★★ Directed by: #ScottBeck #BryanWoods Written by: Scott Beck Bryan Woods Starring: #KatieStevens #WillBrittain #LaurynAlisaMcClain Film Review by: #HopeMadden Have you ever noticed how adorable Browns fans are during pre-season every year? Every year! There is always reason for optimism. That’s how I feel about filmmakers with the “haunted house attraction that’ll really kill you” premise. Year after year (The Houses October Built, 2014; 31, 2016; The Houses October Built 2, 2017; Hell Fest, 2018) somebody wheels out the stinky old corpse of an idea and says, “This year, we’ll get it right!” The 2019 attempt belongs to writers/directors Scott Beck and Bryan Woods, who struck silent film gold last year with the screenplay for A Quiet Place. (In retrospect, maybe we didn’t give co-writer/director John Krasinski enough credit for that one.) Haunt follows a handful of college students seeking thrills on Halloween. They stumble upon an isolated haunted house attraction—with not one single visitor. On Halloween night. Kids! Come on! Clearly it’s either the lamest thing on earth or it will kill you. This isn’t rocket science. And yet, they give up their cell phones, sign some waivers and enter. Katie Stevens is Harper, damaged but mainly wholesome brunette and center of gravity for the group. Will Brittain is Nathan, pre-requisite “will they or won’t they” nice fella who sees past Harper’s prickly exterior. In truth, the actors playing the six gullible youths all perform above expectation and, mercifully, Beck and Woods choose not to subject us to the couple that just can’t keep their hands to themselves. Made sensibly and economically, Haunt sticks to what it knows and focuses on what it came to do. Gaps in logic are few (they’re there, but they’re not distracting). One or two of the kills offer intrigue and the villains are, if not especially impressive, at least kind of fun. It’s adequate. Unlike the Browns. The Browns are going all the way this year. No doubt. No doubt about it.

★★★★ Directed by: #PaulDownsColaizzo Written by: Paul Downs Colaizzo Starring: #JillianBell Film Review by: #GeorgeWolf In a surprisingly touching circle of art and life and imitating, Brittany Runs a Marathon charts its main narrative course with humor, charm and insight, while solid doses of humanity are never out of sight. It may be the based-on-truth story of a woman taking control of her life, but in the process, it’s also the story of longtime supporting actor not only taking the lead, but literally transforming before our eyes. Writer/director Paul Downs Colaizzo, a playwright and TV director making his feature debut, drew inspiration from close friend Brittany O’Neil, who got her messy affairs in order by making some big changes. One of those was a commitment to running, and a goal to complete the New York City marathon. The film version finds Brittany Folger (Jillian Bell) out of shape and out of sorts. Allowing herself to be used by friends and randos, Brittany is the fat, funny sidekick who uses her quick, caustic wit as a suit of armor. Early on, Brittany is just the sort of vessel Bell has used to steal big and small screen scenes for years. She nails the setup with hilarity, which isn’t surprising. But the most impressive layer in Bell’s performance is how she ups her game when the laughs don’t come as often, dodging any false notes in Brittany’s wake up call. We knew Bell could do funny, but this is a performance full of drama that’s equally impressive (if not more). Credit Colaizzo for some equally deft maneuvering, making sure this is more complex that the standard “get hot to get happy” makeover fantasy you could hardly be blamed for expecting. Brittany may joke about people who “missed the point of those Dove ads,” but when she tells her attractive friend that “my life is just harder than yours,” it rings with the capital that Colaizzo’s script has earned. The in-the-moment nods are numerous but not overdone, contrasting Brittany’s self-loathing with the emptiness of comparing real life to social media staging or quick assumptions from afar. As hard as it is for Brittany to stick with running, dropping the pounds is the easy part. She has to grow emotionally, starting with accepting the fact that she’s worthy of the friendship her running pals (Michaela Watkins, Micah Stock) are offering. And what’s up with Jern (Utkarsh Ambudkar- terrific), who pulls the night housesitting shift the same place Brittany handles the daytime? Is he stuck in the friend zone? Is she? Sure, the film has a convenient plot turn or two, but this is some sneaky good crowd-pleasing. Brittany Runs a Marathon ropes you with the comfort of formula, then dopes you with emotional complexities, warm sincerity and a knockout lead performance. Winner winner sensible dinner.

★★★★ Directed by: #RobEpstein #JeffreyFriedman Starring: #LindaRonstadt #BonnieRaitt #DollyParton Film Review by: #GeorgeWolf You may have heard that Linda Ronstadt can’t sing anymore, her incredible instrument silenced by Parkinson’s disease. But Ronstadt’s harmonies with a nephew in The Sound of My Voice are gentle and effective, and rendered more bittersweet by her quick, self-deprecating dismissal. “This isn’t really singing.” The ironic truth in this engaging documentary is that the sound of her spoken voice is what gives the film the warmth it needs to register as more than just a big screen fan letter. Ronstadt initially balked at the pitch by directors Rob Epstein and Jeffrey Friedman (Howl, Lovelace) but they won her over with a promise to let her tell the story and define its terms. So while we don’t get any juicy intimacies or sordid details, we do get some fantastic highlights from her archives and a unique, first-person perspective of being a queen in a king’s game. For anyone under 40, the film is also a great intro to one of the most successful female singers in history. I know Taylor Swift is great and all, kids, but in the 1970s, her name was Linda Ronstadt. An Arizona native who was raised on a multitude of musical styles, Ronstadt came to L.A. as a teen. After first raising interest and eyebrows as the defiant girl singer not wanting to be tied down to just one lover on the Stone Poneys’ 1967 hit “Different Drum,” Ronstadt’s 70s solo success reached unprecedented levels for a female artist. With hits on the pop, R&B and country charts, a string of platinum albums and magazine covers, she was everywhere. Later decades brought torch song projects with Nelson Riddle, a starring role in Gilbert & Sullivan’s The Pirates of Penzance, a record-breaking Spanish language album paying tribute to her father’s heritage, and forming a legendary country trio with Dolly Parton and Emmylou Harris. It is truly an incredible career, and reminding us of that fact seems to be goal number one for Epstein and Friedman. Their mission is more than accomplished, and with Ronstadt herself as the guide, it’s like getting a backlot studio tour from Spielberg. You hear wonderful anecdotes about how Ronstadt handled sexism both systemic and casual (former boyfriend J.D. Souther asked her to cook him dinner – she handed him a PB&J), how her backing band left to start a little combo called the Eagles and how none of the successes could quell the nagging feeling that she was never good enough. She was. The Sound of My Voice is all the proof you need.

★★★★ Directed by #ShinichiroUeda Written by Shinichiro Ueda #RyoichiWada Starring #TakayukiHamatsu #YuzukiAkiyama #HarumiShuhama Film Review by #HopeMadden For about 37 minutes, you may feel like Shin’ichirô Ueda’s One Cut of the Dead delivers, cleverly enough, on a very familiar promise. One Cut opens as a micro-budget zombie movie, which soon reveals itself to be a film within a film when real zombies show up on set. As the bullying egomaniac director continues filming, ecstatic over the authenticity, Ueda appears to deconstruct cinema. And though that may sound intriguing on the surface, the truth is that what transpires after that 37 minute mark officially defines Ueda as an inventive, gleeful master of chaos and lover of the magic of nuts and bolts filmmaking. To detail any additional plot points—as tempting as that is—would spoil the enjoyable lunacy One Cut has in store. Suffice it to say, Ueda improves upon that opening act without really losing the themes he introduces. Everything that feels like a misstep blossoms into an inspired bit, all of it highlighting Ueda’s true love for what he’s doing. Likable and silly, One Cut is brightly economical, embracing rather than hiding its shoestring – in fact, Ueda’s camera jubilantly closes in on shoestrings. His movie giddily exposes the neuroses, dangers, tribulations and mistakes—he really, deeply loves the mistakes—inherent in genre filmmaking. If nothing else, this movie is a mash note to artistic compromise. The manic comedy proves as infectious as the zombiism on the screen, and much of the reason is the committed cast. Ueda allows each performer the opportunity to grow and discover, and every actor at one point or another takes full advantage of his or her moment to shine. Harumi Shuhama particularly impresses as, well, let’s just say she’s the make up artist and self defense hobbyist. Yuzuki Akiyama delivers the most layered performance, but, playing the director, Takayuki Hamatsu steals every scene. He’s hilarious, adorable, compassionate, and incredibly easy to root for. Like this movie.

★★★ Director: #MichaelEngler Starring: #HughBonneville, #ElizabethMcGovern, #MaggieSmith, #MichelleDockery, #LauraCarmichael, #AllenLeech, #JimCarter, #ImeldaStaunton and #DavidHaig Film Review by: #BrianPenn The transition from TV to big screen is rarely a smooth journey; especially when a show moves beyond its customary one hour time slot. The reverse is usually a less painful process, but with huge budgets routinely committed to TV projects the gap is slowly closing. Downton Abbey, give or take a dubious sub-plot manages reasonably well on film. The action picks up in 1927 as the Granthams excitedly prepare for the visit of King George V and Queen Mary. All the principal characters feature in a series of mingling sub-plots. The Granthams (Hugh Bonneville and Elizabeth McGovern) assume their customary role as family moderators. Lady Mary (Michelle Dockery) continues to agonise over Downton's future in a changing world; sister Edith (Laura Carmichael) dreads intrusion to her newly found domestic bliss. The Dowager Countess (Maggie Smith) steels herself for a meeting with Lady Bagshaw (Imelda Staunton), her cousin and lady-in-waiting to the Queen; a storm is brewing between the pair regarding the Bagshaw estate. Meanwhile, Branson (Allen Leech) wrestles with his republican ideals and war has broken out below stairs. The royal household lands on Downton led by the posturing King's Butler (David Haig). The faithful servants are apparently usurped as the faithful Carson (Jim Carter) is called in to restore order. The film logically assumes an existing knowledge of characters and contingent storylines; so doesn't really work as a standalone piece. Nevertheless, fans of the show will enjoy catching up with characters they have come to know well. There are some annoying, superficial sub-plots that aren't worthy of cinematic treatment; while others tantalisingly leave the door ajar for future instalment. Highclere Castle looks majestic on the big screen with some breath taking panoramic shots. The cast are uniformly excellent with Maggie Smith inevitably stealing the best lines. Simon Jones and Geraldine James are well cast as the King and Queen, although have very little to do aside from looking regal. Writer Julian Fellowes has played safe with a simple extension of the TV series. Apart from a brief reference to the General Strike he steered clear of a socially turbulent era; perhaps surprising when being 'in service' was on the wane by the late 1920s. Overall, there's enough here to keep the fans happy although much of it will be lost on a Downton Abbey novice. Watch the Downton Abbey movie trailer below.

Runtime: 94 mins Directed by: #AbeForsythe Starring: #LupitaNyongo, #AlexanderEngland, #JoshGad, #KatStewart, #DieselLaTorraca Grimmfest Feature by: Darren Tilby Synopsis: Washed-up musician Dave volunteers to chaperone his nephew’s kindergarten class field trip after taking a serious liking to the fearless schoolteacher, Miss Caroline. Dave’s intentions are complicated by the presence of the world’s most famous kids’ show personality and competition for Miss Caroline’s affections, Teddy McGiggle. One thing none of them bargained for is a sudden zombie outbreak. Will Dave rise to the occasion and have a chance at Miss Caroline’s heart, or will the zombies get there first? Grimmfest say: Well, who’d have expected this? The Oscar-winning star of 12 YEARS A SLAVE decapitating zombies with a bloody shovel… But as she showed in US, BLACK PANTHER, and various STAR WARS films, Lupita Nyong’o is nothing if not a trooper. And Abe Forsythe’s raucous, riotous, oddly good-hearted zom-com benefits enormously from that fact. Whether she be dispatching the shambling undead hordes, or murdering Taylor Swift songs on the ukulele, Nyong’o’s Miss Caroline is a force to be reckoned with; kind, gracious, fiercely protective of her charges, and the only chance any of them has of survival. Will feckless slacker Dave finally grow up enough to stand any kind of chance with her? Will Teddy McGiggle get what’s coming to him? Will the kids get to pet the cute little animals without being eaten? That would be telling. Why not join us and find out for yourselves? What I'm Expecting: Well...this is a surprise. Beginning her career in Steve McQueen’s stunning 12 Years a Slave – in a role that would emotionally test even the most veteran of actresses – and fresh from a brilliant turn as Adelaide Wilson/Red in Jordan Peele’s incredible socio-cultural horror Us, Lupita Nyong’o is a force to be reckoned with. And if the news of her involvement in Abe Forsythe’s Australian-American-British zombie flick came as a surprise to many people, myself included, then the news that Little Monsters would be closing the Grimmfest film festival was like Christmas coming early. This is, without a doubt, one of my most eagerly anticipated horror-comedies of the year. And after the disappointment that was The Dead Don’t Die, I have really high hopes for this one. Little Monsters has a lot going for it: Australian-made horror films are awesome (that’s a proven fact), Josh Gad is a brilliant comic actor, and Lupita Nyong’o is one of the finest actresses working today—period! I’d like to see a film with not only the same dark humour on display in Zombieland and Shaun of the Dead but also with the same level of social commentary. I have all my digits crossed!

★★★★ Directed by: #RichardEtienne Written by: Richard Etienne British Urban Film Festival Review by: Chris Olson A journey of self-discovery in the Caribbean, filmmaker Richard Etienne’s documentary ID Project: My Dominica Story is a love letter to our roots, heritage, and Dominica. Winner of the #BUFF Awards 2019 Best Documentary category, I was lucky enough to hand Etienne his award. Having not seen the film, I was keen to take a look. Fortunately BUFF stalwart Emmanuel Anyiam-O hooked me up with a screening link this week so I was able to take the journey with Etienne. Raised in London, the #filmmaker’s family heritage lies (obviously) in Dominica. After the passing of his father, Richard decided to pay homage to his family by journeying to the Caribbean island to learn more about his roots and to experience the culture. He is met with the beautiful warmth of the people there and the arresting natural landscapes, passionate individuals who champion the country’s growth, and artists who make the place wholly unique. As Etienne delves deeper into this journey of self-discovery, we witness a country experiencing its own struggle for identity and one that is at risk from low population numbers and natural disasters. As a piece for the Dominica tourism board, ID Project: My Dominica Story would tick all the boxes. This documentary is bursting with life, colour, and extraordinary zeal that, when juxtaposed with British culture, makes it seem completely alien and completely alluring. Etienne interviews a plethora of interesting figures from all levels of Dominica society; from his newfound relatives, to the Dominican Prime Minister, and basically every single person seems to be enchanted by the place. The bewitchment on Etienne is clear through his #filmmaking. Rapid shots of the vibrant events going on all around and the simmering day-to-day life being captured on film feels chaotically enthusiastic, as if the camera is ridiculously ill-equipped to try and reflect this beautiful society. Authentic music is used to complement the piece and many artists are able to showcase their own tunes during live gigs. The sound quality was a little poor in sections, which is often the bane of the documentary filmmaker. Through the immensely enjoyable trip we are given plenty of reasons to fall in love with Dominica, but it felt lacking in terms of connection to Etienne. It would have been nice to have spent more time with him and what the journey meant to him on an emotional level. We are given a few scenes where this happens, such as him visiting his father’s old home but there was not enough to fully invest in the narrative or outcome. That being said, Etienne manages to bring it back home well by the end, tying in the ways in which people can explore their cultural identity even if it is in another country. A film full of family, flavour, and feel-good culture, ID Project: My Dominica Story is as life-affirming as it is a robust exploration of a beautiful and precious island.

Runtime: 97 mins Directed by: #AdamRandall Starring: #HelenHunt, #JonTenney, #JudahLewis, #LibeBarer Grimmfest Feature by: Darren Tilby Synopsis: Infidelity has put great strain on the Harper household as Greg, the lead investigator in a child abduction case, struggles to find a way to forgive his wife, Jackie. As Jackie’s guilt slowly gnaws away at her sanity, a malicious presence begins manifesting itself in the household, putting their young son in mortal danger as a cold, hard truth is finally uncovered. Grimmfest say: Sometimes it’s less about what you see, than how you see it… With its deft shifts in perception, constant wrongfooting of expectation and careful withholding of information, Adam Randall’s fiendishly tricksy thriller is that rarest of things, a genuinely slippery and unpredictable film. Just when you start to think you have a handle on what is going on, there’s a sudden, startling shift in style and direction that takes you back to square one, forcing you to reconsider every single moment up till that point. Featuring a top genre cast including IT’s Owen Teague, Judah Lewis from SUMMER OF ’84, the ever-reliable Jon Tenney, most recently in TRUE DETECTIVE, and Oscar-winner Helen Hunt no less, this is one that will keep you guessing, right to the end. What I'm Expecting: It's always nice when a film comes along that claims to 'keep you guessing, right to the end'; such films are rare, especially in the horror genre. I See You sounds fairly similar to one of my Grimmfest 2018 favourites, The Witch in the Window: a film that used a supernatural presence as a metaphor for the emotional ambience within the house. It's a wonderfully understated and intelligent way to convey a narrative of family dysfunction, or of figurative (and literal) skeletons in the closet. An eerie, slow-burning paranormal thriller, this is what I’m hoping for.

★★ Directed by: #LaviniaSimina Written by: Fiona Whitelaw Starring: #ElinorFortune, #FionaWhitelaw, #JackBrettAnderson, #ElijahBaker British Urban Film Festival Review by: #NathanialEker If there’s one thing admirable about Acceptable Damage, it’s a promotion of understanding towards those different from the norm. Its climax proves that hatred leads to a cycle of pain; a genuinely thought-provoking theme to explore on screen. Regrettably, the film stumbles over itself repeatedly. A clunky script and woefully on the nose dialogue make Acceptable Damage a case study for the necessity of another draft. Our protagonist is Katy, a girl with Asperger’s syndrome who matches her innate kindness with goth queen levels of quirk. Discussing the portrayal of a real-life condition puts me on shaky ground, as I’m far from an expert. What can be said, is that the performance of Elinor Fortune is emotionally charged. As Katy happily plays in the sprinkler or innocently sasses her ‘mumma’, you can’t help but feel charmed. Disappointingly, the wide majority of performances aren’t as strong. Perhaps due to the unnatural dialogue, or a lack of direction, would-be boyfriend Roxy and anxious mother Lucy, present little more than stereotype infused husks, floating from scene to scene without intent or passion. Screaming does not equate to good acting. Scenes are generally established well, with decent, if sometimes shaky #cinematography that captures the light to reflect character intent. For example, the recurring image of Katy jumping happily in the beaming sunlight in a white dress symbolises her purity in an obvious, but effective way. This combined with a swelling orchestral score that favours stringed instruments for our protagonist’s leitmotif, set the scene to a professional standard. Until the characters open their mouths. Despite the serious subject matter, you’d be hard pressed to suppress a hearty guffaw at some of the painfully ill devised exchanges. Words are repeated unnecessarily, characters outright state their intent, and sentences said simply wouldn’t be uttered by any real person on planet Earth. One scene presents a policeman as apathetic to Katy’s plight at best, and as an inhumane robot who doesn’t understand how feelings work at worst. Another side character, Zoe, appears to be little more than another stereotypical ne’er-do-well, until the final ten minutes, when the script decides that her role is that of a Hannibal Lecter level of psychopath. That said, there are elements of greatness, far removed from the mediocre acting and sloppy writing. The wall effect, perhaps a nod to A Nightmare on Elm Street, works wonders in a non-horror capacity, emphasising how being touched feels for Katy. This kind of non-verbal communication shows Acceptable Damage at its best. Equally effective is the use of a silent daydream, showing the otherworldly imagery that personifies Katy’s affection for Roxy without a word. Overall, however, despite momentary compelling drama, Acceptable Damage is unacceptably mediocre. Biting social commentary and a theme of acceptance present a blueprint for an emotionally effective story of cyclical abuse, but the execution is too sluggish to be truly affecting. Wooden acting, confused character motivations, and unrealistic dialogue sadly culminate in a missed opportunity drowning in stereotypes and clichés. Watch the official indie film trailer below. #BUFF #BritishUrbanFilmFestival

Runtime: 84 mins Directed by: #RobGrant Starring: #MunroChambers, #EmilyTyra, #ChristopherGray, #BrettGelman Grimmfest Feature by: Darren Tilby Synopsis: When Richard’s girlfriend Sasha and best friend Jonah give him a spear gun for his birthday, he wants to try it out straight away. The three of them set out for a day trip on a boat, but suspicion and jealousy soon start to get the upper hand. When the boat’s engine fails with no supplies on board, a nerve-wracking struggle for survival ensues that spares nobody’s secrets – or blood. Grimmfest say: There are times – and situations – where three is most definitely a crowd. The latest from Grimmfest favourite Rob Grant is a slippery, spit-vicious take on such boat-based psycho-dramas as KNIFE IN THE WATER, PLEIN SOLEIL and DEAD CALM. Tight, gripping, and shot through with a rich vein of deadpan,  pitch-black comedy, it’s not quite a horror film, more what the French would call a “conte cruel” – a cruel tale: darkly funny, morally outrageous, and mean-spirited as hell. It’s beautifully played by a strong cast, headed by TURBO KID’s Munro Chambers, with deft characterisation – and character shifts – and witty, credible dialogue. The laconic, objective voiceover, commenting on the action, is the icing on the cake. What I'm Expecting: Quite why anyone would buy their friend/boyfriend a spear gun for their birthday is beyond me, but it sounds as though Richard’s friends may regret it in the long run. Dwindling supplies and a claustrophobic setting would be enough to strain even the most steady of friendships, but when you throw jealousy and paranoia into the mix, things are bound to get nasty. And by the sound of things, that’s what we’re going to get. A nasty and bloody character drama.

★★★ Directed by: #AlexMcDonald Short Film Review by: #WillGirling It’s difficult to know what to say about Alex McDonald’s film Hankering, Gross, Mystical, Nude. At the movie’s core lies the text Song of Myself by Walt Whitman, a sprawling poetic vision penned by a man searching for the divine in the very mundane. As a cinematic continuation of this theme, McDonald’s attempt to reconcile Whitman’s verse in images is partially successful, although one would probably need to familiarize themselves with the text itself to derive any specific meaning from this film. A piece of experimental, pseudo-documentary #filmmaking, Hankering, Gross, Mystical, Nude has no plot or even actors in the conventional sense. We are introduced to four cows (two calves and two adults) as they go about their daily existence on the scenic hills of Old Chapel Farm in Llanidloes, Wales. The cows lounge around their pen, are fed in a barn, milked, and are then returned to their pen. Thus the entirety of the film’s content is covered, which may concern viewers looking for a more escapist experience. However, it would be a mistake to disregard the movie for this reason, as, when measured by what McDonald’s trying to say, it actually provides you with everything you need to enjoy it. McDonald’s #cinematography is the lifeblood of this film, and it’s a shame that he employs it with such mixed results. Although he has picked his location well – the rustic beauty of the Welsh countryside really does speak for itself – the amateurish composition of his outside shots is unfortunately very disengaging. This is puzzling when compared to the dark shots he finds inside the barn, so captivating and laden with unpronounceable meaning; the effect very much like a Rembrandt painting come to life! It’s mysterious that McDonald cannot frame similarly striking images when filming outside, as he obviously has an eye for captivating tableaux. All sound is diegetic and there is not much to comment on except for one section where a cow is being fed and milked: the crashing sound of feed landing into a metal container as the cow’s udders are periodically squeezed does produce a strangely hypnotic effect. It’s reminiscent of the sound effects on Pink Floyd’s Dark Side of the Moon, although the intended effect in this film, if any, is not immediately obvious. This is a #shortfilm that mainlines the spirit of Andy Warhol’s cinematic output in the 1960s. Chelsea Girls with cows is almost a pithy enough summary, although McDonald’s effort is mercifully 200 minutes shorter. A title like Hankering, Gross, Mystical, Nude certainly implies the subtle outrage that films of this kind can arouse in the viewer, but there’s definitely a message being conveyed here: Whitman’s quest for empathy with the natural world resonates in the captured existence of these cows. Whether this theme is best communicated through clumsy text positioned at the beginning and end is debatable. However, on its own terms, Hankering, Gross, Mystical, Nude is just about interesting enough to work.

★★★★ Directed by: #TheofanisTopsachalidis Written by: Theofanis Topsachalidis Starring: #KostasTheodosiadis, #KostasFilios, #VasilikiGkargkala, #VefiMina Short Film Review by: Chris Olson A fantastical and dramatic exploration of one man’s inner demons in Theofanis Topsachalidis’s Greek short film Zero: No Beginning, No End. Told through fluid camerawork and contemplative sequences of introspection, it is an artistic movie with solid emotional grounding. Kostas Theodosiadis plays Kostas (a familiar name apparently) a deli worker, whose inane day-to-day gets altered by a desire to explore his innermost frailties. He attends a workshop aimed to get him to come to terms with why he feels so low, only for this to make matters worse. This leads to the arrival of Kostas Filios (as different Kostas) as a mystery man who has some unique methods that may allow Kostas (the character) to find peace and return to zero. Stylish and slickly put together, Zero: No Beginning, No End has a high production value which lends brilliantly to the arthouse nature of the piece. Many of the sequences are compellingly filmed, such as the brilliant wandering camera in the opening supermarket scene or the section by the water where Kostas immerses himself in his boxer shorts (baffling when taken out of context, baffling when seen within the film, yet still intriguing). The dark and suspenseful atmosphere that Topsachalidis creates in his short film is palpable and loaded with hidden meaning. There are themes of repression, guilt, and redemption being toyed with and the execution of these has an appealing chaos that is arresting during the most effective scenes. Some viewers may find the lack of structure or traditional narrative hard to penetrate and enjoy but for audiences with a penchant for the bizarre (basically if you like the movies of David Lynch) you should be in your element. The filmmaking needs to be praised for its strong aesthetics and sublime #cinematography. Many of the locations used are breathtaking and the use of characters within them is intelligently handled. A lot of the lighting was also keen in supporting the aforementioned atmosphere of the piece, especially the use of reds for the mystery man. Keenly weird and wonderful, Zero: No Beginning, No End is the kind of divisive world cinema that, for better or worse, gets audiences talking. It is undeniable, however, that the talent of the cast and crew make this an unforgettable journey for the right reasons. Watch the official movie trailer below.