★★★★★ Directed by: #RobiMichael Written by: #RobiMichael, #GalKatzir Starring: #DrewFonteiro, #MarcMenchaca, #MelissaMacedo, #MichelleMacedo, #TylerDashWhite Grimmfest Film Review by: Darren Tilby It’s rare these days to find a film that can elicit, within the viewer, a melange of visibly discernible emotions. And yet, Robi Michael’s tear-jerking piece on love and redemption carries this off almost mockingly easily. This mind-bending thriller takes the viewer on a journey full of staggering developments and unexpected occurrences. Every Time I Die is a roller coaster tale of self-discovery and sacrifice, which culminates in a poignant but heart-warming finale. It takes a while for Every Time I Die to really get going. We begin with Sam (Drew Fonteiro) waking up in bed – in a first-person perspective scene – with his girlfriend, Mia (Melissa Macedo). Sam seems to have it all. But cut to present day and Mia has left, and paramedic Sam is suffering from a series of increasingly troubling blackouts and nightmares. Sam’s work colleague and friend, Jay (Marc Menchaca) – whose wife, Penny (Michelle Macedo), is Mia’s twin sister – invites him over to his secluded lodge for a weekend break, where he is reunited with his old flame. Unfortunately, she’s brought her husband Tyler (Tyler Dash White), a veteran with PTSD, along with her. And it’s not long until Tyler finds out about Mia and Sam’s relationship; revealing they had actually had an affair. It’s here – around the 35-minute mark – that Tyler, in a fit of jealous rage, murders Sam near to the lake. There’s an active motif of mirroring in this film. The first instance comes soon after Sam’s murder. Awakening again in bed (and again, from a first-person perspective), we’re initially led to believe this is a flashback sequence—which are a crucial facet of the film. Instead, Sam’s consciousness has drifted into Jay, and the woman we thought was Mia, is actually Penny. It’s a brilliantly judged and executed scene, one which establishes the thematic bedrock of the movie: the notion of looking at oneself and coming to terms with trauma. More specifically, Sam having caused his sister’s death at an early age. #RanBagno’s excellent mood-setting score drifts through the film, evoking an atmosphere of melancholia. But there’s also a calming quality to the music; an inkling of acceptance that permeates the gloom. #TalLazar (cinematographer) uses the isolated rural setting to remarkable effect. Shooting in muted colours to emphasise the melancholy and utilising a mixture of long shots to capture the outdoor vistas, and close-ups during the indoor scenes to exaggerate the tension between the characters. Every Time I Die is undoubtedly a well-crafted movie, but some may take issue with its slow pacing. Pacing is very much down to personal preference, of course. I personally didn’t have a problem, as I found it used this time well, establishing the character’s relationships and helping us to connect with them. But some people will, so it’s worth bearing in mind. But honestly, it's hard to find fault when a film is this well-written (both Robi Michael and Gal Katzir have excelled themselves here), this well-acted, and this affecting. Every Time I Die is an example of low-budget film-making at its very best and shouldn’t be missed.

★★★★ Directed by #MichaelBeachNichols Written by #MichaelBeachNichols #ChristopherKWalker Film Review by #HopeMadden It’s fun to scare kids. Oh, wait, is that illegal? Documentarian Michael Beach Nichols (Welcome to Leith) looks at just about every side of that unusual argument with his sly documentary Wrinkles the Clown. Ostensibly, Beach Nichols digs into the story of the man behind Wrinkles, a shady older gentleman living in a van in Fort Myers who failed as a traditional clown, so he improvised. Placing stickers around town with his masked face, clown name and phone number, Wrinkles offered to frighten your misbehaving children for a fee. Yes, it is sort of genius. As we ride around the beach town for the aged in a lived-in conversion van, we’re privy to the voice mails recorded at the Wrinkles number. Reprobate that he seems to be, Wrinkles is still considerably less frightening than the parents hoping to take advantage of his behavioral services. Says one father, his child wailing in the background, “I want you to eat her.” Wrinkles’s response? “My favorite kind of scares are the ones that pay the most.” This kind of dry, deadpan humor fuels a film that explores the most peculiar sociological experiment. Who would call? How will their children react? Why are clowns so effing scary in the first place? A solid documentarian, Beach Nichols understands that these are the deeper questions to be addressed. Admittedly, continually flashing the image of a grampa-faced clown holding balloons and peeking into your sliding glass door late at night is his excellent way to keep your interest as he digs into these concerns. We hear from folklorists (with still-packaged action figures mounted to their office walls, so you know they’re legit), child psychologists, pro-Wrinkles parents, anti-Wrinkles parents and one traditional clown. Poor Funky. “There’s a whole generation growing up with no positive image of a clown whatsoever,” he laments, happy face in place. It’s a fascinating look at the function clowns have served since their medieval beginnings, as well as the internet’s way of amplifying folk tales. And while Beach Nichols, like the great showmen, performs his own sleight of hand, the film itself is more interested in the primal, collective unconscious tapped by those Wrinkles wrinkles.

★★★★ Directed by #AlexandreOPhilippe Written by #AlexandreOPhilippe Film Review by #HopeMadden “The reek of human blood smiles out at me.” It’s an unusual opening line for a documentary about that icon of SciFi horror, Alien. And yet, Memory: The Origins of Alien is an unusual documentary. Alexandre O. Philippe takes you deep into our collective psyche, our “cauldron of stories,” to explore the alchemy behind the lingering success and haunting nature of Ridley Scott’s film. Though the story starts long before Scott’s involvement. Philippe begins by mining writer Dan O’Bannon’s influences and preoccupations. “I didn’t steal from anyone,” he said. “I stole from everyone.” A Nebraskan whose father once staged an alien landing, O’Bannon’s out of the ordinary young life and preoccupation with comics fueled his short screenplay, “Memory.” But it was his battle with Crohn’s disease that inspired that pivotal scene that moved the tale from short to feature. Then came H. R. Giger, whose “Mythology of the future” offered visual entryway to the world the film would imagine. Joined eventually by Scott, who saw their genius and raised it. Philippe’s joy at displaying the way these three imaginations coalesce to form the greater vision spills off the screen. But why, after 40 years, is Alien still a heart-pounding success? If you buy the film’s thesis—and Philippe does make a good case—we basically had no choice. Alien is both the lovechild of H.R. Giger, Dan O’Bannon and Ridley Scott—each as seemingly necessary for this product as the next—and the culmination of primal images and ideas mined from the collective unconscious. This is more than undulating fandom aimed at the object of adoration. It’s a deep, immersive dive into how Alien evolved to become the masterpiece that it is and why the film remains as haunting today as it was when John Hurt’s chest first burst in 1979.

★★★★ Directed by #KevinMcMullin Written by #KevinMcMullin Starring #JaedenMartell #KeeaneJohnson #SheaWhigham Film Review by #GeorgeWolf If you've been waiting for the perfect time to pitch your idea of re-making The Town as a coming of age drama, too late. Writer/director Kevin McMullin beat ya to it with his first feature Low Tide, a nifty debut that leans on plenty of heist tropes cleverly downsized for teenage conspirators. Alan (Keean Johnson) and Peter (IT's Jaeden Martell) are New Jersey brothers with roots in the fishing district. Mom has passed on so while Dad's away working a boat, Alan breaks into houses with his goofy friend Smitty (Daniel Zolghadri from Eighth Grade) and scary pal Red (Alex Neustaedter). The gang ropes young Peter in for his first job as lookout, but somebody snitched. Sergeant Kent (the always reliable Shea Wigham) gives chase just as they're leaving the latest B&E, and not everyone gets away. Not everyone knows about the very valuable score some of the boys found in that house, either, which leads to plenty of suspicion among thieves. Plus, one honest to goodness buried treasure. McMullin blends his genres well, creating an ambiguous time stamp that can resonate with various demographics, and indulging in some noir fun without collapsing into full Bugsy Malone territory. We've been watching the talented Martell grow up since his St.Vincent breakout five years ago, and his thoughtful turn as the smart, cautious Peter shows his transition into adult roles should be a smooth one. The kid's just a natural. And it's not just Martell. There's not a weak link in this ensemble, giving McMullin plenty of room to pursue his vision with inspired confidence. If you've seen even a few heist dramas, the only things that may surprise you are the age of these bandits and how little you fault the film for its familiarity. Attempting to define the moment when a young life chooses the path it will follow is not exactly a new idea. By wrapping his teen characters in recognizably adult archetypes, McMullin keeps the drama just a hair off-kilter, rewarding our continued investment.

★★★ Directed by #RobGrant Written by #RobGrant #MikeKovac Starring #BrettGelman #MunroChambers #EmilyTyra #ChristopherGray Film Review by #HopeMadden There are a limited number of reasons people become and remain friends. Some of those reasons are just nonsense. And yet, three friends of dubious worth to one another gather to repeat their familiar patterns, which land them on a yacht for an apology daytrip. Richard (Christopher Gray) — brash, spoiled and quick to anger— is apologizing. Jonah (Munro Chambers - Turbo Kid!) —bruised and bloody—is probably too quick to forgive. Sasha (Emily Tyra) has plenty of reason to be tired of both boyfriend Richard and bestie Jonah. The fact that Jonah and Sasha bring along Richard’s birthday gift clarifies how little anyone in this triangle has learned. And so, Sasha, Jonah, Richard and Richard’s new harpoon set off on an unplanned, ill-advised, seafaring jaunt. Drinks all around! Co-writer/director Rob Grant keeps events snarky with a voice-of-God narration (assuming God’s a sailor) performed by a brilliantly deadpan Brett Gelman. As far as this nameless narrator who inexplicably sees all is concerned, the dangers facing this volatile threesome have less to do with their pathological history and more to do with the sailing omens they ignorantly flout. Give an irrational drunk prone to fits of rage the gift of a pointy projectile weapon? Meh. But bring bananas on board—now that’s really pushing things. The darkly silly commentary adds some tang to the friends’ foolhardy adventure, but Grant’s themes are not entirely comedic. He strands the trio at sea for days on end, their survival instincts overtaking their petty sniping as they find a new reason for friendship: the common good. Grant offers a nice balance here between dark humor and genuine tension born of realistic performances. Chambers, Tyra and Gray offer frustratingly recognizable characters, the kind that make idiotic choices, less because it forwards the action of the script (although it does) and more because people are stupid and they fall into familiar roles. The film makes more than a few convenient moves, but it packs a lot of surprises and showcases very solid performances. Who knew redheads were bad luck?

★★★★ Directed by: #AudreyCummings Written by: #JasonKrawczyk Starring: #OlunikeAdeliyi, #PeterMacNeill, #NoahDanby, #MichelleNolden, #KianaMadeira, #LawrenceGowan Grimmfest Film Review by: Darren Tilby Audrey Cummings’ female-lead sequel to Jason Krawczyk’s, He Never Died, is a marvellously twisted superhero flick with biblical inflexions and a wicked streak a mile long. And while I’d definitely recommend watching He Never Died beforehand (something I wasn’t able to do), She Never Died still works as a great standalone movie. Described as a ‘sister sequel’, She Never Died sees the immortal and cannibalistic Lacey (a powerhouse performance from Olunike Adeliyi) as she prays upon petty criminals for sustenance. It’s hard for Lacey to keep herself fed, usually taking only fingers as “They’re easier to carry, and I need the bone marrow”. Later quipping “I need a fridge”. She soon gets a chance of a fridge and a roof over her head when detective Godfrey (Peter MacNeill) witnesses her murder a member of the sickening sex trafficking, snuff movie-making gang – headed by brother and sister Terrance and Meredith (Noah Danby and Michelle Nolden) – he’s been trying to bring down. Godfrey then asks Lacey to kill specific members of the group. In return, she can live in his spare apartment and eat their corpses—which she’s now able to store in her fridge. It’s during one of these “assignments” she discovers snuff film victim, Suzzie (Kiana Madeira), chained up to a bed. Initially scared, Suzzie soon warms up to Lacey and moves in with her. It’s this pivotal matchup of two women doing what they have to to survive that captures the heart of the audience. The chemistry between the two actresses is brilliant. Suitably unrelaxed at first – while Lacey fights with her desire to eat her guest – but, eventually, with genuine warmth, as the two women come to trust one another. Cummings and Krawczyk have placed huge emphasis here on female empowerment, which the casting here plays into really well. Suzzie, in particular, is an incredibly grounding influence, for both Lacey and the audience; she’s our window into this bizarre story. And while she doesn’t have a vast amount of screentime, the importance of her relationship with Lacey can not be understated. So, whether it’s the ass-kicking immortal, Lacey; the wholly human but tough Suzzie; or Meredith, the head of a criminal empire—these are incredibly strong women. And they don’t need nor want your approval. The only real issue here for me was the soundtrack, which I felt was uninspired and a little obnoxious; it seemed to repeat itself a lot. Other than that, I had a few questions go unanswered: what exactly was Lacey? Where did she come from? Are there many more like her? Are her kind widely known about? These could well be issues dealt with in the first film (He Never Died), or maybe even to be answered in a later movie. But for now, they remain unanswered questions. It’s also worth noting that it was the characters I really connected to, and it was the characters I was really invested in. This, of course, isn’t a complaint, but I’m not sure if I’d have enjoyed the movie as much if the characters weren’t written as they were; or played by who they were. None of these issues was terribly offputting, however, and I still maintain She Never Died works perfectly well as a standalone film. There’s a really technically proficient movie here, with fabulous visual design and effects, and a surprising amount of warmth and depth in its writing. And, in spite of a less than stellar soundtrack and several questions that remain unanswered, She Never Died is an entertaining, gritty, and fresh take on the all-to-familiar superhero formula. I look forward to seeing more from these characters in the future.

★★★★ Directed by: #AbigailBlackmore Written by: #AbigailBlackmore Starring: #MackenzieCrook, #DustinDemriBurns, #LauraFraser, #SophieThompson, #JohnnyVegas, #KellyWenham, #AdamStraughan Grimmfest Film Review by: Darren Tilby Tales From the Lodge derives inspiration from the Amicus films of the 1960s and conveys its story with a portmanteau flair; albeit with more emphasis placed on the connecting account. The result is a down-to-earth horror anthology film that’s surprisingly affecting. All in all, the film never really strays too far into anything serious; remaining planted in the absurd humour, it does so well. This is a real crowd-pleaser. Five old university friends, all now in their 40s, gather at an isolated lodge to scatter the ashes of their friend, who drowned himself in a nearby lake three-years earlier. They settle in for a weekend of drinking, smoking, and entertaining each other with ghost stories. But as the night draws in, the group of friends – all of whom are dealing with their own mid-life crises – begin to realise that all is not what it seems. The real horror story is forming around them. There’s an engaging central group of great British actors here: Johnny Vegas and Sophie Thompson star as family man and wife, Russell and Emma. Mackenzie Crook and Laura Fraser star as a childless couple, Joe and Martha. While Dustin Demri-Burns stars as Paul, who has brought his ‘outsider’ girlfriend Miki (Kelly Wenham), along for the weekend. And while everyone was brilliant in their own right, it was Johnny Vegas and Sophie Thompson who stole the show for me. The chemistry between this on-screen married couple was sweet, relatable, tragic and wonderfully played. Unlike many anthology movies, there’s much more importance placed on the framing story (the story of the five friends), which is written by writer/director Abigail Blackmore. Each of the individual stories – told by the five friends – were written by the actor/actress telling them. The result is an overarching plot that feels concise and affecting, and individual stories that are personal to each character; offering a window into their mind. There have been some marvellous creative decisions taken in regards to these stories, and great running gags throughout the film in general. There is a fantastic animated intro, and a great comic book sequence in Johnny Vegas’ zombie apocalypse tale; while the ‘speculative screaming’ joke had me laughing, without fail, every time. There are a plethora of references and takes on the classic cabin in the woods set-up: including the age-old trope of the conveniently dead phone, Friday the 13th lakehouse setting, and Sleepaway Camp intricacies. Blackmore clearly knows and loves the genre. A genre she not only lovingly pays homage to here but manipulates; adding her own twist onto the usual proceedings and fully utilising the excellent ensemble cast of British actors. The decision to stay more comedic was, in my opinion, the right one to make, and plays well to the strength of its cast. Tales From the Lodge is an unoffensive, funny, and incredibly pleasing piece of filmmaking.

★★★★ Directed by: #KyleKleege Written by: Kyle Kleege Starring: #BenAmendolara, #CharityBuckbee, #MichaelViktorButler Short Film Review by: Chris Olson Made without dialogue, #filmmaker Kyle Kleege’s short film Hickey is an eternal love story. Starring Ben Amendolara as a recently made member of the undead, he decides to inflict his curse of Charity Buckbee’s character, so that he has some company in this new life (or unlife) of his. As the pair navigate this new world they have found themselves in, the prospect of their survival and humanity becomes the focal point. A similar trope was used in the 2016 science fiction movie Passengers, in which Chris Pratt decided to wake up Jennifer Lawrence aboard their floating spaceship because he didn’t want to spend his journey until death alone. With Hickey, the idea is more compact and visceral, yet just as compelling. We are asked as an audience to contemplate Man’s actions and pass judgement on the morality of his decision, whilst journeying with him and Woman in a new chapter where they may or may not be able to find some happiness in the bleak situation they have been thrust into. Music is used wonderfully to break the #shortfilm into chapters, as numerous others become victims of a serious hickey to the neck. A sequence involving woman and a delicate piano score was a particular highlight. The special effect make-up was cleverly done and lended the piece a degree of authority where other vampire indie movies may have struggled. The performances are great, Amendolara is a poignant lead and able to cope well with the emotional demands of his character’s dilemma. It is Charity Buckbee who impresses most, though, with a maniacal breakdown on a kitchen floor providing the movie’s best scene. There is also a lovely chemistry between the two performers which cemented Hickey’s enjoyability factor, something which is gripping by the final third of the film. Within the genre of undead and vampire movies, viewers are most likely to question the idea of being “alive” and what that means. Characters are usually delivered in a not-so-far-removed manner in order to allow audiences to connect with them. Hickey explores this wonderfully, keeping the humanity within each character and being fearless in displaying the heart wrenching transformation they must go through in order to adapt to their new physical demands. Kleege’s story is loaded with pathos and tenderness so that it never veers too heavily into the horror ballpark, and instead remains an affecting and compelling drama.

★ Directed by: #BalasuryaShanmugasundaram Written by: Balasurya Shanmugasundaram Starring: #RakshanE., Balasurya Shanmugasundaram, #Nandana #ShortFilmReview by: Benjamin Schofield Christopher Nolan’s Inception is a beautifully crafted film. Perhaps its best feature is the way that the great performances and tightly written screenplay really draw you in to this unique world. Its as much a fantasy as it is science fiction, playing with ideas beyond the realms of reality, yet their executed with such verisimilitude that you can’t help but buy into the world of the film. The characters are cast so perfectly, and DiCaprio, Page, Hardy and many more brilliant talents, bring these people to life, and make the movie much more than just a simple gimmick, or a low-brow blockbuster. Not to mention, of course, the slow-building tension, which climaxes with high-action set pieces, made possible through perfectly timed editing, and Wally Pfister’s inimitable cinematographic style. And who could forget Hans Zimmer’s genius score? Not just the iconic deep booms that have since inspired every action trailer of the last ten years, but the attention to detail, the tiny dynamic motifs that leave the viewer in a constant state of suspense. Oh wait, this isn’t Inception? But it has the exact same plot, themes and style? Ah, I see. Okay so, Balasurya Shanmugasundaram’s Total Rip Off is a poorly crafted film. Perhaps its worst feature is the way that the shoddily written screenplay leaves you completely confused and uninterested in the unoriginal world. It doesn’t address any ideas that haven’t already been done time and time again, fails to add anything new to the conversation, but treats it as though it’s an original and clever idea. The people present in the film can hardly be called characters, and the cast completely phones in their performances, falling somewhere in the acting range between porno and soap opera. Not to mention, of course, the slow, drawn out sequences of over-the-shoulder dialogue scenes, in which nothing happens, and nobody cares about anything, made possible by uninterested editing and worse cinematography than your Aunt Margaret’s home videos. And who could remember the score? It sounds as though its been ripped straight from a folder of stock music titled ‘dramatic/exciting music for films’. Apparently, they had actual composers make this? If the music alone isn’t bad enough, each track has been sloppily thrown together in a way that actively distracts from the already impossible to engage with plot. Oh, not to mention it rips of Minority Report, which, frankly, probably wasn’t even worth doing the first time. - #benjaminschofield

★★★★ Directed by: #ARUgas Written by: AR Ugas Starring: #JamesBryan, #CoreyThompson, #GeorgiaNeath, #DominicThompson Short Film Review by: Chris Olson Meeting the father of your beloved can be a tumultuous time for any young stud but rarely does it get as tense as filmmaker AR Ugas's short film Shame My Name. Full of nuanced threat and great performances, it's a powerful exploration of love and honour. Corey Thompson plays a young man in love with Georgia Neath's character. However, the pair struggle to find time to be intimate, without resorting to expensive hotels or Airbnb's. The reason for their need to find suitable locations is the father (James Bryan), a mysterious Albanian man who is unlikely to make the first meeting-of-the-boyfriend easy. As the two men get to know each other during an intense sit-down in the kitchen, there may be more at stake than good first impressions. Pragmatically simple in terms of locations and shots needed, and without much aesthetic showboating, Ugas knows the strengths of his short film lie in the characters, story, and actors. The audience is immersed into the romance of the two younger characters quickly before we see one of them thrown to the lions, so to speak. This unbalancing is intelligently handled and makes the main bulk of the film far more effective. Threat is used sparingly but efficiently, creating a palpably anxious atmosphere for events to unfold within without edging into crude theatrics. James Bryan is a tour de force on screen, navigating the controlled anger of his character brilliantly. It's a performance that grows, builds, and evolves before our eyes into something utterly compelling and convincing. Corey Thompson delivers a memorable turn as the young man in love, coping well with the dramatic ferocity of the scenes. Georgia Neath, whilst only in Shame My Name for a short while is also great, ensuring viewers are attached to the central love story. Themes of love, power, loyalty and honour are played with in Ugas's story. How far a person would go to protect the one they love is a strong cinematic trope, and here we get that with both the central male characters. Seeing them riff off each other in the quest to protect Neath's character is skillfully crafted. As viewers, we are able to explore both sides of the argument and perhaps journey into our own value system. This is meant to be episode one of a series of short films called Chronicles from AR Ugas. What the rest will look like we eagerly anticipate but if they are anything like Shame My Name, audiences will have a lot to look forward to.

★★★★★ Directed by: #MJArunBabu Written by: MJ Arun Babu Starring: #VigneshShanmugam Short Film Review by: #IeuanWalker It is common for many readers, watchers, and writers of fiction to observe how the make-believe is often indistinguishable from the real. As such, to successfully convey this notion within fabricated works is inherently arduous as they too transcend our reality. Notwithstanding, MJ Arun Babu’s splendidly mystifying short Phantasmagoria continually reconfigures the spectator’s supposed understanding of this aforementioned indistinction whilst maintaining its narrative coherency. Vignesh is an emerging #filmmaker who has managed to arrange a meeting with a producer to fund his latest work, 234. The narrative of his script revolves around an organised gang of criminals who mask as hitchhikers to rob innocent motorists on the Indian highways. Nevertheless, the line that separates Vignesh’s imagination from his real-world experience becomes progressively unclear as instances within the ostensibly distinct realms begin to overlap. Accordingly, such events begin to dismantle Vignesh’s psychological security alongside his personal relationships as the narrative descends into total uncertainty. The title of Babu’s work alone is enough to suggest how Phantasmagoria is a perplexing viewing experience. The dualism amidst reality and fiction as well as its eventual demolition is far from an original device as proven by numerous Hollywood examples including The Number 23 and Secret Window. Nonetheless, the failure of their respective filmmakers is their overreliance on the supposed narrative ‘ingenuity’ of their screenplay. As a result, they are doomed to forget that great films are composed of much more than a mere story. Contrarily, Babu’s understated albeit ambitious short towers above those aforementioned multi-million-dollar excesses. Undeniably, in any film that strives to dismantle the spectator’s secure understanding of its diegesis as much as Phantasmagoria, the screenplay is the fundamental conduit. Indeed, Babu’s complexly intricate script provides an essential degree of coherence amidst the chaos to successfully maintain audience engagement throughout: A task far easier said than done. Perhaps some may attribute the success of Phantasmagoria to Babu’s triptych credit of director, producer, and writer which fully permits him to realise his artistic vision. However, it is the potent display of talent amongst the cast and crew of the film that truly bolsters the density of Phantasmagoria. Vignesh Shanmugam’s portrayal of our confused protagonist particularly stands out as he realises the extent of his character’s psychological insecurity without resorting to the farcical. An equal highlight is Jeyan Raj’s masterfully jarring yet comprehensive editing which at once encapsulates Vignesh’s bewilderment whilst adding further difficulty for the film’s spectators. Furthermore, Aravind Raghunath’s experimental scores are exemplary of an innovative musical mind that can fully adapt itself to the needs of the image. Although these examples are far from exhaustive, the intention here is not to belittle the agency of Babu’s artistry by attributing his achievements to others. After all, the responsibility of the director is to utilise these areas to make good cinema. Rather, the objective is to commend Babu’s mature understanding as a filmmaker in which he has selected superlative talents in all stages of production to fully realise the potential of Phantasmagoria. Upon a second viewing of his work, it is undeniable that he has accomplished this.

★★★★ Directed by: #MelissaSkirboll Written by: #PennyBJackson, Melissa Skirboll Starring: #ZoeWilson, #JamesPravasilis Short Film Review by: Chris Olson A dark comedy riffing on the classic Through The Looking Glass motif, filmmaker Melissa Skirboll's short film My Dinner With Schwartzey (co-written with Penny B. Jackson) is an exploration of youth, innocence, and excess. Zoe Wilson plays Fiona, a talented singer who has fallen under the wing of an influential music producer known as Schwartzey (James Pravasilis). He introduces Fiona to his luxurious world of partying, drugs, and alcohol, meeting a gaggle of flamboyant characters along the way. As she delves deeper into this chaotic world, the true nature of Schwartzey becomes clearer and Fiona's purity hangs in the balance. Excitingly constructed and full of spectacle, My Dinner With Schwartzey reminded me of parts of Moulin Rouge, where the excesses of the characters became a cinematic whirlwind. Skirboll maintains a demanding pace, keeping the audience as unbalanced as the central character. Zoe Wilson is terrific in the lead role, navigating the disarray of each scene with a compelling naivety. A particular impressive moment sees her on stage singing an arresting song with great vocals. It was a shame we didn't get more time with Fiona to fully invest in her journey and peril. The starry-eyed innocent being lured and potentially ruined by showbiz is not a new theme but it does feel contemporary. Characters at the risk of losing their morality and risking their safety for fear of missing out on the party is definitely going to be relatable to a modern audience, and Schwartzey's power and manipulation over women in particular is hauntingly current. Along with the startling pace of the short film, the #filmmaking is finely tuned to elicit an almost nauseating response from the audience, which is done purposefully. A plethora of shots of drugs and alcoholic beverages are used to dizzy the viewer, whilst the edgy rock music feels uninhibiting. Colour and an elaborate mise en scène are also utilised to provide the dreamlike aesthetic required to complement Fiona's voyage into the wild. For a film dealing with potentially nightmarish topics, there is still a lot of fun to be had watching My Dinner With Schwartzey. Skirboll knows how to control the flow whilst delivering a film that is consistent with its mission. It's a journey through the cocktail glass that we hope to make it back from with our innocence intact. Watch the short movie trailer.