Bill film review by UK film critic Patrick Foley. Starring Deana Taheri, Yianni Sines, Zac Branciforte directed by Emily Dhue. HOME | FILMS | REVIEWS Bill Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Aug 30, 2024 Directed by: Emily Dhue Written by: Deana Taheri Starring: Deana Taheri, Yianni Sines, Zac Branciforte If you ever wondered whether Weekend At Bernies would have been improved by gore and mariticide, Bill is the short film for you. This whimsical horror from director Emily Dhue and writer/star Deana Taheri is creative, brutal and wickedly funny. Long suffering Lilith (Deana Taheri) is at the end of her tether with vulgar and sexist husband Bill (Yianni Sines). Over dinner, as he suggests changes that he would like to her physique, she finally snaps – killing him on the spot. But with her brutal vengeance comes potential. Potential to use his corpse as a chance to build herself the perfect husband. With some pulleys, levers, and a whole load of makeup, the ‘pair’ head out for a romantic dinner, though whether Bill will be able to match Lilith’s standards is still to be determined. Bill is much more of a dark comedy than it is a horror. Lilith’s psychotic breakdown, set to a ragtime background staging, is hilarious for its quirkiness – colourfully enlightening her unconventional ‘puppet show’. The actual murder scene – which features a brief interlude of severity as Lilith comes to terms with her actions, only to add emphatic finishing touches when Bill shows signs of life – is the film’s funniest moment. It is rivalled by Lilith’s creativity in animating her former husband’s corpse, and her continuing expectations of him at the dinner, giving the film its selection of laugh-out-loud moments. Yianni Sines is a highlight as Bill (at least in the scenes in which he is alive…). It is clear Sines is taking pleasure in making the character as deserving of his fate as possible, portraying him as an oafish, classless pig with nothing but disregard for his wife’s emotions. It is what ultimately allows the film to work as a comedy – as few tears will be shed for such a rancid character. Deana Taheri fits perfectly with Sines’ performance, acting the subordinate as Bill mouths off until her psychotic tendencies take over. Lilith’s dark side then emerges, and Taheri’s commitment to her character’s delusion at the dinner is where the film’s comedy starts to emerge. For all of its macabre humour there is still substance to the film, with important themes of sexism, domestic abuse and manipulation woven through the plot. The power dynamic established between the pair, and the invisible abuse Lilith has been subject to comes to a head at the dinner when Bill is handed the bill by an acquainted waiter, despite being dead. It’s a funny, yet meaningful scene which shows how couples can be perceived by those familiar to them – and how much can go unnoticed. Add to this a vibrant and tailored styling for the short, and Bill makes for an enjoyable and impressive horror/comedy. First viewings will see audiences revel in its humour, but repeats reward fans with deeper meaning and thought-provoking themes. There’s plenty of life in this one… Buy UKFR Banner Space About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Watch Holestepper (Pisahueco) at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. Holestepper (Pisahueco) Listen to our review on the film podcast What our film review said: READ FULL REVIEW Salas’ performance is exceptional. He perfectly balances both apprehension and eloquence in a short so full of contrasts (drum and bass collated with classical, articulated cinematography juxtaposed with an iPhone, sensory overloaded farce followed by a timid classroom). Proudly supporting MediCinema for our 2022 film festival.

Daughter film review by UK film critic Rachel Willis. Starring Casper Van Dien, Elyse Dinh directed by Corey Deshon. HOME | FILMS | REVIEWS Daughter Film Review average rating is 4 out of 5 Critic: Rachel Willis | Posted on: Feb 8, 2023 Directed by: Corey Deshon Written by: Corey Deshon Starring: Casper Van Dien, Elyse Dinh Father. Mother. Son. Daughter. It’s the quintessential nuclear family. In writer/director Corey Deshon’s feature debut, the nuclear family develops into a taut examination of manipulation and control. Trying to fill a family void, Father (Casper Van Dien) holds a young woman captive in the garage. He informs her that she (Vivien Ngô) will henceforth be known alternately as Daughter or Sister. Revealing anything more would ruin the conflict that develops around Daughter’s anticipation of what might happen next. Van Dien unsettles as the patriarch of this family. His is one of the most disturbing portrayals in the film, as there’s an undercurrent of rage beneath the façade of loving dad. We know from the outset what he is capable of, but that doesn’t make watching any easier to bear. And just what are Mother (Elyse Dinh) and Brother/Son (Ian Alexander) willing to do to preserve this facsimile of a “family?” When it comes to Daughter/Sister, each family member seems eager to manipulate others to suit their current needs. As details are teased forth, there is clearly more to this family than what first appears. Father is the one in control, but how much of a hold does he have on this tenuous situation? Setting the film almost entirely within the confines of the family home fosters a sense of isolation. Deshon creates constant confusion as to what exactly is going on outside. We’re given just enough information to keep us off-balance, a narrative decision that works brilliantly. For the bulk of the film’s 95-minute runtime, the tension is unrelenting. Though one scene drags a bit, it’s brief so it doesn’t so much alleviate the tension as interrupt it. For a first feature, this is a marvelously crafted work of psychological horror. Personally, I’m eager to see what Deshon does next. Buy UKFR Banner Space About the Film Critic Rachel Willis Digital / DVD Release, Indie Feature Film < All Reviews Next Film Review >

Gradually, Then Suddenly: The Bankruptcy of Detroit film review by UK film critic Jason Knight. Starring Nancy Kaffer, Bill Nowling, Kevyn Orr, Brian Day directed by Sam Katz, James McGovern. HOME | FILMS | REVIEWS Gradually, Then Suddenly: The Bankruptcy of Detroit Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Jul 4, 2024 Directed by: Sam Katz, James McGovern Written by: Nathan Bomey Starring: Nancy Kaffer, Bill Nowling, Kevyn Orr, Brian Day A feature-length documentary about the crisis the city of Detroit went through following the decision to file for bankruptcy on July 18 2013, which was the biggest municipal bankruptcy filing in the history of the United States. Through many interviews, photographs, some animation and plenty of archive footage, this informative and intriguing documentary investigates this dramatic time that put the strength of this city and its citizens to the test. Separated into chapters, the film discloses the devastating impact that this financial downfall had on the daily operations of Detroit. Examples would be that due to lack of funding the city's emergency services are unable to be efficient, people are becoming homeless and violent crime is on the rise. Particular attention is given to the effect the bankruptcy has on people's pensions, placing them in jeopardy and on the Detroit Institute of Arts, whose sale is taken under consideration in order to help pay off some of the city's debt. These terrible facts prove that bankruptcy does not harm the city just economically, it also destroys its spirit. In order to determine why the city found itself in such a state, its history is also analysed, beginning from the 1930s, revealing a time when that place was thriving with opportunities, a strong economy and a large population. However, as the decades passed, things fell apart partly due to a lack of financial support from the federal government and the state government. The variety of interviewees work in sectors that include journalism and politics and some are simple people living in Detroit, including pensioners. Some of these individuals are Nancy Gaffer from the Detroit Free Press, Communications Director Bill Nowling, Kevyn Orr the Emergency Manager for the City of Detroit, Detroit Historian Ken Coleman, photographer Brian Day and Dave Bing, a former Mayor of Detroit. All these people share their knowledge and experiences regarding many aspects of the city. The animated sequences by Jacob Rivkin help understand Detroit's history and the events that led to its current unfortunate situation. The animation includes maps of the city and the surrounding areas and people inside a courtroom. The same title card appears several times, that contains the definition of the word 'debt'. Although its significance might be understood, seeing it again and again could be a bit tiring. Commendations go to editor James McGovern for the superb and creative job and the same applies to composer Daniel Slatkin for the tense and dramatic music. This is an informative and shocking documentary that explores a city that is suffering from bankruptcy. Those who watch this feature will learn a great deal about the challenges Detroit has faced due to lack of funds. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, Documentary < All Reviews Next Film Review >

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Planet Hope film review by UK film critic William Curzon . Starring Jane Goodall, Krisztina Nagy, Bálint Hajas directed by Gergö Elekes, Virág Horváth. HOME | FILMS | REVIEWS Planet Hope Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 18, 2025 Directed by: Gergö Elekes, Virág Horváth Written by: Gergö Elekes, Virág Horváth Starring: Jane Goodall, Krisztina Nagy, Bálint Hajas Planet Hope follows Jane Goodall, who inspired millions of people worldwide in the field of sustainability. This thought-provoking documentary explores her visit to Hungary, which changed many lives, and showcases her conversations with an activist, a bishop and an environmental specialist as they discuss how we can come together and prevent the destruction of this planet due to issues like global warming. The piece opens with a highly engaging and pulse-pounding musical score which accompanies sequences of exploration over Hungary and scenes of discussion. The score successfully complements these sequences tonally. Frenetic camerawork is also present throughout, courtesy of a plethora of camera operators, including the duo of directors Gergö Elekes, Virág Horváth and also Alexa Tringli, who create a sense of urgency when showcasing the environments and the deadly impact global warming can have on them. Basing this conceptually around the world of sustainability creates a sense of necessity to provide outreach to a broader audience and educate people on the impact of global warming on our planet. The documentary showcases inspirational speeches to evoke discussion and further reach individuals unaware of our issues of sustainability and to urge others to create a better world for the environment. Tackling universal themes that politicians fail to acknowledge is a powerful and educational thematic device that creates intrigue and discussion long after the credits roll. Dialogue can also be overwhelming to process at times, with how much exposition is presented at once, on topics of sustainability or religion. It engages with a mix of activists and public figures to gain a wide variety of opinions on the state of the world. Perhaps the film could have benefited more from interviewing additional younger individuals to offer a unique perspective on these topics. The filmmakers are ambitious in calling out institutions and politicians, and the upper class, for completely ignoring the warning signs of sustainability as they try to deny its impact on the environment. It also brings up compelling conversations regarding climate catastrophe in religion and faith, based on specific political affiliations, which is an absorbing perspective to have. The film can feel tonally confused at times, however, as it almost turns into a music video at several points with oddly implemented montage sequences which feel baffling and prolong the runtime even further. It can become grating to sit through these sequences, and trimming them down could have made the documentary more compelling and ultimately more digestible. It also fails to remain engaging throughout the last 40 minutes, thanks to the repetitive nature of the dialogue-heavy scenes; as it grasps for further depth, the conclusion sadly never reaches. That being said, the archival footage is incredibly visceral and really paints a picture of the horrific impact of global warming and the damage it has inflicted. The piece concludes with a profound sense of hope for the future generations to hopefully educate people further on sustainability, and potentially reach out to a broader audience to build more exposure around these topics. Planet Hope is an educational and provocative piece of documentary filmmaking with its heart in the right place. The film may suffer from a litany of issues, such as a prolonged runtime and unnecessary montage sequences that add passably minor details to the topics being brought up. However, it’s an engaging body of work which tackles pervasive themes and sheds a heavy light on the field of sustainability and what we can do as a species to protect this planet. Buy UKFR Banner Space About the Film Critic William Curzon Documentary < All Reviews Next Film Review >

Pinocchio film review by UK film critic George Wolf. Starring Tom Hanks, Joseph Gordon-Levitt, Cynthia Erivo directed by Robert Zemeckis. HOME | FILMS | REVIEWS Pinocchio Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: Sep 8, 2022 Directed by: Robert Zemeckis Written by: Robert Zemeckis, Carlo Collodi, Chris Weitz Starring: Tom Hanks, Joseph Gordon-Levitt, Cynthia Erivo I saw a tweet not long ago that suggested Disney should stop with the live-action remakes and instead, re-do their classics with the Muppets. That logic is sound. Disney now owns the necessary rights, of course, and Muppet treatments would at least ensure creative visions that run deeper than “because we can.” Heck, Tom Hanks could still star in them, as he does in this new live-action version of Pinocchio . Really, it would be more of a surprise if Hanks didn’t play the kindly Geppetto, and he’s just as fitting as you would expect a GD National Treasure to be. And since the film mixes Hanks and other live actors with impressive digital animation, seeing the name Robert Zemeckis (Who Framed Roger Rabbit?, The Polar Express, Welcome to Marwen ) as director and co-writer gives you confidence the entire project will be well-crafted and satisfactory. And it is. But if true magic is what your heart desires, keep wishing. Young Benjamin Evan Ainsworth is in fine voice as the legendary puppet who longs to be a real boy, while Joseph Gordon-Levitt strains for that distinctive Jiminy Cricket phrasing and lands a little too close to South Park ‘s Mr. Hankey. But more importantly, Zemeckis and co-writer Chris Weitz seem too eager to justify their project via modern sensibilities. And in turn, they end up short-changing elements that made Disney’s original such an enduring favorite. New songs add little beyond pop flavor, while one new character, Sofia the seagull (Lorraine Bracco) exists mainly to over-explain character motivations. Pinocchio’s friendship with Sabina (Jaquita Ta’le), a skilled puppeteer in Stromboli’s (Giuseppe Battiston) show, is well-intentioned but forced. Keegan-Michael Key’s foxy Honest John tempts Pinocchio with fame through references to “influencers” and Chris Pine. Luke Evans does make a delightfully devilish Coachman, who leads Pinocchio to an effectively realized Pleasure Island that glimpses some darker themes. Exploring more of these layers would have strengthened the fairy tale roots, but it’s the tale of the Blue Fairy (Cynthia Erivo) that gets the shortest shrift. “When You Wish Upon a Star” is not just a song for Disney. By now it’s the bedrock of their entire, world-conquering, fantasy-selling enterprise. And Erivo has a beautiful voice. Let her let it gooooo! (pun intended). Yes, the song comes early in the film, but go ahead and hit us with an extended mix of full-blown goosebump orchestration while the fairy dust goes to work, then a reprise over the credits. Erivo deserves it. It could have been a magical moment, and Pinocchio needs more of them. Much more than it needs Chris Pine. Buy UKFR Banner Space About the Film Critic George Wolf Digital / DVD Release < All Reviews Next Film Review >

Lux Æterna film review by UK film critic George Wolf. Starring Béatrice Dalle, Charlotte Gainsbourg directed by Gaspar Noé. HOME | FILMS | REVIEWS Lux Æterna Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 19, 2022 Directed by: Gaspar Noé Written by: Gaspar Noé Starring: Béatrice Dalle, Charlotte Gainsbourg For anyone who’s still wary of the Gaspar Noé sensory assault in full feature length form, Lux Æterna offers a slight variation. Oh, he’s still beating us about the face and neck with psychedelic imaging, pulsating rhythms and immersive colors, he’s just keeping it to under an hour this time. And, even bringing along a dare-I-say lighthearted touch to this meta mashup of cinema and witchcraft. Most everyone here is playing themselves, starting right at the top with Béatrice Dalle and Charlotte Gainsbourg talking shop. They swap stories, laugh heartily at their “shit films” and eventually get down to the business of making “God’s Work,” a post-modern tale of witches. Dalle is directing, Gainsbourg is starring, and once on set, the laughter gives way to a cascade of madness and hysterics, rendered even more disorienting by Noé’s consistent use of split screen formatics. Not only is following both sides often challenging, but anyone sensitive to flashing lights might well be overwhelmed. The “God’s Work” producer is hatching a plan to get Dalle fired from the project. Gainsbourg is juggling trouble at home and unsolicited pitches from an aspiring director (Karl Glusman from Noé’s Love ), while her female co-stars (including Abbey Lee and Clara Deshayes) face a string of indignities. Noé intersperses it all with clips and quotes from films and filmmakers he admires, and when a lighting miscue becomes a flashpoint for total chaos on the production, Noé’s embrace of the breakdown is clear. This is where his art thrives, and Lux Æterna finds Noé nearly winking at his own reputation. Longtime aficionados may feel a bit slighted, but any neophytes will get a healthy appetizer to help decide if you’re up for bigger portions. Buy UKFR Banner Space About the Film Critic George Wolf Theatrical Release, World Cinema < All Reviews Next Film Review >

Rebuilding Word on the Water film review by UK film critic Joe Beck. Starring N/A directed by Jochnowicz. HOME | FILMS | REVIEWS Rebuilding Word on the Water Film Review average rating is 2 out of 5 Critic: Joe Beck | Posted on: Apr 16, 2023 Directed by: Jochnowicz Written by: N/A Starring: N/A It’s always difficult talking about films like ‘Rebuilding Word on the Water’ because it almost feels like bullying a defenceless child for no particular reason. Films of this nature, niche independent documentaries made on a next to nothing budget are essential to the indie cinema landscape and for shaping the talents of filmmakers, they just aren’t terribly cinematic, and often aren’t particularly interesting either. The film, which is split into three parts on Youtube, begins with a poem about going to sea in a sieve - it’s a clear early signal of both the sweet heart at the centre of ‘Rebuilding Word on the Water’ but also the eccentric nature of the main players involved. There’s Noy, a frenchman who originally owned the boat before it was converted into Word On The Water, a floating bookshop, in 2010. Noy is a bit of a character to say the least, disappearing frequently but always seeming to return just when he’s needed. There’s also Paddy and John, co-owners of the boat and business, who are both equally enthusiastic about their inventive business model and eager for the restoration plans to get underway. They are joined by an eclectic series of people throughout, all contributing odd jobs towards the restoration of the boat. The issue is that Dianti, the Dutch barge at the centre of ‘Rebuilding Word on the Water’ is very old - 100 years in fact - and hasn’t been taken out onto the water for around 15 years. A further hiccup is that they have just ten days to reach Hemel Hempstead, where Dianti will undergo maintenance and receive a new, working, engine, before the low at Apsley closes for maintenance itself. Chronicling their journey down the river for repairs, and the continued struggles faced along the way - war in Ukraine, adverse weather conditions, some horrible hangovers - this should be at least mildly interesting, but, in reality, no matter how big an event this rebuild may have felt for those involved, to those with no prior investment, we’re given very little reason to care. It’s difficult to attribute blame to director Jochnowicz, or anybody involved, though you do sense that some more ambitious directing or editing could add a little more flair and interest to the events on screen. It isn’t as though these aren’t interesting people - they all seem to have led interesting lives, full of stories of hardships and fun times, it’s just difficult to find a sticking point to truly become invested in a story that ultimately amounts for little more than a water-based episode of ‘DIY: SOS’. Granted, ‘Rebuilding Word on the Water has an extremely human touch, and may encourage more people to visit their bookshop, but it quickly becomes repetitive, and, when that happens the rather simplistic editing truly comes to the fore. Sweet, yes, but cinematic? Not at all. ‘Rebuilding Word on The Water’ would make a sweet little segment on a teatime chat show, but as a film, it’s a long slog, which offers little in the way of thrills, and lots in the way of corny accents and an overload of information. Buy UKFR Banner Space About the Film Critic Joe Beck Documentary < All Reviews Next Film Review >

The Life Between Two Nights film review by UK film critic Jason Knight. Starring Jose Manuel Poga, Javier Delgado Perez directed by Antonio Cuesta. HOME | FILMS | REVIEWS The Life Between Two Nights Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Feb 8, 2024 Directed by: Antonio Cuesta Written by: Antonio Cuesta Starring: Jose Manuel Poga, Javier Delgado Perez A single father tries to make a living while taking care of his son who has a disability. This short drama significantly explores two things: One is the magnitude of the challenges that people with disabilities and their carers have to face. A man named Pepe (Poga) lives with his son, Jesus (Perez) in an apartment. The boy has cerebral palsy and uses a wheelchair. The story takes place over the course of a day. The two of them wake up in the morning and Pepe finds out that the person who was supposed to look after Jesus while he is at work is suddenly unable to do so. After several failed attempts to find a substitute, he ends up being forced to bring his son with him at the flea market where he works. There, while he is distracted with Jesus, several goods are stolen. The screenplay extensively points out how hard it can be to live with a person with such a condition, the constant attention that is required. The second is the strong bond between Pepe and Jesus. Pepe is hard-working and cautiously tends to his son, always prioritising his well-being. Jesus depends on his father for everything and he is grateful. The two of them understand each other and enjoy each other's company and tend to play a game of words between them. In some ways, they have their own world, where it is just the two of them and they are happy as their relationship appears to overcome the complications that are caused by Jesus's disability. The film shows the world through the perspective of a father and his boy who go through life differently due to a disability. Having a disability is at the centre of this story and the film shows what life can be like for the person who has it and their carer. The dramatic music by Pablo Cervantes includes violin melodies and creates a heavy atmosphere. The filmmakers make interesting use of sound techniques during a sequence where speech sinks into the background and the score takes over and a similar technique is utilised during a shower scene, where diegetic sounds disappear completely and only the score remains, making the scene powerful. Praise also goes to Rocio Menendez for the creative editing that includes dissolve. This short from Spain is a father-and-son story. It is a dramatic story about the challenges of living with a disability and how love and caring can succeed in conquering problems and bringing happiness. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

Stargazers film review by UK film critic Jason Knight. Starring Leo Cropley, Henry Richards, Lauren Cornelius, Neil James, Tony Way directed by Jonathan Brooks. HOME | FILMS | REVIEWS Stargazers Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 22, 2026 Directed by: Jonathan Brooks Written by: Jonathan Brooks Starring: Leo Cropley, Henry Richards, Lauren Cornelius, Neil James, Tony Way A sci-fi comedy adventure written and directed by Jonathan Brooks and starring Leo Cropley, Henry Richards, Lauren Cornelius, Neil James and Tony Way. Something strange is happening in Drapery Falls, a lovely small town in England. Over the course of several years, unidentified signals have been transmitting around the area and Prof. Alan Parker (James), who works for the National Space Angency, has been investigating them, attempting to locate their source. However, his obnoxious boss, Smythley (Way) has had enough and has instructed him to move to Scotland in a few days. Following this news, lan's young son, Jack (Cropley) and his friend, Benji (Richards) set out to prove that Alan's theories about the existence of extraterrestrials are real, so that they do not have to relocate. Meanwhile, an evil alien arrives on Earth and takes the form of Lucy (Cornelius), a young woman. The film wastes no time getting right to the point, revealing very early that this is going to be a fantastical and comedic story. To put it another way, it could be described as a mix between Stranger Things , Men In Black and E.T. Aliens, romance, meaningful moments, race-against-the-clock, mystery and plenty of humour and the story takes place in the nineteen eighties. Basically, there are two storylines, one being Jack and Benji wondering around town, trying to find the source of the signals and the other is the bad alien, exploring the area in the form of a female human, in pursuit of a fugitive alien. And there are extra events to the narrative, such as Jack developing a bond with his crush, Sadie (Mollie Thomson) and Lucy (this would be the evil alien) getting into all sorts of awkward situations, whether in a music shop, in a dance club or at a park. As expected, since this is a Science Fiction story, there are spaceships and beings from another planet to be seen and they look pretty good. The film is beautifully shot, with Brooks directing in ways that capture the beauty of the countryside, enhanced by Jon Moy's cinematography. Since the plot is set in the eighties, the clothing and hairstyle are there too and they look appropriate. The addition of Stuart Hancock's lighthearted and adventurous music is a big plus. Pretty much all of the cast delivers entertaining performances and the characters are likeable. Jack is the main character, a sensitive boy who is also sensible and courageous deep inside, much like Benji, his inseparable friend, who is a bit naive. James's character, Alan Parker (his name possibly an homage to the famous British filmmaker) is a single father who is an expert in his field and has a friendly personality. A very nice guy. Arguably, Cornelius is the one who steals the show. She plays a fish-out-of-water alien who is after someone and while doing so, she utilises a device placed around her forearm and gets involved in a variety of funny situations, like learning how to kiss, how to dance and interacting with a dog. The more menacing her character tries to be, the more amusing it gets. And last but not least, although his appearance is brief, Way is memorable with his over-the-top performance, creating a man who is a bully. He is supposed to be a mean guy, but comes across as childlike. Danger, saving people, learning about the world, romance, coming-of-age and self-reflection are all part of this story. Additionally, this is a film about courage and the significance friendship and family. Humour and discoveries as a bunch of people go up against an extraterrestrial with ominous intentions. A fun alien invasion feature. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Dream Time film review by UK film critic Jason Knight. Starring Rebecca Haroldson, Grant Gale, Amy Van Holland, Stacy Heil directed by Jude Rawlins. HOME | FILMS | REVIEWS Dream Time Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Sep 7, 2023 Directed by: Jude Rawlins Written by: Jude Rawlins Starring: Rebecca Haroldson, Grant Gale, Amy Van Holland, Stacy Heil Two strangers meet by chance and discuss their troubled lives. Alice (Haroldson) is walking to an isolated bridge in the countryside, with the intention of ending her life. Instead she meets Albie (Gale), a man who has come to the same location, with the same intention. The two of them confess their unfortunate plans to each other and proceed to talk about the events that led to their current situations. Filmed in black-and-white and on location in Iowa, along with Iowa-based cast, crew and facilities, this drama has a narrative that is full of flashbacks that alternate between the present, which is Alice and Albie sitting on the bridge at night, by themselves, recollecting the past and sharing their experiences. The flashbacks are organised in a way that is basically an Alice-flashback, then an Albie-flashback, then back to Alice and so fourth, occasionally going back to the bridge scenes. The flashbacks tell the person's story, significant events about their lives and their struggles. For Alice, they reveal that she has struggled with alcoholism, lost her husband and daughter and has desperately tried to find purpose in her life again. Regarding Albie, things have been difficult for him following the loss of his mother and met Hester (Holland), a young woman who turned out to be a prostitute and a drug addict, who is menaced by her aggressive pimp. As Alice and Albie share more with each other, they form a bond between them and reflect on their lives. Alice has lost everything due to drinking and her attempts to find redemption involve meetings with a therapist and a priest. Albie is an awkward guy who has narcolepsy, eats only specific things, has a fascination with minotaurs and believes that no one cares about him. Both of the two main leads are interesting characters and although they have lived different lives, they are both connected by the challenges they have gone through (and are still going through) and they both reached a point where they believed that there was no way things were going to get better...until they met one another. Their encounter helps them heal their wounds. As the director of photography, Jude Rawlins does a good job with the black-and-white cinematography and his directing includes long takes with a static camera and many shots capture the snow-covered environments. His editing often utilises dissolve techniques. For its soundtrack, the feature has a selection of amusing songs and there are several lengthy sequences where diegetic sounds disappear and a non-diegetic song takes over. This is an emotional and hard-hitting story about two individuals who believe that their life has reached a dead end and it is also a commentary about desperation, suicide, alcoholism, mental health and, to a lesser degree, drug addiction and religion. However, it also points out positive aspects about life, including self-discovery and the value of support. Overall, it is an intriguing and thoughtful viewing. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >