Aping ★ Directed by: #IanBousher, #TheoGee Written by: #IanBousher, #TheoGee Starring: #PaulMansell, #TimScragg, #JulieRoseSmith Film Review by: JJ Donoghue Filmmaking duo Ian Bousher and Theo Gee collaborate once again for their latest short film, Aping, sharing directorial and screenwriting responsibilities between themselves. Aping focuses on the topic of social conformity, depicting what happens when a psychological experiment takes a dark turn. Its central focus is Chimp (Tim Scragg), who learns and adapts terrifyingly to the strange environment of the test and its subjects. This film owes a lot to the template created by Black Mirror. The dark psychological undertones to the script, its steadily escalating, shocking violence and the creepy dog mask worn by the silent test enforcer are all features which are undeniably reminiscent of Channel 4’s hit show. Unfortunately, Aping lacks the intelligence or originality to leave the same kind of lasting cultural impression that Black Mirror has. After the first couple of minutes pass and the premise reveals itself, it becomes obvious in which direction the plot is going to go. This means that there is very little to surprise or provoke thought here, because the subject the film explores has already been covered thoroughly elsewhere. Aping does nothing to contribute meaningfully to cinematic or psychological discussions of human social compliance. In fairness, the fact that the main character is labelled Chimp is somewhat interesting, because it seems to bring up questions about the violent, manipulative nature of humans in the way that he embraces the violent options gleefully. But this discussion is only explored to an extent and is never really clarified or justified within the film. Furthermore, the film has been summarised and promoted by the filmmakers as a comedy. But there is very little, if anything, to laugh at in this film, which makes this labelling seem strange. It also makes questionable the film’s intentions, as if it is truly intended to be funny then this objective is not executed well at all. There are promising elements in the film which suggest the potential for improvement, though. In particular, the directors’ ability to draw performances from the actors ensures the film is engaging in spite of its flaws. Every actor seems to understand their character, and every character is singularly unique and distinctive. Though this is not enough in itself to rescue Aping, it does highlight it as simply a case of talented filmmakers failing to actualise their ideas into a compelling piece of cinema on this particular occasion.

★★★★ Directed by: #KevinIgnatius Written by: #NickPsinakis #KevinIgnatius Starring: #NickPsinakis #DarrylGudmundson #AnneAkhila Indie Film Review by #ChrisBuick Sean Reilly, a wannabe actor in his early 30s, has made the big move to LA from New York. However, in a tale as old as time itself, things haven’t exactly panned out the way he had hoped despite his best efforts. On top of that, his girlfriend is fed up with him for not having a real job, his boss at the restaurant where he waits tables is a dick and his crazy roommate is a complete nightmare. But life’s tough luck is savagely underlined when his best friend, whose dedication to becoming an actor is incredibly passive, lands a role on a big new TV show. From there on, Sean’s life really starts to spiral as he is unable to control the big green monster inside of him. It might be a premise that’s been seen in film countless times before, with the astronomical chances of making it in Hollywood being very much on record, but having to watch it happen for someone else allows the sense of a fresh perspective. The writing and the dialogue feel completely natural, in what seems to be a brilliant combination of clever writing and inspired improv. The film ebbs and flows through all the emotions; pity, joy, sadness and hope, but there is always a rich vein of humour even around the melancholy. There are one or two jokes that don’t land but they are so infrequent that even if you do notice they’re easy to forgive. And as good as the writing is, it’s all brought together by a really strong cast, all the way down to the well-rounded bit players, who manage to make an impact even with only a couple of minutes screen time. And as the lead role, Psinakis successfully carries the whole film on his shoulders. We go through it all with Sean as he keeps trying to pick himself up every time life seems to push him back down, and for the entirety of the ninety-minute runtime, we root for him even at his absolute worst. My Best Friend’s Famous is an endearing story about appreciating what you have and who you are, even when life seems just want to punch you in the face at every turn. With some great acting and impressive filmmaking, this is a well put together indie film and Psinakis and Igantius have certainly delivered on something that is clearly a passion project for the two of them and should be proud.

★★★★★ Directed by: #KristenGerweck Written by: Kristen Gerweck Starring: #MegumiKabe, #HitoshiMasaki, #AkariHarada, #YukinaTakase, #LindaChung, #MihoAndo, #HiroshiWatanabe, #NatsukoAoike Short Film Review by: Chris Olson The Wind Phone Movie Review Hauntingly beautiful and infused with tragedy, #filmmaker Kristen Gerweck's short film The Wind Phone is ferocious yet delicate storytelling at its best. Atop a seaside cliff sits a payphone (if you don't know what these are please Google). Isolated in its surroundings, the payphone is visited by seven different people over the course of one day. At first, their conversations with the person on the other end seem arbitrary and unconnected with the next caller. However, a harrowing thread looms in the distance that ties all these people together. Phenomenal and breathtaking, The Wind Phone is top shelf #worldcinema. Every piece of the filmmaking is carefully constructed to piece together this tapestry of tragedy for the audience, who hold their breath as the anguish pours forth. The performances are all incredible, in particular the emotional outbursts from characters devastated by the reality of their relationship with the caller. Gerweck uses space particularly well. There is intimate framing of the characters up close in the phonebox being juxtaposed with wide shots of the vast and endless coast. This juxtaposition is important to the short film's themes (which I won't spoil) and creates an ethereal atmosphere to be engulfed by. Some of the editing is also sharp and to the point. This creates a wonderful tension for the viewer, who gets snippets of disaster and drama but never enough to fully comprehend the events which have taken place. It would be improper to draw comparisons between The Wind Phone and movies like it in terms of narrative, as this would give away an essential part of the enjoyment factor for new audiences. However, the film has a pedigree about it, in terms of filmmaking and storytelling, that sits it at the table with giants. Rumour has it the piece is under consideration for the Academy Awards, and it should do very well on the #filmfestival circuit. Viewers are likely to be drawn to the picturesque location, gripping performances, and harrowing depth. Flawless, fragile, and formidable filmmaking that transcends time to deliver a story that is as captivating as it is heartbreaking. Gerweck proves herself to be someone studios will definitely want on the other end of the line. #ChrisOlson Watch the Short Film Trailer:

★★★ Directed by #IraSachs Written by #IraSachs Starring #IsabelleHuppert #BrendanGleeson Film Review by Hope Madden A loosely structured day-in-the-life, writer/director Ira Sachs’s Frankie drops in on a family vacation in lovely Sintra, Portugal. It’s a posh event, no doubt, but the idyllic setting contrasts with the emotions roiling beneath the surface of the film. That is best depicted by cinematographer Rui Pocas, who captures the distance, the awkward directionlessness, and the isolation. Pocas’s camera catches the meandering spirit of the film as it winds its way through the streets of this historic, mist-enshrouded city, catching up here and there with the different members of the party. Each arrives at the behest of family matriarch, Frankie (Isabelle Huppert), and her doting second husband, Jimmy (Brendan Gleeson). Intersecting stories involve Frankie’s ex-husband Michel (Pascal Greggory) and their grown son Paul (Jeremie Renier); her step-daughter Sylvia (Vivette Robinson) and her family; and a close friend (Marisa Tomei) who’s surprised everyone by bringing along a boyfriend (Greg Kinnear). The tiny yet formidable Huppert perfectly embodies her character, frail but decidedly in control. In fact, the size difference between the great Huppert and the also great Gleeson is in gorgeously inverted proportion to their stubborn resolve. Gleeson is all gentle, heartbroken support while Huppert’s performance is removed stoicism, which makes her fleeting moments of vulnerability all the more human. Seeing these remarkable veteran talents and their love story is more than reason enough to experience this film. Sachs’s greying narrative, while never pushy, feels determined to expose our personal desires to check off boxes and maintain the illusion of control. Frankie manipulates events to find solace in the idea that there are final solutions, or that a person may continue to be needed and useful, even present for our loved ones after we’re gone. But life is untidy, and fittingly, so is Frankie. #HopeMadden

★★★ Directed by #ChrisBuck #JenniferLee Written by #JenniferLee #ChrisBuck #MarcSmith #KristenAndersonLopez #RobertLopez Starring #IdinaMenzel #KristenBell #JoshGad Film Review by George Wolf Four year-old Ruby, bouncing in her seat and making friends while sporting a sparkly tiara, is here for it. "The fun part is watching Elsa!" From Ruby's lips to Mickey's ears, because the perfectly acceptable Frozen II seems overly calculated to be just that: perfectly acceptable to anyone and everyone who's even vaguely aware of the original from 2013. Directors/co-writers Jennifer Lee and Chris Buck are back for round two, along with songwriters Robert Lopez and Kristen Anderson-Lopez and the starring voices from the first adventure. This new one is set in motion by a siren song that attracts Queen Elsa (Idina Menzel), calling her north to a magical forest that is holding captives - and secrets. With sister Anna (Kristen Bell), Anna's beau Kristoff (Jonathan Groff) and goofy snowman Olaf (Josh Gad) close behind, Elsa sets off into the unknown to right wrongs and learn the origin of her magical powers. "Into the Unknown," get used to it. A soaring ballad delivered with customary power by Menzel, it's served up not only as part 2's "Let It Go," but as just one of the many broadly-drawn themes the film leans on. Don't give up, take one step at a time and do the right thing. Nothing wrong with any of those messages, but largely thanks to Disney and Pixar, animated films of the last twenty odd years have shown us how many more layers of resonance are possible - for children and adults. And while families - especially the younger members - will find a fine holiday time to be had, don't expect the heights of Up, Inside Out, Zootopia, or even the original Frozen. The songs are just a bit more bland this time, the laughs a little less frequent (although Gad does deliver some winners) and the animation not quite as rich or defined. From start to finish, FII's journey seems interested only in the path of least resistance toward more of that Elsa/Anna feeling. And by that measure, it certainly succeeds. "See you at the next Frozen! Are you gonna be here?" Count on it, Ruby. Save me a seat. #GeorgeWolf

★★ Written & Directed by: #MatteoMauroni Starring: #IsabelPatterson, #NatashaCulzac, #PaulEmileForman Produced by: Matteo Mauroni, #FabioSbordone Cinematography by: #AnaKrkljus Film Review by: Will Girling Dreams is the kind of film I imagine worked better on the page than its screen adaptation accomplished. Writer/director Matteo Mauroni presents the short film as a collision between fantasy and reality, although the experience is more akin to a garrulous monologue. With a good sense of how to communicate its intentions in images, but decidedly not in dialogue or storyline, Dreams would have been very effective as a painting, a poem, or even a candid diary entry. As a film, however, it doesn’t engage the viewer as anything other than a shaggy-dog tale. Rita (Natasha Culzac) arrives at a café for some after-work drinks with her friend Gemma (Isabel Patterson). As she narrates a funny story about the goings on at her office, Rita notices that Gemma is decidedly absent from the conversation and asks what the problem is. Gemma explains that she can’t stop thinking about a dream she had the preceding night, wherein a dream man (Paul-Emile Forman) – in every sense of the word – appeared and initiated a kind of existential crisis in her upon awaking. Rita listens with intrigue as Gemma explores the implications of this encounter. But, with dreams taking over her life, can she be sure of reality anymore? First of all, praise must go to Mauroni and cinematographer Ana Krkljus for their well-constructed visual semantics: the fantasy/dream sequences are sensual, colourful and seductive, whilst the ‘real-world’ portions are suitably drab, washed out and warm without being cosy, a very sensitive touch which sets the scene perfectly. The lead performances from Patterson and Culzac are also well handled by both actors, particularly Culzac who acts with both authority and charisma. Technical aspects aside, however, the general premise of Dreams is distinctly uninteresting and drab. It is essentially the much-too-invested ramblings of one friend to another, and Gemma surely puts far too much emotion into the fictional experience to be accepted so earnestly by Rita? The whole ordeal is a ‘much ado about nothing’ matter: a tale too personal to be relatable, particularly as it’s all in her head anyway. On the film’s IMDb page, Dreams is touted as a story in which ‘love and acceptance’ results from a tale fusing fantasy and reality. This outline feels slightly overblown after the film has ended and the credits are rolling; it didn’t seem that acceptance played any part in the story arc at all. In fact, the prevailing emotion was a sense of emptiness and loss because reality cannot stack up to our imagination. Similarly, love is not portrayed in way consistent with expectations. It might be more accurate to describe Dreams as a tale of longing and desire – after all, Gemma doesn’t know this man, she has simply conjured a physical ideal in her mind. Perhaps the most glaring flaw of the movie is this: it is an idea that doesn’t work as a narrative film. If the concept could somehow be condensed into an expressionist painting or an evocative poem, that might have been a more appropriate medium. As it is, the subject matter rings as solipsistic and inconsequential.

★★★★ Directed by: #NickMyer Written by: #NickMyer Short Film Review by: Shrubaboti Bose This short film has a very interesting take on the sociopolitical scenario of today’s world. A military insider has supposedly escaped from the base camp to transmit a secret message to his close friend Jack, warning him about a soon-to-be-imposed dangerous plan of a global culling. He says, “The people have to wake up from their mind-control state” and claims that it is a “Red Alert Situation”. He discusses how the system has placed microchip implants inside every human beings such that nobody can detect their presence or stop the “depopulating” strategy when it finally kicks in. The static noises that can be heard along with the tone of urgency in the voice of the protagonist grabs our attention right from the start. The emergency of the situation is emphasised by the sound effects, adding a layer of suspense to the film. It is significant to note that though most of the story is provided to us through the voice-over technique, the sepia-coloured edgy graphics build up tension and create a stunning visual impact on the audience. The images used in this textured animated video-clip have further symbolical significance rather than merely serving as props in the post-apocalyptic setting. The Eye of Providence, for instance, also known as Divine Providence, here has become replaced by an all-seeing system of surveillance suggesting the gaze and overall dominance of the authoritarian regime by using the image of a room full of computers recording minute statistical data, and thus exercising a silent control over the population. The director seems to acknowledge that the film has been inspired by George Orwell’s novel, 1984 which portrays a similar dystopian society. Every move of every individual is being watched and recorded by the authority. The film also indicates how there is a greater “UN illusion scam” taking place and refers to the spread of diseases such as cancer as being arranged with an ulterior motive by this secret organisation to reduce the number of people inhabiting Earth. He also expresses his concern over the immediacy of the problem and states his wishes to refrain from being a part of this whole genocide program. According to the insider, the only way to resist this “invasion” is by becoming conscious and staying suspicious about these changes at all times. One must admit that the film focuses on extremely relevant issues of the modern world. The growing rates of surveillance of the government through the internet and social networking sites, especially within states apparently upholding democracy, their deliberate curbing of people’s freedom to speech through acts of censorship, the extent of indifference and intolerance that is being fostered among people globally is indeed a very disturbing phenomenon and it has been rightly questioned in this film. With regards to its public appeal in terms of social relevance, it is highly possible to visualise this as being developed into a full-fledged sci-fi film, that which is the ultimate goal of the director, since despite its limitations as a short film, it succeeds in capturing our attention and making us ponder about these questions.

★★★ Written and directed by #CraigRoberts Starring #SallyHawkins, #DavidThewlis, #BilliePiper, #AliceLowe, #PenelopeWilton, #MorfyddClark #BFILondonFilmFestival Review by #HannahSayer For his second feature film, actor turned writer-director Craig Roberts has taken on the daunting task of shooting #EternalBeauty entirely on 35mm film. If this wasn’t enough of an ambitious feat, Roberts directs his #Submarine co-star, the incomparable Sally Hawkins, in the lead role. Hawkins’ plays June, a woman living with schizophrenia, who was left at the altar by her fiancée for her best friend. Roberts’ based the character of June on a family member who he grew up with and he refers to her illness as her “superpower”. Mental illness is reframed as a strength in Eternal Beauty by resisting conventional tropes and not shying away from portraying the positives, as well as the negatives, in June’s life. The film follows June as she navigates everyday life and her complicated family dynamics. Predominantly focused as a character study, Hawkins’ is magnetic in the role and her supporting cast members include David Thewlis, Billie Piper, Alice Lowe and Penelope Wilton, playing friends and family members who come in and out of the story. None of these characters feel as fleshed out as June, reinforcing the fragmented nature of her family life and of her everyday reality. The film opens with the tragedy that acts as a catalyst for June’s breakdown, which haunts her throughout the film as she experiences acts of betrayal. The narrative follows how these moments of tragedy mixed with moments of comedy and happiness impact her life and her stability. The result is a film full of the complexities of life, which is a fitting tribute to its real life inspiration. The attention to detail in the film is heightened through the use of 35mm film and the carefully considered composition of shots. At times, it feels like you’re watching a home video as shots linger on June’s face in close up as she interacts with family members with the image looking rich and grainy, as if looking back on past memories. The fragmentary structure along with the scattered timeline of events employed within the narrative mirrors June’s reality, helping to create a dreamlike quality that lends it an air of magical realism. The film succeeds in hitting a dark tone with moments of comedic relief, which rarely feels heavy handed. While it’s a stylistically bold and inventive exploration which succeeds in what it sets out to do, there are moments which feel like they could have been developed further. The main focus appears, at times, to be beholden with the use of 35mm film and Hawkins’ central performance. As the credits roll, the daring and bold Eternal Beauty leaves a lasting impression. Craig Roberts’ reframes the narrative surrounding mental illness by choosing not to shy away from showing both the cruelty in June’s illness and the joy she gets from her life. This complex portrayal makes Eternal Beauty one to watch.

★★★★★ Directed by #NoraFingscheidt Starring: #HelenaZengel, #AlbrechtSchuch, #GabrielaMariaSchmeide Film review by Nathanial Eker A narrative that revolves around a marginalised societal subsection will almost inevitably incite divisive argument and passionate discussion. You can double the impact of such emotive responses when the issue regard our most innocent subsection; children. Systemsprenger, or System Crasher is one such film, telling the tale of an often-overlooked and neglected group: unwanted problem children, or 'system crashers'. Director Nora Fingscheidt blends a realist aesthetic infused with occasional sporadic stylistics to tell a heart-breaking personal tale of cyclical abandonment and system failure. Bernadette, or as she prefers ‘Benni’ is a nine-year-old force of nature. With the destructive energy of a hurricane and an explosive temper that manifests as violent outbursts, she’s certainly a handful. Her abusive upbringing has left both her and her utterly overwhelmed and depressed mother scarred, leading to her abandonment. Due to Benni’s psychotic episodes, she finds herself unable to integrate with her peers, even vitriolically shouting at adults with slurs that’d make Gordon Ramsey blush. Through the relentlessly repetitious cycle of care home to hospital to foster family, we find ourselves begging for respite, before the cruel hand of the German social care system plunges the knife of reality even deeper. In short, Benni’s situation is presented as upsettingly hopeless, with no light at the end of this troubled child’s tunnel. Thus, a bleak tone lingers over the plot of System Crasher, supported by a reliance on a largely realist mise-en-scené. The camera exclusively sits with Benni, aligning us as her only consistent companion. Fingscheidt chooses her colours carefully; the pink outfits of Benni are tragically symbolic of her unreachable goal of being ‘normal’, in her eyes at least. Pink is maintained as a recurring theme throughout, as it envelops the screen at critical moments of personal horror for Benni, representing the severity of her anxiety attacks in the simplest, yet most effective way. These triggers also become devices for succinct semiotic drama, particularly when Benni interacts with other children. When the screen turns pink or the excellent percussion infused soundtrack kicks in, we’re conditioned like a Pavlovian dog to tense. Concurrent to its powerful social message, the core appeal of System Crasher lies in the exceptional performance by the young Helena Zengel. That Zengel can portray issues of mental health with such a visceral believability at an age where most of us barely understood the concept, is a testament to the actor’s immense talent. Benni is all at once irritating, deplorable, yet kind, sweet, funny, endearing, and intensely sympathetic. She manages to simultaneously frustrate us and steal our hearts (as well as a few handbags). We even find ourselves guilty of initially dismissing her behaviour as mere brattishness, an excellent device by Fingscheidt that positions us in the same role as her many carers: sympathetic but with only a human level of patience. Bizarrely, where System Crasher falls down is not in a particular moment or device, but rather, a notable narrative absence. The lack of any kind of acknowledgement of psychotherapy is a strange omission, considering the nature of Benni’s condition. It seems confusing to completely ignore this kind of treatment, and instead use the hospital as a metaphorical prison, complete with oppressive imagery. Perhaps this was an intentional choice by Fingscheidt and a subtle personal commentary that matters of childcare should be resolved as a community, without an over-reliance on science. As it stands, it seems more naïve omission than intentional commentary. To review, System Crasher is a powerful assessment of the state of the German care system. Though the personification of ‘problem children’ through Benni is by no means catch all, the message is clear; there is rarely an easy solution. From unreliable adult promises to ‘saviour complexes’ to just bad luck, the plight of Benni is worryingly unending. We’re left wondering if she’ll ever get the care she needs, or whether she’ll move into adulthood completely ill prepared, simply from a deprivation of the one thing we as a species universally require: basic love and connection. #NathanialEker #Germancinema

★★★ Directed by: #RadoslavRadoslavov Written by: Radoslav Radoslavov Starring: #TsvetinaPetrova, #StanislavKondov, #KonstantinSokolov Short Film Review by: Chris Olson A short film from Radoslav Radoslavov, Domino is an acute exploration of domination and power in relationships, whereby the participants often use sexual manipulation to promote their own agenda or to meet their desired ends. A film student (Tsvetina Petrova) lives in both complete isolation and suffocating company. Alone in her flat, she is often talking to her long-distance and jealous boyfriend via the laptop, or carrying out BDSM on paying customers who like to be whipped and dominated. This is all filmed via secret cameras which she is using for her film studies project. The #filmmakers utilise a basic setup in order to keep the focus on the dispirited central character. Single static, low-angle shots are used to frame the scenes, with less than a handful of rooms being filmed in. Editing is kept minimal (aside from a small punky montage in the final third) most likely to juxtapose the heightened sexual conflict of the story with its own mundanity. There is a sense of lifelessness to the piece, such as the dull colours and drab mise en scéne, reflected in the story by the central character's attempts to keep her flowers alive. All living things need sun, water, and freedom. As with many other movies that attempt to explore the uneasy dynamic of controlling relationships, Domino is from the female perspective. We witness the events from her view, indeed from cameras she has placed strategically around the apartment, and are given a glimpse into the tragic reality of a woman attempting to resist the controlling hands of man. Any modicum of control she has over her own life seems to be in the slamming down of the laptop screen, or watering the plants. Even as she whips her customer it feels mechanical, as if she is another tool for the pleasure of a man. It's a powerful piece in terms of gender exploitation but feels light on the audience's connection to the main character's situation and misery. We rarely get to see her as a fly on the wall, instead, the static cameras make us feel like witnesses to the emotional abuse, or even worse partaking in some form of voyeurism at her expense, even if she put the cameras there. The small glimpses at hope, such as friendly small talk from one of the patrons or the discovery that she wanted to be an actress, are few and far between. An intelligently crafted yet ultimately unbalanced piece, Domino is too calculated to be immersive but does keep our gaze fixed firmly on the infinite power struggles that can emerge between men and women. Watch the Short Film Trailer:

★★★ Directed by: #JackAllen Written by: #JackAllen Starring: #JackAllen Film Review written by: #AmberJackson Jack Allen and his film on flies makes for a fascinating, if not strange, viewing experience. Flit, made with Edinburgh College of Art, situates infamous fly killer Carl (also Jack Allen). Carl has successfully invented a machine that seeks to kill every fly in existence, however, when a single fly survives the massacre, a bloodthirsty inventor is shown a sweeter side to existence. Watching this film can only be likened to a bizarre mash-up of Back to the Future and Wallace and Gromit, with its themes of eccentric invention, swelling musical score and exaggerated performance. It is strange to watch and almost creepy when analysed, but there is also something compelling and childlike about watching a fly killer plot his next invention. Opening shots consist of ominous newspaper cuttings and illustrations (by Peter Tilley) of flies and Carl’s successes, as the camera pans across to the man himself in classic retro invention gear in attempts to work his machine. The piece itself is very well shot and edited together. Director of Photography Elías Nader does a fantastic job with ensuring that the camera angles are in-keeping with an ominous tone, further satirising Allen’s performance. Visual effects by Nader, in collaboration with Allen and designer Ina Morken, were fun to look at. The fly animations added an extra layer of humour, with their lack of realism adding a post-modern vibe to the already eccentric piece. Having this film be as absurd as possible was a positive thing, as it aligns with other shorts that use invention and sci-fi to spark comedy. Every element within the film, from props to scenery, is incredibly dynamic, with some having special effects to make them light up, or a sound effect to make them come alive. Sound-wise, every detail was well thought out. Arguably it is a silent film, as Allen does not speak, so instead his exaggerated movements convey his mood, along with a classical-sounding score. This made the film even more electric, with spooky satire being conveyed through music. Again, Allen assists in designing this, along with Laura Wiggett and Tyler Tappin. This extra dimension to the short made it come alive, making it feel like audiences are watching a classic sci-fi short steeped in childhood nostalgia, despite it only being released this year. There is something sweet about watching a fly changing a deadly inventor’s heart, as if the audience is meant to consider the morality of flies and what right humans have in killing them. This is a story that does not need to be taken too seriously, but is strangely very watchable. Ultimately, the crew seemingly did not take things too seriously themselves, as even the flies have fun names in the credits, with secret jokey messages. Tying everything together, this makes Flit seem like a fun, fantastical project that the crew thoroughly enjoyed making - which is always great to see in this industry. Flit is a very absurd watch, but it will be interesting to see what Jack Allen (and company) go on to create next. #AmberJackson

★★★★ Directed by: #HeatherFink Written by: Heather Fink Starring: Heather Fink, #MarshallStratton Indie Film Review by: Chris Olson Freaky Friday meets The Five Year Engagement on Viagra, indie #filmmaker Heather Fink’s unabashed movie Inside You takes the body swap concept and slaps a brazen attitude on it. Full of gender role exploration and relationship quandaries, it’s an indie comedy with as much heart as horniness. Heather Fink and Marshall Stratton play Stephanie and Ryan respectively (and also irrespectively), a couple enduring the pains of their five-year-itch. Whilst one person wants to avoid getting married and have a lot of sex, the other wants to settle down and get married. And I know what you are thinking, but in this case, roles are reversed before they get reversed (again): it’s Stephanie who intially wants to have lots of sex, whilst Ryan is pushing for the nuptials, a refreshing display of balance to gender portrayals. The former, hoping to ignite their sex life by dousing it with oil, hops into a mysterious sex shop full of voodoo weird shit and an accordion-playing child who is almost definitely Satan, whereby she purchases something which enables a body swap after coitous. From there, our struggling couple must now survive familiar yet unfamiliar body parts, personal secrets, and newfound ways of urinating. To cope with such a challenging premise such as the body swap, you need two performers who can rise to the occasion of portraying characters on multiple levels without the audience struggling to stay convinced. With Fink and Stratton, the performances stay brilliantly funny throughout and dedicated to the bit. Their chemistry, irrespective of who they are playing at the time, is always believable, charming, and just the right amount of cheeky crudeness. Whilst the plot does tackle some heavy themes, such as adultery and harassment, it is always done through the frame of #comedy, keeping the piece light throughout. The production is slick and much like her character, Fink takes a few risks in order to keep Inside You from feeling boring. We don’t get all the guts and glory but the movie is not far off from feeling like soft porn at times, as the performers get themselves into all kinds of erotic catastrophes. The mise en scéne feels at home with other raunchy comedies like American Pie, Road Trip, and Van Wilder. There is a breakneck pace to the movie which sees the narrative get a little tangled with too many threads, and there are a few unnecessary side characters who get a little too much screen time, but aside from that this is a welcome addition to the likes of Big, Change Up, and 17 Again in the body swap genre. Especially for audiences who like their Fridays extra effing Freaky. Watch the Indie Film Trailer: