutal industry and his personal demons on his quest for redemption. King’s vision for Dove Creek revels in its Americanness from the outset. Pick-up trucks, baseball caps, and neon lit bars define its mise-en-scené, expressing without words the town’s ethos of hard work and familial connection. This rural aesthetic extends into landscape photography, as the still, rich natural light of the Virginia sky across King’s impressive wide shots craft an understated setting that juxtaposes the town’s corrupt goings on. It’s clear that The Evening Hour admirably aims to highlight a lack of opportunity for the younger generation, though this engaging notion quickly takes a backseat to Cole’s insular story of personal vindication. Flashes to the past highlight painful memories of simpler times, though Philip Ettinger regrettably fails to sell the portrayal of a man haunted, as he’s more oblivious and brattish than conflicted and concerned. This isn’t helped by crucial supporting characters’ descent into laughable levels of stereotyping that clashes dreadfully with the realism infused tone. We’ve seen antagonist Everett more times than Cole’s dealt illegal painkillers; he’s the nasty drug lord with a sinister love of violence and an obsession with respect. He’s Frank White. He’s Breaking Bad’s Tuco. He belongs in a pantomime. Of course, characterisation is inevitably led by the source material, though it’s the filmmaker’s prerogative to make essential changes and to adhere to the film’s truth. The Evening Hour at times dives into pressing issues, yet ultimately lacks anything interesting to say. Despite a well-established sense of community and an attractive mise-en-scené, widely over the top performances, and especially a dull leading man disconnect the audience from the heart of this would-be interesting cautionary tale. The Evening Hour boasts the seeds of greatness, but it’s ultimately not the tear jerker it desperately strives to be. #NathanialEker #IFFR #IFFR2020

★★★★ Directed by: #GaryOBennett Written by: #GaryOBennett Starring: #CarolinaDeCastiglioni, #EkinNazDemirok Film Review by: Darren Tilby There’s a lot to be said for a film that deals with sexual abuse and leaves you second-guessing who the actual victim was. It’s this style of morally ambiguous storytelling that you’ll encounter during Gary O. Bennett’s six-minute short drama, Getting A Scholarship - a film that’s as much about ambition and opportunity as it is about the abuse of one’s position. Lucy (Carolina De Castiglioni) is not happy about her recent A-graded paper. It may seem strange, but her concern is such that she’s sat in her tutor’s office to discuss precisely how she managed to get the stellar grade she did. Bella (Ekin Naz Demirok), Lucy’s tutor, is understandably surprised at her apparent anger. It soon starts to become clear, however, when the conversation soon turns to “an innocent drink” the pair had shared a few nights before, and how there may have been the promise of a better grade in exchange for the drink out. But it doesn’t stop there, and soon, accusations of drugging and sexual assault are being thrown at Bella. It may seem like a reasonably black-and-white issue: a tutor abusing her position of power to take advantage of her younger students is, quite obviously, a terrible thing to do. But it doesn’t alter the fact that by the end of the film, I was left wondering who the actual victim was. De Castiglioni plays on our perception of the typically diffident young woman trying to stand her ground in the face of absolute authority; youth and innocence pitted against experience and wisdom. At the same time, Demirok exudes confidence and, dare I say, arrogance in the face of these repeated accusations. This obviously isn’t the first time she’s dealt with such allegations, a fact made evident by the speed of her ripostes. Nonetheless, around the half-way point, these roles begin melding into one another – achieved by the brilliantly on-point performances – until, by the end, all sense of morality has flown out of the window. This tonal shift and the gradual build-up throughout the movie is genuinely chilling, and it has me considering its ramifications, even now. In this respect, Getting A Scholarship is a resounding success. Where it doesn’t quite succeed is in its dialogue and the quality of the sound. Both can be quite poor, with the audio sounding a little muted and fuzzy in places (except for the musical score), and the conversation not feeling particularly authentic. It’s also worth mentioning, although this isn’t an issue I had, that the film could, possibly, be problematic for anyone sensitive to the issue of sexual assault. Especially regarding how the movie ends, which I obviously don’t want to discuss here. But like I said, this wasn’t a problem for me, and I don’t really think it will be for anyone else. In the grand scheme of things though, these aren’t big complaints, and they are the only ones I really have. Getting A Scholarship is a terrific drama with a lot going for it: solid performances, great storytelling, and an unsettling twist. One that sticks with you long after the film finishes, and will have you questioning your perception of right and wrong. Not bad for a movie just over six-minutes long!

★★★★ Directed by: #MarieSophieDriffield Starring: #MikeKelson, #MariaAlexe, #SarahMerrifeild, and #MeganSharp Short Film Review by: Rachel Pullen Nightshift Movie Review Oooh yeah, working the night shift, anti-social hours, developing bad sleep and eating habits, the desperate isolation and lack of social life with the rest of the world and their 9 to 5. We love the night shift. The night shift is not just for doctors, nurses and Deliveroo drivers, oh no, did we forget about prostitutes, they love the night shift, and that’s what Marie Sophie Driffield decided to venture with her new short film...Nightshift...bet ya didn’t see that title coming. The story follows a young woman who hangs around in kebab shop, waiting to pick up clients for a bit of sexy fun. I love the combo of a kebab and prostitute; it’s a meat on meat love affair, yet my local kebab shop looks nothing like the one in this short...you know clean, unbelievable set choice straight off the bat. She takes him back to the communist style apartment she lives in, for them to have a little fun, but it’s not long before our eager customer gets a bit short of breath...and well flops, and not just in the groin region (to many kebabs will do that to you). Now - spoiler alert -, Nightshift follows the already played out storyline of rape revenge, and although it’s not as played out at the Star Wars/#Marvel franchise plots the world of cinema is currently being dragged kicking and screaming though, it’s not the first time the thriller genre has been subjected to this tale. I Spit On Your Grave is the obvious inspiration for this tale, and of course there is nothing wrong with, Nightshift takes its own approach, an important element when playing homage to an already well established storyline, and the ending allows us a fresh approach to some classic female revenge, and although I saw it coming, others may not. But Nightshift does not treat the audience as stupid, and the ending allows the viewer to able to use their imagination. Essentially Marie Sophie Driffield is not holding our hand through the storyline, she allows for us to determine these characters and motives for ourselves, it’s not as if she has just failed to meet character development, but more she allows us to make up our own minds about the moralistic movements of each cast member. The concept is compelling and will capture people’s attention, this seems like a passionate project that is heading in the right direction, as I stated the storyline may be something we have all seen before but that does not strip it of having a quality storyline for us to enjoy. #RachelPullen

★ Directed by: #RobHurtt Written by: Rob Hurtt Starring: #EricColvin, #PeterOShea, #OliviaNeuer, #DeanMichaelJulian Short Film Review by: Corey Bulloch Um, What? No seriously, Rob Hurtt’s short film Come Outside is some bizarre surrealist imagery that feels more like weird than the sake of weird than any grander artistic storytelling. Although it can be reversed engineered to be something about birth, reincarnation, life or some strange conception of all three, it seems Hurtt is just throwing whatever imagery he can to overwhelm the audience. Initially, everything seems to be very Lynchian with Eric Colvin’s Noel awaking in a red room and listening to strange messages from novelty phones shaped like red lips. From there it just gets stranger and stranger as Noel is visited by a grisly butcher doing a Bugs Bunny impression, Noel experiences visions of a life lived, a life destroyed with more destructive imagery including alcoholism, violence and a nuclear bomb detonation. The imagery seems to feed back into this theme of life, the opening shot featuring a quote from Oscar Wilde on how life begins, the issue with Come Outside is how off-putting and disengaging the imagery works within the film. There’s no grounding to Noel’s story, we start with him in a strange place, bombarded by confusion and non-sensical audio and visuals. At times it feels Hurtt’s use of surrealism is more because it “looks cool” not because it serves a story, like a misguided cinematic Rorschach test, hoping the wide berth of symbolism will trigger something in the audience. However, they are left more confounded than moved by the time the film ends, not understanding the point and those that do piece this together aren’t remotely impressed by the handling of themes. The rough style doesn’t help matters either as it’s clear Hurtt wants to emulate more avant-garde styles of filmmaking but doesn’t attempt to inject any slick style or insight of these techniques into his film. Come Outside has an awkward cobbled together feel to the editing, making all the outlandish elements come across as desperate pretension rather than any thought-provoking analogy. The film alienates the audience from how it presents its peculiar reality because there is no innovation in the filmmaking to make the possible themes resonate. Come Outside doesn’t speak to grander ideas of life just more like a forgettable, strange interpretation of questions that have had far more thought put into them by other storytellers. The film thinks it’s a deep, biting examination of life itself and that’s where it falls apart, being confusing and weird doesn’t immediately give the visuals meaning and the arrogance is rife throughout. There is something buried within the film but Hurtt’s direction and vision are more focused on the style than the substance. #CoreyBulloch #shortfilm

★★★ Directed by #JoeDenardo #PaulFelten Starring #StephanieHayes #ScottShephard #ChloëSevigny Film review by Nathanial Eker ‘The unbeatable slow machine that brings you what you’ll get’ goes the poem by Larkin, whose influence is both clearly and subtly littered throughout this tempting, stylish thriller. Weaving a grunge infused aesthetic and lateral narrative structure, directors Joe Denardo and Paul Felten craft an absorbing piece that captures a macabre sense of intrigue, yet ultimately fails to hone in on what exactly it’s trying to say. Stephanie is an actor trying to make it in New York City. When a chance encounter leads her to an unorthodox relationship with NYPD specialist Gerard, her life takes an unforeseen turn. Her story told in flashes to the past, Stephanie now lives with a band of bohemians that present further complications. There is a wonderful sense of independence to Slow Machine, both in its charismatic duo of leads and its grimy visual style, achieved through the appealing grain of filming on 16mm. Despite Felten and Denardo’s taste for unnatural, quick moving dialogue, both Stephanie and Gerard gel exceptionally, complementing one another’s performances like pieces of a dark puzzle. Their unnatural relationship keeps us guessing a thousand lines of thought. Who is this fast-talking man? Why are his moderately flirtatious lines so obtuse and obvious? Does his fiancée even exist? Is he protecting Stephanie, or intentionally causing further strain? Gerard’s occupation in surveillance opens up the potential for cutting commentary on the ever-present, paranoia-inducing issues of privacy. Regrettably then, despite laying substantial thematic groundwork, Felten and Denardo never focus on the concrete. A ten-minute sequence (in a film that lasts only seventy) is bizarrely devoted to a fleeting side story starring Stephanie’s colleague Chloe, who auditions to a panel of faceless, androgynous, frightening people. She notes their script lacks story, but that its words are transcendent; perhaps a self-indulgent, fourth wall breaking prophecy of what the directors hoped to achieve. Typical of an artistic, cross medium approach to filmmaking, the film’s classification of ‘thriller’ is used purely for framing. Interestingly, Slow Machine rejects notions of a singular generic definition, instead opting for the term ‘screwball thriller’. There are indeed moments of an odd comedic levity, usually characterised by the uncomfortable length of several arduous monologues. A thematic relationship with death also incites the occasional macabre giggle, due to how bluntly the players speak of such unknowable concepts. At times, Slow Machine is visual poetry; the characters preach their subtext freely and supremely, as they assess the peculiarities of human behaviour and the nature of life and death. Despite its unique structure and fetish for tangents, the film ultimately forms an ironically traditional thriller, and an engaging one at that. Regrettably, an unfocused thematic undercurrent, pointless diversions, and bland supporting characters distract from an appealing core truth. This muddled film at worst oozes pretentiousness, yet at its best compels and challenges with a fast-paced script that soars. #NathanialEker #IFFR #IFFR2020

★★★★ Directed and Written by #EliezerVergara Written by #EliezerVergara and #SeánConlon Starring #AaronBadilla, #LuciaSawh, #AaronZapf, #MackenzieLesserRoy, #SamAshdown, #DanaStern, #KeziaBernardNau, #JessPrichard Short Film Review by Jack Bottomley There really is nothing like a good get together with friends is there? A chatty catch up. A nice meal. Some drinks. Really, what could be better? At least that’s the theory, but as we all know life does not follow a theory! Sometimes nothing reveals more about us than such gatherings and in the case of this acclaimed (and rightfully so) short film from writer/director Eliezer Vergara, we see that with friends like these who...well you know the rest. Self Servers uses comedy derived from its awkward social graces (or rather disgraces) to explore the millennial mindset and in the process ask us some very timely questions about who we are, how we act and how well we can possibly know “friends” if we don’t really know ourselves. The plot is ingeniously simple in its design and very cleverly executed, as couple Jackson (Aaron Badilla) and Emma (Lucia Sawh) plan a dinner get-together at their flat for their mates, as they plan on breaking some huge news to them all. Sadly, best laid plans can’t quite combat a perfect storm of ego, turmoil and simmering emotion. Vergara does an absolutely splendid job in delivering his story. His direction is contained entirely within the designer walls of the couple’s home (to that end Director of Photography #ChrisUngco nails the aesthetic) and deliciously toys with style. What plays out is an impeccably up-to-date percolation of human jealousy, lifestyles and self importance. Like Carnage, 12 Angry Men and The Party, this film wittily dissects some huge human issues amidst a social group gathering and naturally alcohol flows, points are made and things get heated (and in turn humourous). With each incoming couple’s arrival, we have an ever stirred melting pot of insecurities, professions and viewpoints and it is really entertaining and enlightening seeing these friends grow increasingly uncomfortable in each others company. As #DylanGlatthorn’s very sophisticated score peppers the beautifully shot antics within the home and the increasing faux pas and snide comments begin to pile up, you relish learning more about the pieces in this ill-fitting jigsaw, as you await the inevitable moment that it all bends out of shape, wondering which comment will be one too many! This is a real ensemble effort, from the make-up and costume team, to the writers (Vergara and Seán Conlon), to the brilliant acting team. Badilla and Sawh lead the pack as the hosting couple but are joined by an equally diverse array of characters who increasingly come to be a complete clash of ideologies, be it in the work they do, the lives they lead or even what they eat! It is nigh on impossible to choose a favourite performance, as everyone has a chance to enjoy some sniping moments of dialogue or some withering glance exchanges of their own. Aaron Zapf’s ego-driven Tyler and Mackenzie Lesser-Roy’s social media touting Macy, Sam Ashdown’s wealth flaunting Will and Dana Stern’s health focused Lauren, Kezia Bernard-Nau’s vegan living socially active Kim and Jess Prichard’s on edge Max. These couples compel with their contemporary calamity and the film never misses a step in making a point about how we operate nowadays and how every action or plan comes with an underlying purpose. Self Servers leaves us with a lot to think about, in fact it’s a bit of a shame it’s not a full feature film, as a lot of the character beats and plot’s depth could have been expanded even more and i could happily have seen such debates been ratcheted up for longer before the finale. Plus it may have helped the ending feel a bit less sudden in its arrival. Overall this is a really entertaining short that serves up some food for thought. Approach your next friends dinner party with caution!

★★★★ Directed by #AlejandroTelémacoTarraf Starring #RicardoFidelTolaba Film review by Nathanial Eker An affective, almost entirely visual experience, Piedra Sola respectfully captures the essence of rural Argentina in an intense cinematic detail. Crafting a part drama, part documentary, debut feature director Alejandro Telémaco Tarraf forgoes traditional narrative devices in favour of painting a cultural tableau; a moving portrait of a humble culture inextricably tied to Mother Nature. Fidel is a llama farmer in The Hamlet of Condor, in Puna. He and his son journey miles to sell meat and fur, to keep their endearingly simplistic livelihoods afloat. However, when Fidel discovers that a predator has been slaughtering his herd, he considers the best course of action, eventually deciding that as per custom, an offering must be made. More concerned with shedding light on a lesser known civilisation than creating drama, Tarraf creates a film that would be almost identical, dialogue free. Very few lines are spoken, and those that are exist to teach detailed ritualistic traditions. As an insight into a real people (essentially playing scripted versions of themselves), it’s a fascinating documentation that will inevitably broaden horizons and incite debate. Wholly rejecting a notion of cause and effect, the initial conflict of man versus predator loses focus, as it becomes clear that pure societal insight is the goal of this visually exciting filmmaker. Tarraf and his cinematographer master the wide shot, crafting organically realised tableaus that shimmer against the beauty of the natural light. Each shot swims across the screen; living portraits with more detail across one frame than a thousand words could speak. The human players, in contrast to their magnificent surroundings, are characterised by close ups and POV shots, showing in excruciating detail the extent of their daily plight. With each lengthy step taken, each mountain endured, each rainstorm avoided, we unequivocally comprehend their struggle without need for words. The only questions lay in the opening sequence. For ten minutes, a beautiful white stallion struggles across the mountain top, its front legs bound by man-made rope. Is it symbolic of Fidel’s struggle to maintain harmony with Pachamama? A comment on man’s tendency to bind nature for our own gain? Or, perhaps it’s allegorical of Fidel’s literal uphill battle for order. Only Tarraf has the answer. Piedra Sola is a visceral experience from start to finish. More documentary than docu-drama, Tarraf revels in taking his time, lingering on details that make the sensational cinematography even bolder and more impactful. Though it sounds idolatrous to suggest, the film can at times err on the dull side, though striking moments of unmissable scenery and ambient sound make it an hour and a half worth relishing. #NathanialEker #IFFR #IFFR2020

★★★ Directed by #ShinichiroUeda Starring #OsawaKazuto #KonoHiroki #FujiTakuya #KitauraAyu #UedaYosuke Film review by Nathanial Eker Quirky and intentionally amateurish, Special Actors is more oddity than odyssey. This strange film set against a bizarre reality of coincidence and absurd motivation charms, yet its peppy tone starts to grate after the one-hour mark. Its irreverent approach to filmmaking and an aptitude for fun over substance is endearing, yet one too many failed jokes and a nonsensical narrative structure hold this could-be comedy gem back. Kazuto is a man in a pickle. He’s a mild-mannered chap who longs to be an actor, a seemingly impossible task due to a condition where he faints when nervous. After a chance encounter with his long-lost brother, he discovers a troop of actors employed to solve personal problems by pretending to be a fictitious third party. Kazuto must confront his anxieties and help the group take down a cult that threatens to con a member into forfeiting her family’s prized inn. This shockingly over complicated premise is filled with more twists and turns than a Hitchcockian thriller. Director Shin’ichirô Ueda revels in pulling the rug from underneath both audience and antagonist at every feasible moment. Unfortunately for him, his script is rarely compelling enough for these revelations to incite anything more than a unenthralled ‘oh right’. While the film tries to play off its repetitive script, silly plot, and amateurish aesthetic with a cheeky wink, we’re not so easily fooled. Dry camera work and hyperbolic musical motifs more at home in a Saturday morning kids show might provide some synergistic connection to Kazuto’s passion for a superhero romp of the same ilk, but it ultimately annoys more than it parodies. Pantomimic acting also hinders more than it helps as the stilted performances of every one-note character leave little to engage with. However, there is something enjoyably foolish about the film that it’s impossible not to crack at least one smirk. In the same way we laugh at farcical memes, Special Actors engages that part of our brain that seeks pure, unhindered catharsis. There is no seriousness, no real stakes, and certainly no wide thematic commentary besides, ‘cults are bad’. Special Actors has no need for such things, as Ueda is content to make us laugh and allow us to relax, with no concern for emotive challenge. In our increasingly depressing world filled with hard hitting films about pressing issues, it’s a welcome respite to have movies like Special Actors that turn off our brains and urge us to enjoy the simple pleasures of a man and his breast shaped stress ball. Special Actors doesn’t change the world, but it also doesn’t aim to. Sometimes a bit of fun is all you need. #NathanialEker #IFFR #IFFR2020

★★★★ Director: #ArmandoIannucci Starring: #DevPatel, #PeterCapaldi, #HughLaurie, #TildaSwinton, #BenWhishaw and #DarrenBoyd Film Review by Brian Penn The Personal History of David Copperfield Movie Review Director Armando Iannucci has a delightfully eclectic CV; The Death of Stalin, In the Thick of It and Alan Partridge are just some of the innovative pieces that bear his hallmark. His sharp satirical eye is always in evidence and works like a dream on this Charles Dickens classic. This version returns to the story's origins as an autobiographical tale told by the title character himself. The film begins with David Copperfield (Dev Patel) relating the story to a live audience much as Dickens would have done during his reading tours. An excellent visual transition leads him to the scene of his birth with mother Clara (Morfydd Clark) deep in labour assisted by faithful servant Peggotty (Daisy May Cooper). This is followed by episodic snapshots of Copperfield's life; his brutal treatment at the hands of stepfather Edward Murdstone (Darren Boyd); a miserable existence at the bottling factory and friendship with the bumbling but lovable Mr Micawber (Peter Capaldi). Eccentric Aunt Betsey (Tilda Swinton) provides a sympathetic bolthole as an intricate story slowly builds to a climax. Iannucci displays a wonderfully light touch and keen eye for visually arresting narrative. The sounds and colours are evocative of London in the 1850s; although a breath taking shot of Parliament under construction is all too brief. Dev Patel heads a superlative cast with a number of players competing for best cameo. Paul Whitehouse as Mr Peggotty and Hugh Laurie as Mr Dick are a joy; as is Ben Whishaw playing the duplicitous Uriah Heep. The work of Charles Dickens is frequently plundered by film makers; but David Copperfield is especially popular with characters that lean more towards caricature with obvious comic potential. The author’s genius is plainly obvious and this film feels authentically closer to the world in which he lived. Whilst there are recurring Dickensian themes of social inequality, it can on occasion be extremely funny. Deft timing and smart wordplay combine to produce some irresistible set pieces. The cinematography undoubtedly gives the film an ethereal quality, and can indeed take the viewer back to the Victorian era. This is how you remake a classic with an essential spin that separates it from the rest; other film makers should look and learn.

★★★★ Directed by #AllaKovgan Written by #AllaKovgan Film Review by Hope Madden “The audience was puzzled.” Such was modern dance legend Marce Cunningham’s wry, almost tickled description of one reaction to a performance. An enigmatic presence on and offstage, he makes for a fascinating if ultimately unknowable center to documentarian Alla Kovgan’s new documentary. With Cunningham, the filmmaker seeks to reignite the peculiar audience response the dancer/choreographer’s performances once garnered, and perhaps drive wider appreciation for his work. Kovgan chronicles the ways in which Cunningham challenged the traditional concept of dance, combining ballet and modern choreography and creating works without relation to music. His avant garde approach drew the attention and collaboration of other boundary-pushing artists of the time, including Andy Warhol, Robert Rauschenberg, and Cunningham’s eventual life partner, John Cage. Speaking of his interest in Cunningham’s work, Cage says, “I would like to have an art that was so bewildering, complex and illogical that we would return to everyday life with great pleasure.” Kovgan goes about exploring not only that very work but the mind and imagination behind it through an appealing combination of archival footage, audio and onscreen text, as well as re-stagings of some of the artist’s most memorable pieces. The result is provocatively piecemeal, a visually arresting if intentionally untidy image of Cunningham’s life and work. Most often, Kovgan’s style suits the content beautifully, but other times it’s a misfit. Where Wim Wenders employed 3D to immerse the viewer in the dance of Pina, Kovgan is as concerned with the surrounding as the movement. She stages performances on rooftop, in meadows, among trees and within train tunnels. While the combination creates a vibrant visual impression, it steals emphasis from the movement itself, which feels out of step with Cunningham’s most basic philosophy. Kovgan takes chances, capturing the dance from above, close up, far away, and at odd angles. This sometimes creates a vibrant, off kilter sensibility that complements the material. At other times, you wish you could see more of the dancers, feeling as if you’re missing something amazing in favor of needless close up footage of a face. It’s a small knock, honestly, with dances this arresting and accompanying material this compelling. Kovgan’s respect for the work as well as the life of her subject is clear and she’s captured much of that spirit. #HopeMadden