★★★ Directed by: #NeoBryce Written by: #NeoBryce Starring: #NeoBryce #GezelleJean Short Film Review by: #ChrisBuick "But if everything were easy, and you never experience pain, everything in your life, everything that matters to you, they won't matter as much anymore. Starring, written and directed by Filipino filmmaker Neo Bryce Largo through his own Big Twist Productions, A Short Film, also known as A short film about growing up, or simply UNTITLED SHORT FILM, is a surreal portrayal of battling ones insecurities and trying to accept who you are in order to get past them, as well as the pains of growing up and the dreams we sacrifice as we get older. Our main character, here simply referred to as The Boy, is a young man at a crossroads who, when attempting to tender his resignation with his employer in order to pursue a career as a writer, instead finds himself contemplating their offer of a promotion. Upon accepting, he begins to feel that his life is slipping away from him, losing time and not knowing where he is from one moment to the next, questioning his decision not to follow his dream more and more, until all kinds of hidden anxieties and internal torment begins to come to the surface. The film offers some truly unique visual manifestations of the kinds of emotional turmoil that The Boy (and in fact all of us at some point in our lives) is struggling with; pain, fear, anxiety, loneliness to name but a few. A scene where ex-lovers stab The Boy (in teddy bear form), all the while declaring their love for him are sinister and weird for sure (okay, maybe we can’t all relate to that), but it somehow manages to convey how heartache can feel better than words possibly ever could. Another where The Boy lies bloodied in pain while others film him on their phones as he pleads for their help, simplifies the idea of them seeing him but not being able to see his pain. While there are some very interesting, creative and impressively shot ideas on display here, the overall message does get lost somewhat by some of these sequences sadly, with the visuals sometimes overpowering the subtext. However, the conclusion where The Boy confronts his issues face to face (literally as they are manifested here as a version of himself), does provide a touching and heartfelt message about the importance of facing your demons and not trying to hide or suppress them, but instead accepting them as part of yourself and trying to grow. Bryce’s films such as this one and St. Monica’s, have a certain knack of tackling complex but important subjects, and laying them out in such a way that offers a different perspective and food for thought. While the underlying message does fade into the background at times here, the film offers plenty of room for interpretation, such is the gift of Bryce as a talented filmmaker and storyteller for the future. #ChrisBuick

★★ Director: #BrianKirk Starring: #ChadwickBoseman, #SiennaMiller, #StephanJames, #TaylorKitsch and #JKSimmons Film Review by: #BrianPenn So I fell for the oldest trick in the film makers’ book. You know the one I'm talking about; get the editor to cram the best bits into a 90 second trailer and draw in some poor, unsuspecting punter; then leave them wondering what happened to the rest of the film. Yes, if you've seen the trailer you've almost certainly seen the film. 21 Bridges treads familiar territory and refuses to break out of a tried and trusted formula. Bruised NYPD cop Andre Davis (Chadwick Boseman) strives to honour the memory of his father, a police officer murdered in the line of duty. Davis has no reservations using a firearm to defend himself and keeps internal affairs busy. Two small time crooks resolve to steal 30 kilos of cocaine from a restaurant. However, half of NYPD turn up and a bloodbath ensues. Michael (Stephan James) is the bad guy with a conscience; he agonises over the cops they killed. Accomplice Ray (Taylor Kitsch) is not nearly as sentimental and revels in a huge stash that could treble their money. Captain McKenna (J.K. Simmons) assigns Davis to the case; a proven thief taker who will stop at nothing to catch a cop killer. Detective Frankie Burns (Sienna Miller) is paired with Davis; and a tetchy relationship begins in the finest traditions of NYPD. They decide to shut down Manhattan and in the words of Davis flood the island with blue. Ten minutes into the film it becomes blatantly obvious where the story is heading. Bodies start dropping left, right and centre; to such an extent there should be a counter in the corner of the screen. Davis is knee deep in clichés and wonders who he can trust. Director Brian Kirk delivers the standard set pieces with aplomb; the obligatory car chase and stand-off on the New York subway are well done; Grand Central Station has never looked better and it’s difficult to make a mess of the Manhattan skyline at night. Despite the film's technical competence it lacks inspiration and real insight. This is an action thriller by numbers and does nothing to stand out from a hundred other films. Using a formula doesn't mean you always have to play safe; especially when the result is this predictable?

★★★ Directed by: #JackCarlin Written by: #JackCarlin Starring: #EvelynRoberts, #TaylaKenyon, #DavidChilds, #JuliaMeola Film Review written by: #AmberJackson Written and directed by Jack Carlin, ‘The Tainted’ is a post-apocalyptic nightmare of a family ripped apart by grief, abuse and arguably the end of the world. Girls Farrah (Evelyn Roberts) and Maria (Tayla Kenyon) are fighting to survive in a house with an abusive father (David Childs) and resolve to kill him, before fleeing into a world that they will no longer recognise. Scared to leave, but scared to stay, they realise that running is their only option. The film opens on the two sisters plotting their imminent murder of their Dad. Roberts and Kenyon’s performances were emotional, if not a little overdone. However, the audience could really understand the dynamic that they shared of taking it in turns to support each other with difficult decisions surrounding their situation. Both actors highlighted two strong girls that were ultimately desperate in the face of abuse, which was portrayed very believably. David Childs, too, provided an excellent acting dynamic to the film, portraying a father angry at the daughters he believes he is trying to protect, but is in reality harbouring them like hostages. It felt very real to be watching scenes with these characters; Carlin’s storyline is clear, but the structure of the script was a little confusing in places. The film itself offers nothing too extraordinary and would suit being a feature-length film, as it has great narrative potential. ‘The Tainted’ would really benefit from exploring what is outside the house and there is a desire to know what happens to both Maria and Farrah, beyond what is merely explained. The film’s internal nature is good, but it would be intriguing to see past that and open more opportunities for action. Director of Photography Oriel Ashcroft opted for lots of close-up shots of the characters throughout the short, which added to the tone of desperation throughout. Camerawork focused on intimate facial expressions so that the audience could constantly see what each character was feeling, which allowed for a successful following of narrative. This was edited together in a mix of quick cuts and short scenes. These were effective because no part of the story was overdone or over-explained, meaning that editor Steven Dunn used fast scene changes and a quick pace to make the scene more dramatic and highlight every emotion felt by Farrah and Maria. Adding to the drama, there was an abundance of red lighting within the house, making the atmosphere more intense. When the outside light is let in, it is a sharp contrast to the dingy interior, which was incredibly effective. The light being on the faces of the girls centralised them, whilst making them appear as though their every move was being scrutinised. In addition to this, the decision to not include SFX was well-thought-out in not only emphasising the lighting mood, but also makes the film feel raw. This is unlike a typical film about the apocalypse in that the focus is not on this, but rather the situation of both girls trying to flee the abuse they have endured. ‘The Tainted’ has potential, but suffers with a narrative cut short and too much unseen. However, with development, it would make a very successful feature.

Film Festivals > Press Releases 2020 sees Grimmfest reaching the dirty dozen: Twelve years at the cutting edge of genre film. And to celebrate, next year's festival will be bigger, bolder, and bloodier than ever – running from the evening of Wed 7th Oct through to the evening of Sunday 11th Oct at Odeon Great Northern in Manchester UK. Hell has expanded itself: the festival will now run for five days, to cram in even more amazing genre content. The Grimmfest team is also excited to announce our first confirmed guest. Mick Garris has been at the heart of the horror genre since the early 80s, working closely with horror legends such as Stephen King, John Carpenter, Tobe Hooper, Dario Argento and many more. A screenwriter, producer and director par excellence, and one of the genre's top movers and shakers, Mick was also the creator and show runner of the legendary MASTERS OF HORROR anthology series and the driving force behind 2017 Grimmfest favourite NIGHTMARE CINEMA. Mick will be joining us to share some insights into his extraordinary career, and to receive the prestigious Grimmfest Lifetime achievement award for his work in the horror genre. #Grimmfest 2020 promises to be the biggest and most exciting festival yet, with more special guests and boundary-pushing films than ever before. And here's your chance to make sure you are first in the queue for everything that's on offer. A limited amount of reduced price, early bird, full fest passes will be available from 8am (GMT) on Black Friday (29th Nov) for a strictly limited time only. Click here to find out more about Grimmfest Film Festival.

★★ Directed by: #DJKamalMustafa Starring: Some animated people Short Film Review by: Rachel Pullen I never knew that upon becoming a film critic I would have to Google so much stuff, and you may sit there and be thinking, “what like? Movie stats? Actor’s names? That's all on IMDB’’ and to you I say: I wish’. No I have had to learn about Bitcoin [again, what the hell is bitcoin?] Danish Fjords, Vietnam communism and now, this week I am here googling...Operation Swift Retort. In short it’s something about India, Pakistan, birds and trees are we all on board? Good, I’m not, so let’s crack on with the ‘’review’’ or me being confused for some time, same thing I guess. So in early 2019 Indian fighter pilots bombed a forest in Pakistan and killed a bunch of birds [sad times, leave the birds alone India] people got mad, meetings and retaliation ensued and through all this one patriotic man, a man who has some slick knowledge of Google sketch up, decided to make a short animated piece about this tragedy. Remember Team America, that film by the sexy dudes who made South Park? Remember how bad [on purpose I might add] they made it look, and we all laughed the safe laughter of knowing it was a joke? Remember those times? Yeah well that’s not happening here, this as I said appears to be animated in some kind of Google sketch program, like playing Red Alert on Windows 95, stuff is out of proportion, people are the same size as jets, clips just repeat over and over, people walk through walls etc, it’s a mad, crazy world out there apparently, one where we can just lift fighter jets up like packets of custard creams. The #shortfilm is also without any kind of narration or dialogue, occasionally we are treated to some news clips from the event, press conferences held, and that gives Operation Swift Retort a little direction, but mainly this feels like a lot of GIF’s spliced together. Time saving I guess. Now you may be thinking I’m being a real negative Nancy up in here, and that is true to an extent so on a positive note, let's think about how much hard work DJ Kamal Mustafa [not sure of his actual DJ status, does he moonlight in the clubs after making movies?] had put into this. Operation Swift Retort was made entirely in 2 months, by a team of one, our beloved DJ, and not only that but he displays a clear love of his country and military force, no one asked him to make this film, no one paid him a million dollars, he wanted to do this for the love of his work and his home country, and while I can sit here and say, as a film it lacks a lot, I can't deny the effort and passion that has gone into it...and so I say well done. With time and practice our DJ Kamal Mustafa could start to produce something which packs a little more punch, and hey we all have to start somewhere, but if you’re looking for some army action and animation...stick to Team America.

★★★★★ Directed by: #AshtonGleckman Written by: Ashton Gleckman Starring: #BenjaminFerencz, #SimonSrebnik, #ClaudeLanzmann Documentary Film Review: by #TaryllBaker Opening with a succinct overview, featuring a beautifully haunting theme by Benjamin Wallfisch, it’s instantly clear that the following two and a half hours will be carefully and skilfully put together. Stepping gently through time, we go on a journey to the most disturbing place in history, and come out the other end with a better understanding of what these victims went through. Gleckman’s direction in We Shall Not Die Now is terrific. The #documentary is broken up into parts, and these parts can act as a well-needed breather for the audience, if required. It’s a heavy watch, as you’d expect — but a vital one. The way in which the survivors’ stories are weaved together, with overlapping footage (archival and present day), is wonderful. It’s as if you’re having a conversation with them directly, not to mention how painfully rich and informative those stories are. A majority of the making of this film, was tackled entirely by Gleckman himself as a one-man crew. Visiting many of the concentration camps, speaking with survivors and liberators, writing and recording the score, and then collecting all of this and making the pieces work consecutively with little drag, is a feat I’ll always be in awe of. He did this at 18 years old. What this film manages to accomplish in its lengthy (but warranted) runtime is incredible. You thought you knew all you could about the Holocaust, but you didn’t. You could never. We Shall Not Die Now is completely fresh, and even with its use of older footage from Shoah, it offers up something new with clear control. Personally, I think this should be shown in schools. If films like Schindler’s List and The Boy in the Striped Pyjamas are being presented to students, why not We Shall Not Die Now? Equally as important and heavy in weight. The score — of course composed by Gleckman, as well as Michael Frankenberger — is a touching tribute to those who lost their lives and the people who lived to tell. Featuring a main theme by Benjamin Wallfisch (who has a personal connection to the Holocaust, as his grandmother is a survivor who was forced to play in the Auschwitz Women’s Orchestra), the score uses soft piano chords and a solo cello that cries out, sending chills down the spine. Each chapter in this project feels ultimately complete with its musical supplement. We Shall Not Die Now, like Gleckman, has a bright future ahead. It’s already winning awards and garnering attention, and will certainly continue to do so in the coming months. Remembering the team of producers, musicians, and everyone else involved in the making of this film, of course — for without, this would not have been possible. And lastly, we must never forget the victims of these horrific events. #documentaries #warfilms Available on most digital platforms December 5.

★★★★ Directed by: #DanielHammersley Written by: Daniel Hammersley Starring: #SimonWright, #AngusBarnett, #StephenBerkeley, #CarrieCohen, #RichardEmerson, #JaneHayward, Short Film Review by: Chris Olson War of the Worlds goes rural in this short comedy thriller from #filmmaker Daniel Hammersley. Radio, starring Simon Wright and Angus Barnett, is a playful yet thrilling piece that celebrates friendship and heroism no matter the age. John (Simon Wright) is celebrating his birthday in isolation. With only a greeting card from a website, he decides to take his friend Jim (Angus Barnett) up on his offer to sit in on his local radio show. However, all is not normal when news comes in about bizarre virus spreading that affects people or even kills them. Putting the logistical skills he gained in the army to good use, John helps to arrange safety for everyone whilst finding his own purpose again. Smartly filmed and full of #filmmaking prowess, Hammersley shows himself to be a capable director, offering audiences a plethora of genre moments without causing nausea. The #comedy is well balanced with peril, and the chemistry between the two friends glues the whole piece together. There is a jovial atmosphere complemented by the country accents and village life that makes Radio an incredibly endearing #shortfilm. Hammersley plays with this isolation and simplicity well in order to juxtapose it with a sharper pace which gets increasingly compelling as the narrative develops. Rather than a simple disaster or outbreak plot with running, jumping, and dying, the movie adds thematic depth in the form of John's harrowing background in Afghanistan. His on air revelation about feeling numb during his service hints at a #PTSD that provides a stronger foundation for the events to unfold. Mix into this his obvious loneliness and isolation, the film suddenly becomes a larger outcry about the shameful waste of talent when it comes to elderly people and the need for community for those who are on their own. The idea of being outdated smartly applying to people and radio here. Music and sound are used expertly to vamp up the tension, and a few nice aesthetic choices make the piece visually engaging (such as a cool pipe smoking session), and the whole movie has a high end feel to the production. Locations are also used well, such as a corner shop which has a spooky vibe when empty, or the vacant woods in the final third. Touching and genuinely thrilling, Radio from director Daniel Hammersley is as poignant as it is charming. It is the expert care and balance that makes it an enduring piece of cinema and allows it to ride the same frequency as other great outbreak movies such as Shaun of the Dead and Zombieland, just with a more mature cast. #ChrisOlson Watch the short film trailer:

★★★★ Directed by #MelinaMatsoukas Written by #LenaWaithe #JamesFrey Starring #DanielKaluuya #JodieTurnerSmith Film Review by George Wolf "I'm not a criminal." "You are now!" A white cop lies dead on a Cleveland roadside, while a young black couple is processing how a traffic stop escalated to the point of tragedy, and realizing they have a choice to make. "Slim" (Daniel Kaluuya) is confident his actions were self-defense, but "Queen" (Jodie Turner-Smith) is a lawyer who knows what they're up against. They must run. Now. The feature debut for both director Melina Matsoukas (TV's Master of None, Insecure) and screenwriter Lena Waithe (Master of None, The Chi) has a righteous outrage that nearly burns through the screen. Working in beautiful tandem, they create a mix of gripping character study and urgent fable that speaks with brutal honesty about being black in America. In Slim, we see the situation personally, while Queen is always there to remind him, and us, of the big picture, and why from now on, they can only go forward. And from the moment we meet them - in the opening scene, out on their first date - Queen and Slim are real people we're drawn to. Through wonderfully authentic dialog, they get to know each other (Who eats too loud? Who prefers "fat Luther?") and we get to know them, all while they are running for their lives. But honestly, it might still work if the two just worked in silence, as the chemistry between Kaluuya and Turner-Smith is a natural wonder. Her Queen is a smart, no nonsense woman who admits Slim wasn't going to get a second date. But Turner-Smith allows Queen's vulnerability to surface gradually, making her admission that she wants a man who will "cherish her bruises" all the more sympathetic. Slim's arc is equally valid with Kaluuya, who shot to Oscar-nominated stardom in Get Out, again flashing an admirable depth. As Slim softens Queen, he in turn absorbs her defiance, ultimately accepting their roles as cultural freedom fighters traveling a modern day underground railroad. The effective contrasts aren't limited to the main characters, as Matsoukas and Waithe populate their film with consistently resonant pushes and pulls, from romantic risk to shrinking options in wide open spaces. A stop or two - such as Slim's unlikely encounter with a gas station attendant - break the spell, but only for a moment. This is an unapologetic and purposeful first feature, as much a complex story of joy and love as incendiary protest parable. And like Queen & Slim themselves, it matters. #GeorgeWolf

★★★★ Directed by #AlmaHarel Written by #ShiaLaBeouf Starring #ShiaLaBeouf #NoahJupe #LucasHedges Film Review by Hope Madden “The only thing my father gave me that was of any value was pain, and you want to take that away?” In other hands, that line could be the beginning and end of a movie, a maudlin attempt to summarize a life of abuse. In other hands, Honey Boy could have gone really, really wrong. It did not. Ostensibly the strung together memories of a damaged movie star committed to rehab, the script tells of the insidious relationship between child star Otis (Noah Jupe as the semi-autobiographical avatar for Shia LaBeouf) and his ne’er do well father (LaBeouf, basically playing his own father). Are we watching LaBeouf work through his own issues with this remarkable act of empathy, or is this, too, just an act? Or is Honey Boy itself a blurring of the line between sincerity and performance? To director Alma Har’el’s credit, Honey Boy does not shy away from that question. In fact, at every turn it embraces it. Just don’t expect an answer. Har’el weaves between past and present. Modern day (2005) Otis (Lucas Hedges) stomps, blusters and bullies his way through court-appointed confinement where certain triggers send the film back to 1995. There, mainly in a dodgy motel with prostitutes for neighbors, young Otis and his dad struggle. Hedges and Jupe make for eerily strong choices to play the two younger versions of LaBeouf, each an actor of such remarkable range and talent that super stardom seems inevitable. Hedges’s turn brims with contempt and vulnerability, while Jupe seems to recognize the limits of his own character’s understanding. His performance is heartbreaking. The showier work comes from LaBeouf, who delivers a truly compassionate if not entirely forgiving performance. Your dad can be a hard guy to understand. If this entire film is simply LaBeouf’s attempt to do that, we’re lucky we get to participate. LaBeouf’s work as a child actor—his turn as Stanley Yelnats in the utterly charming Holes, for instance—solidified his standing as a talent. His mainly mediocre choices and flat performances in his young adulthood made his off-screen antics more worthy of comment. And though his personal life may not have steadied much (his last arrest was just two years ago), his 2019 cinematic output (including the endlessly delightful The Peanut Butter Falcon) is easily the most impressive of his career. The feat here is not just the performance, but the script. In other hands, Honey Boy is another look at the ugly familial dysfunction that both propels and destroys young actors. Instead, through mundane details, we’re offered an unsettling and candid character study and a finely written family tragedy. #HopeMadden

★★★★ Director: #ShirleyClarke Starring: #HamptonClanton, #ClarenceWilliams, #CarlLee, #YolandaRodriguez and #GloriaFoster Film Review by: #BrianPenn Shirley Clarke will barely register in many people's minds; even some film buffs would struggle to identify her work. Clarke was a highly respected independent film maker and received an Oscar nomination in 1960. The notion of indie drops Clarke perhaps unfairly, into niche territory and decidedly alternative to the mainstream. So the BFI's current retrospective of her work is long overdue. The Cool World is a remarkably stylish film capturing life in 1960s Harlem. Shot on 35mm and newly restored, the contours are sharp and vivid adding to the story's authenticity. A mix of trained actors and street kids improvised a gritty script as the film morphed into a documentary so characteristic of Clarke's work. It was a ground breaking production and the first to be shot in Harlem itself. An excellent soundtrack composed by Mal Waldron and performed by Dizzy Gillespie (among others) gives the film additional edge. It tells the story of Richard Custis (Hampton Clanton), an ordinary kid from the hood who drifts into crime. With a neglectful mother, father in jail and brother long gone he has no role model. Known as Duke he joins local gang the Pythons. Here he finds affiliation and acceptance as a gang member. Duke is fired up by leader Blood (Clarence Williams) who seduces the gang with tales of wealth and power. However, Blood becomes hooked on dope and Duke gradually assumes leadership of the gang. He looks to Priest (Carl Lee), a smooth talking hustler and dangerous mentor. The Pythons contemplate a stand-off with a rival gang in the park; but where will it all lead? What's most striking is how fresh and contemporary it all looks. For a film conceived and written the best part of sixty years ago, it sits all too comfortably in modern parlance; a frightening echo of gang culture and knife crime currently stalking British cities. The parallels are obvious and carry resonance with a disaffected generation content to live and die by the gun. Here's proof that history does indeed repeat itself. Shirley Clarke had a terrific eye for detail and ever changing moods. Dramatised dialogue feeds seamlessly into library footage and the effect is a chilling reality. It was ahead of its time in the stark portrayal of how a good life can go bad. The Cool World is an understated but truly memorable movie that delivers a simple message: we are still a long, long way from home.

★★★★ Directed by: #CyrusMirakhor Written by: #CareyCrim Starring: #MyndyCrist, #JoKoy, #CarolineLagerfelt, #PaigeSearcy, #JamesDenton, #PaulStroili Film Review by: Darren Tilby Ever feel like you just can’t face going outside some days? Well, that’s a problem agoraphobic mortician Molly Harrison (Myndy Crist) faces every day of her life, having not ventured outside since the death of her husband...three years ago. This is, perhaps, the cause of a rather unusual birthday gift from her mother (Lily – Caroline Lagerfelt) and teenage Daughter (Sam – Paige Searcy) in the form of a sex doll (It’s to practise embalming techniques on…honest). This, of course, is merely a joke, and Molly’s real present is a trip to Moscow for her and Sam. A trip her anxiety won’t even allow her to entertain—upsetting Sam, who has always wanted to visit. Later that night, strangely, the sex doll gift seemingly comes to life as her deceased husband, Peter (Jo Koy). But something isn’t right. Peter isn’t supportive of Molly’s needs and instead spends his time convincing her to stay indoors with him, rather than attempting to deal with her crippling agoraphobia. This puts further strain on Molly’s relationship with both her mother and daughter, as well as her blossoming romance with film-maker Joe (James Denton). It’s clear to the viewer – but perhaps not so clear to Molly – there’s nothing magical going on here, and that Peter is simply a manifestation of Molly’s grief and anxiety. The things Peter says to Molly are intended to make her doubt herself, to make her consider the worst-case scenario of everything she does, to make her feel as though the inside is safe and the outside is dangerous. But of course, this is really just Molly convincing herself of these things and being ruled that fear. As someone who suffers from social anxiety, I can safely say this is something the film gets absolutely spot-on. Indeed, there were moments in this film which felt awfully close to home. This is a testament to both Carey Crim’s (on whose play this film is based) terrific writing and the all-round solid acting. There’s not a weak link to be found amongst its cast, but there are several standout performances here. Crist gives a superbly empathetic display in the lead role, and both Searcy and Lagerfelt offer a solid grounding for the film. Of course, it helps for an actor to have a good dialogue to work from and thankfully the scriptwriting here is succinct and naturalistic. The story itself isn’t terribly original, nor is the subject matter covered; there’s no real “wow” factor here. But what there is, is incredibly well-written and tightly made and it achieves what it sets out to do. Wake is a weighty examination of grief, personal anxieties, and the power these psychological conditions hold over us. One in which I could relate far more than I care to admit. There are certain moments which could be difficult for sufferers of similar conditions to watch, particularly those scenes dealing with the collateral damage of severe agoraphobia...as they should be. Wake is affecting and honest in the way it approaches its subject matter, but, more importantly, it understands the complexities and difficulties surrounding it and approaches them with nothing but complete respect.

★★ Directed by #TeonaStrugarMitevska Starring: #ZoricaNusheva #LabinaMitevska #StefanVujisic Film review by Nathanial Eker Dealing with a patriarchal ceremony more unrelentingly sexist than even the worst constructs of our western ideology must be unbearably frustrating for a woman. This idea as a template for a tale of female empowerment is a strong one, and the premise of God Exists, Her Name is Petrunya is undeniably excellent. Unfortunately, writer and director Teona Strugar Mitevska becomes muddled to the point of exhaustion once the core conflict is established, as the film reveals itself as an unappealing blend of untapped potential and clumsy commentary, sluggishly limping towards a lazy climax. Petrunya is a thirty-two-year-old woman from North Macedonia with a degree in history. She struggles to find employment and thus lives at home with her overbearing mother and passive father. One day following an unsuccessful interview with a gross caricature of a factory owner, she witnesses a traditional Christian ritual, in which a group of men jump into the river to try and salvage a cross thrown by a priest; whoever wins will have good luck for a year. In a moment of spontaneity, Petrunya leaps in and claims the cross, leading to profound abuse from religious followers, police officers, and a mob of angry chauvinists alike, all for the crime of being a woman. While the central theme of prejudice is commendable, over the one hour forty-minute run time, it takes unnecessary precedence over a naturally escalating narrative. From the beginning, men are presented as repulsive sex machines, hurling misogynistic insults without a hint of realistic intent. Of course, people like this remain a sad reality, but the extent to which Mitevska portrays nearly every man as a vessel for toxic masculinity harms the verisimilitude of her film. This in turns creates an unfocused message. Is the film an attack on organised religion? An attack on North Macedonian society as a whole, even? Or is it merely a question of gender? Mitevska fails to address these concerns, instead creating an unpleasant atmosphere and little else, bar a hint of underdeveloped romance with a sympathetic-by-comparison police officer. It’s unfortunate then that the lead performance by Zorica Nusheva is so convincingly genuine. Petrunya is portrayed with a wonderful sense of self and a frustration that culminates in a volatile confrontation with her abusive Mother, who is seemingly absolved by virtue of being born in a different era. Other performances are more mixed, and Petrunya herself serves as the only truly engaging character throughout, as she’s consistently surrounded by walking stereotypes and plot hurdles; an odd choice. Equally odd is the use of music, particularly the opening scene which zooms in on our lead, whilst blasting a healthy dose of which genre? Death metal. The reason? Your guess is as good as mine. To review, God Exists, Her Name is Petrunya is a disappointing mess. The film wants to say something powerful about the dominance of the patriarchy, but the extent is unclear, and it ultimately satirises its own ethos through its unrealistic players and heavy-handed approach. Mitevska plants the seeds of interesting concepts, but fails to water them, creating a film that basks in its own commentary, without saying anything particularly substantial. #NathanialEker