★★★ Directed by: #CharlesGarrett Written by: Charles Garrett Starring: Charles Garrett, #SuttiyaJamlongpan, #PrachaTetsungnoen Indie Film Review by: Chris Olson Baan Muay Thai Movie Review An authentic yet flawed indie drama from filmmaker Charles Garrett, Baan Muay Thai is your classic sporting underdog story with a Thai flavour. Garret not only writes and directs here but stars as Max, the central character, who quits his city trader job in London to head back to Thailand to pursue his dream of being a Muay Thai fighter. Plenty of kicks and jabs come his way and that's not just his fighting opponents. Constructing a ring, dealing with the locals, and not embarrassing the honour of the gym are just some of the obstacles in his way, as well as personal demons which may be his greatest challenge yet. Filmed with a documentary style but not a documentary, Baan Muay Thai has a confusing fabric that some audiences may find difficult to connect with. The cameras seem to be attempting to keep up with Max’s relentless ambition, with shaky and wobbly footage aplenty. This documentary style also applies to the narrative, in that we are given Max in the moment and follow him on this journey without much of a preamble. His journey East and decision to start a boxing career pretty much takes up all of the space, aside from a subplot about his womanising which feels underdeveloped. There were moments when Baan Muay Thai felt like a spiritual odyssey, especially with Max’s physical body being put through so many gruelling challenges. His expedition is punctuated with a few side characters, such as his trainer, the gym owner, and his daughter Apple, but this is mostly a solo exploration into his limits and the depths of his character. The build up to the big fight is obviously full of tension and gripping anticipation but it is the emotional connection to Max that the viewer craves and, sadly, we go wanting. Garrett is a decent lead, though, and his sporting chemistry with the various fighters is the tape around the fists of this piece. If you are going to enter into the arena of boxing/fighting movies then you had better be ready for a punch up, because the genre is littered with #filmmakers entering some exceptional cinematic gems. From the legendary Rocky movies and #MartinScorsese’s Raging Bull, to more modern hits like Creed and Warrior, audiences are wholly familiar and invested into the structure of the boxing flick. Garrett’s film certainly follows many of the footsteps left for it, such as the outsider central character, the seemingly endless flow of obstacles, all making the man stronger for the inevitable showdown. Where Baan Muay Thai doesn’t land the same kind of knuckle sandwich as the aforementioned heavyweights, is in the compounding investment made between the audience and the fighter. Max isn’t a particularly likeable guy and only in a few moments are we given any kind of reason to root for him. Cinematically original for a #boxing flick and certainly worth a watch if you are a connoisseur of the genre, but it’s not going toe to toe with anything substantial that has come before. Watch the Indie Film Trailer :

★★★★★ Directed by: #JohnLandis Written by: #JohnLandis Starring: #DavidNaughton, #JennyAgutter, #GriffinDunne Film Review by: Darren Tilby Now and then, a film comes along that’s so spectacular, so revolutionary, it redefines a genre. It doesn’t often happen; once in a blue moon. But John Landis’ An American Werewolf in London is one of those films; redefining not only the horror-comedy genre but the werewolf movie too. Along with The Howling, An American Werewolf in London ditched the crossfade editing techniques of old. It made good use of pioneering developments in practical special effects to develop the visceral and bone-crunching transformations (still the best ever put to screen) we’ve become accustomed to, and, in the process, introduced us to the more lupine and bestial werewolf. An American Werewolf in London is also one of those superb horror films that make excellent use of its setting to instil a sense of dread and alienation within its audience. It does this by taking two average, young Americans, David Kessler (David Naughton) and Jack Goodman (Griffin Dunne), and placing them in entirely unfamiliar surroundings—Northern England. I’ve spoken before about how the gloom of the British countryside can make for a fantastic horror-movie setting and the moors of the North (seen during the beginning of the film), complete with the isolated rural pub – The Slaughtered Lamb – is the absolute pinnacle of this. It’s at the Slaughtered Lamb that David and Jack meet a menagerie of locals, including David Schofield, Brian Glover, Lila Kaye, and a very young Rik Mayall. For my money, this is one of the best scenes in the movie as it perfectly defines the rest of the film. The tension is apparent from the moment the boys walk through the door; they’d be less out of place if they were on the moon. Awkwardness mingles with humour as the close-knit locals soon begin a bit of friendly banter—at the “yanks” expense, of course. But when Jack asks about the five-pointed star painted on the wall, the locals become decidedly more hostile (“You made me miss!”) and the boys are expelled from the building, with the now-infamous warning of “Beware the moon, lads. And stick to the road.” And for the next 10-minutes, with the nighttime stroll through the moors, the unseen creature lurking in the dark, and the god-awful sound it makes, the film becomes pure horror gold. The film’s ability to switch between being very funny and genuinely terrifying is, for me, what really sets it apart. Horror and comedy is a notoriously tricky balance to get right, and yet, Landis manages it with considerable finesse. There’s barely a foot put wrong in the manufacturing of the film’s tenor, and both Landis’ writing and direction are largely to thank. The casting of two young and relatively unknown American actors in the central roles, then juxtaposing that with the predominantly more experienced British cast was an inspired decision. A risky choice for any filmmaker, but one that really worked well here. It conjures a sense of alienation almost immediately, both on and off the camera, allowing both Naughton and Dunne’s’ natural unease to shine. I think it’s fair to say they’re both terrific, particularly given the difficulties of the genre and the complexities this film demands. David’s transformation scene really stands out for me because of the sudden brutality of said transformation, and the anguish that can be both seen on his face and heard in his voice. And, of course, any scene with the undead Jack visiting his best friend is a masterclass in horror-comedy film-making; capable of eliciting dread, sorrow, and hilarity. But it’s perhaps the bond between the two friends that really makes us, the audience, sympathise with their predicament—so strong and naturally occurring that it is. Throw in a robust and memorable supporting cast of characters (including the ever-brilliant Jenny Agutter as Nurse Alex Price, David’s love interest), and you have a real winner. Of course, the film wouldn’t have been the success it was if not for Robert Paynter’s keen eye for cinematography and Rick Baker’s game-changing practical effects. Taking inspiration from Steven Spielberg’s 1975 classic of suspense, Jaws, Paynter never allows the audience to glimpse too much of the creature – mostly for the same budgetary reasons we never see much of “Bruce” the shark – and makes good use of medium/close-up shots to build tension during the moments of more out-and-out horror. The few exceptions to this are during the transformation scene – an exquisitely painful sequence to watch – and Jack’s grisly return from death: both showcasing Baker’s phenomenal work in make-up and practical effects. So brilliant was his work, in fact, the “Best Make-up” Academy Award category was created to recognise it. I kind of feel that An American Werewolf in London is a bit of an underappreciated or forgotten masterpiece, at least outside of the critical sphere. I hardly ever hear people talking about it with the same reverence I do, with the same reverence it deserves. I hope I’m wrong, this is the finest werewolf movie ever made and one of the best horror-comedy films too. It pioneered the use of practical effects in film and changed the cinematic landscape, the results of which are still being felt today. This is essential viewing for any horror fan;you’re not a proper horror fan until you’ve seen this movie. And, with the recent Arrow Video 4K restoration re-release (full of fantastic extras), there’s never been a better time to get stuck in.

★ Directed by: #StevenSinimeri Written by: Steven Sinimeri Starring: #EdwardClements, #PaulParker, #ZuzanaSpacirova, #PaulKristovic Short Film Review by: Corey Bulloch Bereft of any narrative drive or unity, Dinner is merely a collection of bleak depressing scenes of underdeveloped characters meandering to depressing ends with no grand or thematic relevance. Writer-director Steven Sinimeri pads out the lifeless drama by having his characters personalities be subsidiaries for depression and alcoholism as two of three leads are falling apart emotionally where as the third is clueless to their pain and just wants to have a meal. Intentions of wanting the story to reflect the hidden pains people suffer are obvious but the film is aimless for none of the performances are given direct characters arcs. Sinimeri makes no effort to create dynamic characters for the audience to care about. Edward Clements who plays Mark opens the film as an alcoholic and while the film ends with him in a worse off situation, there is no real emotional change in the performance. He’s still an alcoholic and despite a somewhat confrontational discussion with his brother Tony, the film has Mark make no effort to have a story. Dinner is a film that has a lot of its plot implied through performance especially through Zuzana Spacirova’s storyline as Tony’s girlfriend Lara who has received distressing medical news on a sheet of paper. Both Mark and Lara’s storylines are visually similar, the two characters submitting to their vices and depressions in thematically absent scenes. The editing intercuts these scenes together to try and give an impression of a more poignant narrative but the whole film is a monotonous slog. Even with its short running time, Dinner feels drawn out and pointless, using gritty drama tropes to try and spruce up its absent story but gives off a feeling of exploration to these issues. Sinimeri has nothing compelling or original to say about the character’s suffering, leaving the dreary nature of the script barren to any catharsis the audience could hope to glean from the ending. Not structured properly to work as a tragedy, Dinner does so little to flesh out its characters or relationships, the actors are given nothing to work with as the majority of the film are long sequences of them being wordlessly miserable. It's strange as though events in the film occur in a chronological order, it feels as though nothing really happens in Dinner. The audience is unable to form a connection to any of the characters or their issues, making the more mature themes seem tacked on to give the film superficial gravitas in lieu of actual substance. #CoreyBulloch #shortfilm #indiefilm

★★★★★ Directed by: #JosephBird Short Film Review by: Jack Bottomley There is an art to filmmaking of any kind but when it pertains to allowing music and image to unite entirely and tell their own story, that can take things to incredible lengths. From work like #WaltDisney’s Fantasia and #SylvainChomet’s The Illusionist to #JCChandor’s All Is Lost and #JonathanGlazer’s Under The Skin, there is something consuming about a film that shows us the true power of image and/or music. More than that, there is something captivating, almost relaxing, about films that go further and show us that which - as Sherlock Holmes would put it - we see but do not observe. #JosephBird’s Where To Build In Stone is one such experience and an often stunning short that conjures up memory of the work of directors/documentarians #RonFricke and #JamesBenning, as well as films like #MichelangeloFrammartino’s Le Quattro Volte and #StephanieSpray & #PachoVelez’s Manakamana. Inspired by the sights of Kingston upon Hull, Joseph Bird’s (who shot and edited this short from 2017 to 2019) film is a world of bellowing smoke, lapping waves, condensation, wind farm strewn landscapes and rusted and abandoned debris. As it casts a spotlight on the every day and the overlooked, the results are utterly spellbinding and fascinating, sweeping you away on its spell, attained from the very settings around us that are there day in and day out. The footage features no dialogue, voice over or annotation and frankly does not require it and as the time flies by you realise that this film has all that it needs to relay its feeling. That feeling is achieved thanks in a large way to #NumbMob’s (additional musical work by #JamesRushworth, #PeteMinns, #AnthonyBoorer) compelling score. This #PhilipGlass-like score dances across the beautiful and expertly captured and chosen shots and locations, with echoes of #HansZimmer or #BenjaminWallfisch shaking the screen occasionally, while the work of #Vangelis also is recalled by the engrossing soundtrack that fits the imagery perfectly. Numb Mob’s score applies thought provoking wonder, haunting edge and even a hopeful beam to the alluring pictures. And it is hard not to be drawn into the power of this film, a power that salutes reality and formulates its story from it. A story that really is entirely open and depends fully on your own reactions and perceptions, while watching/hearing this film. Some strong binary oppositions are drawn, clashes of nature and industry, as well as our overpowering might on the world, while other sequences of flocks of birds, spider’s webs and the gentle waters seem to paint an altogether different tale. Desolation, abandonment, solace and the quiet passing of time populate the film early on, while the latter shots dwell on the night life that conversely - in an almost vampiric way - seems to open up and vibrantly raise from the slumber of the day. Humanity is everywhere and yet largely absent in the flesh (save for the odd worker), as the film revels in the sights of our overlooked, under appreciated and sometimes uncared for world. Where To Build in Stone is a stunning audio-visual journey grounded in the real world around us that often passes us by and goes unconsidered, this short makes the everyday wondrous and the narrative relayed from it is exactly that which you make it. A mesmerising piece of filmmaking on a visual, audible and rather profound level, and one which will make you take a moment to process that which you (until now) have passed every day.

★★★★ Directed by #LevanAkin Starring: #LevanGelbakhiani #BachiValishvili #AnaJavakishvili #GiorgiTsereteli Film review by Nathanial Eker Paralleling the thematic beats of the highly acclaimed Portrait of a Lady on Fire, And Then We Danced is a well-realised tale of modern romance set in the Orthodox Christian country of Georgia. Though religion seldom factors into the narrative, the sense of persecution towards the minimised LGBTQ+ community holds autocracy, as the toxic values of the conservative, ‘normal’ male archetype cripple our protagonist, making his coming out seemingly impossible. Merab and his dance partner / sort-of-girlfriend Mary have trained all of their lives to be professional Georgian dancers. They practice the ancient, ritualistic movement daily, auditioning to join a travelling band, particularly so that Merab can escape his underprivileged family. When Irakli, a strong, carefree dancer from another part of the country joins the group, a rivalry soon forms. Through their competitive friendship, the two find themselves discovering feelings that are all but forbidden under the rules of their strict culture. This theme of prejudice permeates throughout And Then We Danced. Merab’s one-note dance teacher and many of his dancers refer to homosexuals in a manner less than human; offensive slurs are uttered throughout, reflecting the vastly outdated notion that queer people deserve punishment and persecution. As an LGBTQ+ film, its message is handled mostly delicately and successfully, though it does (spoilers) fall into the common cliché of ‘no gay happy endings’. That said, the device is excused here, as it ultimately informs the message, suggesting that many would-be happy young men are suppressing themselves by marrying ‘a good match’ for the sake of tradition. Inevitably, sound and rhythm are instrumental to the film’s verisimilitude. The diegetic sound of percussion that accompanies each dance makes them exciting events to look forward to. The final scene crafts a wonderful tableau of self-expression, as Merab heroically rises above his issues; the desire for Irakli’s unreciprocated adoration, his family’s poverty, and even his broken foot. He simply presents himself, through a demonstration entirely of music and movement. The combination of his alternative Georgian dance, and the customary fast paced drumbeats hints at hope for the new; a world that combines tradition with the contemporary. A world that accepts those once shunned for being different. The narrative structure of And Then We Danced is unusually triumphant. Though the film ends with an unhappy separation and an acceptance of the norm, typical of European Art Cinema, there are elements that feel more akin to a Hollywood feature. These moments, such as the final dance, as well as Merab’s brother’s acceptance could be ripped straight from Footloose, though the film balances them with the more traditional European art narrative beats, creating a unique blend of popular and artistic cinema. Though Merab is characterised by his collected attitude and sympathetic situation, his essence largely derives from the subtle expressions of Levan Gelbakhiani, who brings vulnerability and unrelenting ambition in equal measure, increasing his likability. The camera almost always lurks behind him, aligning us with Merab, and creating an intensely character driven experience. Irakli is equally engaging, blending an exciting layer of mystery with the natural charisma of Bachi Valishvili. Regrettably, his absence in the second act grinds the pace to a screeching halt, as the most interesting element of the film (the relationship) becomes secondary to vague commentaries on class, some forgettable side players, and the unbelievable nastiness of the caricature infused dance teacher. By the end of its 105-minute runtime, And Then We Danced beautifully crafts a tragedy that exposes the difficult lives of homosexuals living in a traditionalist world. Despite losing his footwork through a dip in pace during the second act, writer-director Levan Akin creates a consistent tone that while seemingly bleak, hints at hope for the archetypical gay Georgian; that he (or she), might find acceptance, even if it means leaving everything else behind. #NathanialEker

★★★★ Directed by: #SethCamillo, #BarbaraCamillo Written by: #SethCamillo, #BarbaraCamillo Starring: The Carson & Barnes Circus family Film Review by: Darren Tilby Since its inception in 1782 in Paris, France, the circus has entertained audiences for hundreds of years; combining feats of strength, displays of acrobatic agility, trained animal acts, and death-defying stunts. And, while things have modernised, the circus remains mostly the same. However, circuses hit their peak some time ago, and now, with the rise of video games, the cinema, and controversy surrounding the use and housing of animals, they often struggle to make ends meet. It’s here that Seth and Barbera Camillo lay the focus of their documentary film The Circus: Down the Road; detailing the circus’ (in)ability to compete in the modern world and less about the ethical concerns of its practices. Now, this is problematic in a way, as parts of the film could be seen as defending the keeping of wild animals. We see trained Tigers and Elephants being used to perform tricks and hear from animal trainers about their process. And although the film-makers never explicitly advocate for the keeping of these animals for entertainment purposes, this will undoubtedly upset some viewers. However, from a film-making standpoint, this makes absolute sense and helps keep the emphasis on the behind-the-scenes workings and the circus as a family unit. And, having travelled with the Carson & Barnes Circus (now America’s largest) for 36-years, the Camillo’s are certainly well placed to do this. Their insight into circus life is without equal. It provides a personal and intimate account of the relationships that form the very foundation of one of the oldest entertainment institutions in the world. Indeed, what is clear from the start is that these people are a close-knit, proud, and resilient group, who work bloody hard to earn their living. And, aside from a short narrated introduction, Seth Camillo takes a hands-off approach throughout the rest of the film; allowing the performers themselves to do the talking. The film consists of interviews (these are conducted in a relaxed and informal manner) with a variety of different performers, trainers, and families connected with the circus (some of which go back several generations) and intersperses them with footage of acts being performed. The home video style camerawork, footage, and interviews only lend to the movie’s intimacy. And while the picture quality can sometimes be lacking, it’s adequate enough and rarely poses a problem. More importantly, though, the editing and sound are always spot-on, with no awkward cutaways (whether too soon or too late) and interview audio being crisp and clear and easily understandable. All-in-all, I feel like The Circus: Down the Road achieves what it sets out to do. It steers away from dealing with any controversy the circus has, in the past, become embroiled in. It’s a safe choice for a film-maker to make, although an argument could be made that maybe it should have taken a stand, one way or another. If you’re not a fan of the circus, this isn’t likely to change your mind. But what it will hopefully do, as it has with me, is to bring a newfound appreciation for the people who live and breathe the circus life and the tireless work that goes into making it what it is.

★★★ Directed by: #GiacomoGabrielli Written by: Giacomo Gabrielli Starring: #AuroraVolcan, #ArekHersh Indie Film Review by: Corey Bulloch “Those who cannot remember the past are condemned to repeat it.” - George Santayana The philosopher’s quote has been reinterpreted over the decades with the common phrase now being those who cannot learn from history are doomed to repeat it but the sentiment has never been more prevalent than it is now. The current state of the world is marred with economic crises, ecological disaster and surging far-right fanaticism that leaves many worried about what the future may hold. With Giacomo Gabrielli’s documentary drama A Journey it is an attempt to bridge the divide between generations through parallel odysseys of memory about the horrors of the Holocaust. With the remaining survivors reaching their elder years, subject Arek Hersh being 90 years old at the time of his interview, the importance and value of his insights are now more essential than ever. It is both Hersh’s journey during the Holocaust but also the journey of student Aurora Volcan participating in a Memory Train project in Italy which educates students about the history and locations involving the Holocaust. Even though it's only been seventy years since the genocide, there are legitimate concerns that growing far-right ideas and anti-Semitic, racist beliefs will attempt to delegitimise the history of this period. Holocaust deniers in the age of fake news and social media will surely soon take advantage of the absence of survivors but Gabrielli’s film highlights the necessity of education to the younger generations. Although his direction can feel passive at points, relying too much on the work of his subjects to recount history rather than finding the connections between the two generations. The pacing of the film can also feel frustrating at times, with Gabrielli inserting docudrama elements into Volcan's story that breaks the realism. A Journey then struggles in finding a consistent narrative balance between Hersh and Volcan’s stories by dragging itself out unintentionally. However, the film provides incredible access into these programmes and histories through Gabrielli not allowing the film to censor what the subjects experience. The film does its best to provide visuals to Hersh’s incredible stories but his experiences are best processed when just holding on his close up, to see the stories told through his eyes and expressions. Hersh exclaims he shall never forgive the Nazi’s for what was done and the camera captures the complexity of these emotions of grief, anger, fear but also courage as he takes his most traumatic memories and uses them as a tool to educate against hate. With Volcan’s journey, the audience is recounted with songs and stories but also locations as the film ends with both characters time at Auschwitz. Even though separated by generations the audience can feel this history bleed through the screen as Gabrielli has all of Hersh’s memories become haunting inescapable truth. His wisdom informs this imagery, the dread of seeing scratch marks on the wall, the terror of what these monuments represent. The lessons of the Holocaust are the central theme to A Journey, the importance that this history not be erased and that the memories of the survivors be preserved and used to educate the younger generations. Although genocides have continued to be perpetrated in the decades since Gabrielli has the film focus on the perseverance of those who refuse to allow it to go unanswered. Hersh’s legacy along with the commitment of Memory Train and other organisations to enlighten and inform allow Aurora Volcan’s spiritual and educational journey to be possible. #CoreyBulloch #IndieFilm #Documentaryfilm

★★★ Directed by: #GiacomoGabrielli Written by: #VincentFrattini Starring: Vincent Frattini, #NielsJustesen, #AnitaVasisht Indie Film Review by: Corey Bulloch With its intense and emotional material, B309 is a tremendous display of trust between actor and director as Giacomo Gabrielli brings Vincent Frattini’s script to life with uncomfortable realism. Based on Frattini’s real-life experiences of dealing with homelessness and sexual assault as a college student, B309 explores the dehumanisation of those seemingly abandoned by society. Frattini’s character of Mark is assigned that number when visiting the homelessness advisory service, he ceases to be who he is and becomes another cog in a system that no longer works. Despite his issues, he is not seen as a high priority and from there becomes a victim of violent sexual assault with damaging psychological trauma resulting from these brutalisations. The film is most powerful when there is no dialogue and Mark has to live in this reality of fear and desperation, isolated within himself with no refuge to be found. When characters do speak it can feel over explanatory with exposition or obvious emotional melodrama, just having Frattini’s intensely physical performance accompanied by the overbearing sound design makes B309’s haunting realities more gripping. It's the wordless storytelling combined with the gritty cinematography, long uninterrupted takes of Mark’s life capturing the inescapable truth of his circumstances. Just seeing Mark walk through the dark streets, Gabrielli is able to create this unnerving sense of dread as it feels the world could swallow him whole from the physical and psychological detachment the character suffers. Frattini is the power behind the film, fearless in facing the horrors of his past and using his performance to highlight these vulnerabilities. While the dialogue in his script and the supporting performances leave something to be desired B309 is still striking in how it portrays life suddenly cascading into unrecognisable dread. That sense of security being ripped from you and being left to fend for yourself, leaving one emotionally fragile. Mark’s sudden displacement does not seem to be directly connected to his sexual assault, just another horrible event that contributes to the character’s dehumanization. As Gabrielli and Frattini make the sequence visceral and uncompromising, inspired by the filmmaking of Gaspar Noé. It’s a consensual encounter turned violent as the camera never cuts away from seeing Niels Justesen’s character become more aggressive and the audience is left with the brutal images of Mark bound, gagged and screaming while being raped and beaten. An exposed and frightened character after losing his home seeks emotional intimacy and is betrayed and abused in the most callous of ways. Gabrielli has his editing revolve around this sequence with B309 making it the centrepiece, a before and after moment for the character and audience. Frattini combined with effective makeup feels like a different character in the final scenes, the kind spirit stamped out. While the film is based on Frattini’s own experiences it does feel that the film wants to focus on the more shocking elements than the aftermaths, leaving the character in a depressing limbo. Just when it feels like B309 is starting to get into an intense narrative rhythm, it frustratingly ends as it feels Mark’s story seems to have only completed its first act. Whether Gabrielli and Frattini intend for this film to be a proof of concept for a longer film or a deliberate indictment of the conditions facing homeless people in London, B309 feels incomplete in a way. Still striking in uncompromising fashion both Gabrielli’s direction and Frattini’s performance makes this film a difficult if not necessary viewing that highlights and champions the importance of the disadvantaged needing support. #CoreyBulloch #Indiefilm

★★★★ Director: #ZedNelson Film Review by: #BrianPenn If a film documentary works it will allow the characters to tell their own story; free of manipulation and commentary the film becomes a permanent record of life as people see it. Director Zed Nelson just about nails it with the story of a shrinking community in the heart of London's East End. Hoxton Street in Shoreditch famed for its thriving market is rapidly changing. Proximity with the City of London has made it a target. Developers are circling, eager to rip up every blade of grass. The film tracks the locals over a period of four years. A time frame that captures the fall out from Brexit and social neglect of Grenfell Tower. The story has particular resonance for me; I was born and raised a stone's throw away in South Hackney; and immediately gripped by the narrative. https://www.youtube.com/watch?v=-ofaqnAj33g Our story begins with a buoyant market packed with long established traders; the car mechanic, carpet shop, bakery and of course Cooks the legendary pie and mash shop. By the time of Brexit, the market's complexion completely alters as a rash of coffee bars, delis and art galleries emerge to meet the needs of a gentrified client base. Luxury tower blocks rise up with flats costing £1 million a pop; but don't dare ask about social or affordable housing. The locals just aren't local any more, priced out of an area they can barely afford to breathe in let alone live. Characters like Errol the car mechanic lament the disappearance of a community he once knew. The Street is careful to represent all sides of the argument as they interview an estate agent, priest, developer and newbies on the block. However, the most poignant contribution came from 82 year-old Colleen; a lady who sadly never married but now feels engulfed by a whirlwind of change. The commitment to balance is admirable but cannot disguise a basic truth; money is king and has no time for notions of community. Gentrification is a deeply unpleasant word; it implies a better class of person has populated a working class area; when it's simply a distinction between the haves and have nots. People are entitled to dispose of their income how ever they see fit; if that pushes up house prices then so be it. But when the authorities allow expansion without control, it turns many people into second class citizens. Some may argue that a new community is emerging albeit with cash on the hip. But the newcomers are often transient with little social awareness. Of course time moves on and we cannot make progress without change. But is a scorched earth policy really necessary. Is it wise to discard everything from the past; aren't some traditional values worth preserving? Zed Nelson employs a very simple technique to great effect. He turns the camera on local residents and asks them for an opinion. It requires no enhancement as the narrative stands its own. The Street is thought provoking and engaging, portraying an honest but frequently bleak view of modern life.

★★★★ Directed by: #JustinConnor Written by: Justin Connor Starring: Justin Connor, #ChristopherMay, #BrianJacobs, #EllenGerstein, #DavidLovering, #JoeFiske Indie Film Review by: Chris Olson The Golden Age Movie Review Heavier and loaded with more pathos than your average rockumentary, filmmaker Justin Connor's musical The Golden Age is as meditative as it is tragic. Far from the outlandish antics of This Is Spinal Tap or the mile-a-minute crudeness of Get Him to the Greek, Connor takes us on a journey through one man's existential crisis. Connor plays the lead role of Maya O'Malley, a singer-songwriter whose rise to fame is quickly followed by pariah status after making controversial comments about religion. We see the toll that popularity, success, and failure have on Maya as he attempts numerous ways to find inner peace, including, somewhat ironically, religion. There is a contemplative atmosphere which settles on The Golden Age fairly quickly and refuses to ease until the final credits roll. Once audiences realise this piece is more sombre than silly, and that the jokes are not going to be rolling in, they can instead prepare themselves to be immersed by Connor's narrative of personal tragedy and intimate drama. By exploring themes of loss and father issues using both dialogue and performances, Maya's story gets relayed as an ethereal tapestry of his soul rather than just talking head interviews (which are also present). The #filmmaking is used to further enhance this multilayered approach to the #biopic structure. Connor is playful with his use of multiple screens, many of which simply contain Maya making a single noise that contributes to a larger musical piece that is building in the background. This is expertly done throughout the film and provides viewers with numerous musical numbers to be enraptured by. It was a shame the plot felt a little underwhelming in the final third but this was a tale of self discovery and self healing rather than any rags to riches loop. Quite literally a one-man-band, Justin Connor proves himself to be capable of playing pretty much every instrument (literally and figuratively). And it is wonderful to say that this extraordinary amount of involvement with the film, filling so many roles, does not detract from the overall enjoyment factor. The Golden Age doesn't go to extreme lengths to discuss the central character's vulnerability or tragedy. There are no exploitative rehab scenes or excessive hijinks from Maya. We are swept away on a fairly safe and predictable melody but with few bum notes and an infusion of captivating highlights. #ChrisOlson #Mockumentary Watch the Indie Film Trailer:

★★★★★ Directed by: #TaraFitzgerald Written by: #ShirleyJackson #ChiaraMenage Starring: #RachaelStirling #LindaMarlowe Short Film Review by: Ieuan Walker The production of narrative short films is oftentimes a relentless venture. As a consequence of their definitively limited time-frame, it is often arduous for filmmakers to provide coherent storytelling whilst maximising the intellectual depth of their work. Tara Fitzgerald’s Nothing Important on the other hand is an exemplary demonstration of how these two facets need not be mutually exclusive in her hauntingly expressive short. Emily Johnson is a former British expat who has returned to the country to reform a life with her husband. As a serviceman however, Emily’s spouse is delayed for an indefinite period of time which forces her to temporarily reside in a stodgy apartment. Following a mysterious series of burglaries throughout Nothing Important, she eventually encounters fellow lonely inhabitant Mrs. Allen. As Emily’s possessions continue to disappear, the identity of each of the residents becomes both increasingly uncertain and untrustworthy. Undoubtedly inspired by gothic literature, Nothing Important is ultimately oxymoronic. Although it is a faultlessly beautiful viewing experience, it is simultaneously an unbearable one. This is a testament to Fitzgerald’s impeccable orchestration of the film as these contradictory sensations harmonise to permeate it with its dense sensibility. Indeed, such a complex atmosphere can be found amidst every component of Nothing Important. For instance, Anna Valdez-Hanks’ immaculate cinematography provides the work with its signature gorgeous precision. Yet within the unsettling diegesis, the geometry within Nothing Important is rather an uncanny perfection that demands nothing but scepticism. Similarly, Joby Talbot's melodies offer a pristine serenity which is frequently undermined by the perplexing events of the narrative. Fitzgerald’s faith in her collaborators to proliferate this otherwise convoluted tone thusly validates her own seamless talent as a narrative filmmaker. Notwithstanding, Fitzgerald’s cinematic aptitude would be moot if not for the extraordinary acting talents of Rachael Stirling and Linda Marlowe. Like the formal features, the two performances skilfully rely on the emotions underlying their subdued moments in lieu of explosive performances. That is not to say that the performances in Nothing Important are monotonous however. Rather, the range of emotions of the protagonists are expressed on a micro-level wherein more is said in the silences than in dialogue. Chiara Menage's screenplay adaptation of Shirley Jackson's short story is undoubtedly attributed here, but it is equally undeniable that Stirling and Marlowe channel a battle of polite wills which could not be expressed by mere words alone. Nothing Important deceptively appears as a tranquil film with little action to speak of. Nonetheless, Fitzgerald's masterful assembly of her collaborators conveys the film's underlying conflict at each level wherein comfort seems achievable only with repeated viewing. At the time of writing however, Nothing Important remains a troublesome experience.

★★★★★ Directed by: #MaxMason Written by: Max Mason Starring: #HamishRiddle, #DesCarney, #BenjaminHartley, #KatharineOrchard, #ElifKnight, #PeterSvatik, #PeterJulianBoguszewski Short Film Review by: #ChrisOlson 100 years since the end of the First World War and #warmovies and filmmakers are still telling the seemingly endless amount of stories from those tragic trenches. The techniques of combat and warfare have evolved to be less personal since then, so the intimate violence that was necessary during the conflict is a highly emotive way to engage with the enduring themes of war. Filmmaker Max Mason's #shortfilm Their War is a breathtakingly heartbreaking and intimate piece on the human sacrifice needed and how this can never be justified. Hamish Riddle plays a British soldier who is preparing to fight for his country. He leaves behind a pregnant wife (Katharine Orchard) and makes his way towards a battlefield without any lucid reasoning to propel him into the violence and chaos that he will meet. Des Carney plays a German soldier, whose sharpshooting capabilities do little to quell the unrest within his soul. He confides to his comrades that the men on the other side of the field are just like them. Their War becomes a poignant and stark reminder, at this point, of the universality of humanity and our precious need to protect life at all costs. The performances are sublime across the board. Riddle is engaging throughout, in particular during a scene with his war-wearied Captain (Benjamin Hartley - who is also wonderful) where the two discuss the idea of heroism. Carney steals the show, however, as the dark and brooding soldier struggling with the mutiny which lies within him. A tender and beautiful moment of cross editing involving Orchard is also splendid as is the knockout final sequences. This coexistence of both sides of the story is something remarkable about the movie. Having seen so many war films, most audiences are likely to draw parallels. With Mason's short they will be fortunate enough to draw them with the utter greats. The halved structure, reminiscent of Full Metal Jacket, works brilliantly to combine and contrast the peace and tranquility of home with the ghastly trench life. This is complemented by a wonderfully rich mise en scéne in the battlefields that strongly reminded this critic of the excellent War Horse. Other movies are likely to come to mind and the resulting conclusion we can draw is that Max Mason has delivered something completely arresting, honourable, and masterfully crafted. Watch the official movie trailer below... Or watch on the UK Film Channel - one of their Free Movies: