★★★★★ Directed by: #RuaridhMTurner Starring: #StevenRichardson, #KennethSimm Documentary Film Review by: Chris Olson A powerful and moving story of life after tragedy, director Ruaridh M. Turner's #documentary IED: Improve Every Day is a testament to the human spirit, mind, and bodybuilding. Steven "Stevie" Richardson severely dislikes the word disabled being added to the sporting contests he competes in. Having lost two legs and part of his hand whilst serving in Afghanistan, he lacks direction in life and struggles to accept the reality of his newfound situation. After a few months of strongman training, he journeys to America where he competes in an Arnold Schwarzenegger-run competition against other disabled athletes. His trip is littered with successes and challenges, but the most crucial of all is whether or not Stevie will find a path he's happy to travel in civilian life. Compelling, heartbreaking, and brilliantly funny, IED: Improve Every Day is a wholesome exploration of #PTSD and grief through the window of a sporting film narrative. Whilst we latch ourselves onto the efforts of Stevie, watching him pump iron with increasing enthusiasm, an undercurrent of depression and existential crisis settles underneath. Through candid remarks by Richardson, we get small glimpses into the psychological impact of being an injured vet. His open revelations about being unable to go up stairs, or fathering children who may get bullied cement the piece and ensure audiences are glued to his remarkable story. Stevie's shameless coach and ex-marine Kenneth "Kenny" Simm injects the essential comedic moments, such as pestering celebrities to take photos with Stevie, or bringing his coachee up when he's struggling. The chemistry between the two is utterly absorbing and, by the end, tender. Turner knows how to use the cumulative effect through clever editing which builds Stevie's journey much like a classic boxing montage. The piece starts lighter and gets increasingly heavier as the balance shifts from humorous scenes to more emotionally weighty sequences, after our investment in Stevie is solidified. The narrative is shaped efficiently and with intelligent use of clips of training, travelling, the show, and from Stevie's headcam whilst serving. There is a picture painted of a life dramatically changed by the events of "going left not right" to paraphrase the man himself but it doesn't labour the point. This is not an ode to life before tragedy, instead taking the person as he is now and whether, through all the muscles gained, he has the strength to keep getting up when he has no direction. An absolute must-see and a piece of phenomenal documentary #filmmaking that may well be the best of 2019. #ChrisOlson Watch the official movie trailer for the film below.

Runtime: 94 mins Directed by: #MikeAhern, #EndaLoughman Starring: #MaeveHiggins, #BarryWard, #WillForte, #ClaudiaODoherty Grimmfest Feature by: Darren Tilby Synopsis: Lonely driving instructor Rose is gifted with supernatural abilities, but doesn’t regard them as much of a gift due to constant spirit-related requests from neighbours, to exorcise their possessed rubbish bins or haunted gravel. But when Christian Winter, a washed up, one-hit-wonder rock star, makes a pact with the devil for a return to greatness, Rose has to find the heroine within. Grimmfest say: A wry but life-affirming tale of believing in yourself – and in ghosts! – this droll Irish comedy-horror, envisions a world in which the supernatural is as real, and as mundane, as its heroine’s problems. And if she could only come to terms with one, she could possibly resolve the other… Filled with deadpan Irish humour, surreal sight gags, sublime silliness, and genre movie parodies galore, and boasting a winning performance from Maeve Higgins as the hapless Rose, and a suitably baroque turn from Will Forte as the outlandish rock failure Christian Winter, this is a real charmer. Don’t let anyone stop you from believing that you have to see it. What I'm Expecting: Extra Ordinary should be riotously good fun and good-natured movie; staying more around the humorous and absurd than anything too serious. A playful pillory on psychic mediums and the controversy surrounding similar professions wouldn’t go amiss, and I’d expect some suitably over-the-top performances from the marvellous cast. A farcical world: the title itself – Extra Ordinary instead of Extraordinary – suggests this is an existence in which paranormal happenings have become tedious, boring, an inconvenience even; like paying bills, or team-building seminars. Either way, it looks ridiculous...and that's great!

★★★ Directed by: #BenGummery Starring: #JasonByrne, #StuartGoldsmith, #ScroobiusPip, #JamieWestwood, ‘Doctor Squee’, #JimCliff, #StuartBannerman, #MattLees, #JoeRidgely, #JohnDredge, #AndyHarland, #LizzyPollot, #DrJeffreySmith, #BuddyAllman, #ChadRoberts, #IanFarrar, #KillMcKinney, #AlasdairHooper, #WillMoulton, #ShonaMcCallin Short Film Review by: #BrunaFolettoLucas The short #documentary One Voice, One Mic, from director Ben Gummery takes a lively look at the rise of podcasts in the United Kingdom. Gummery’s film lasts for 18 minutes and it works well in conveying how the boost of podcasting came about and how it became a society of its own. Having an outside perspective of it, the thing that was most interesting to see and that I think the documentary worked well in transmitting is this feeling of community between the podcasters. Often times when there’s a specific community, the members of it are wary to let someone into their club afraid that the arrival of newcomers might threaten the status quo. Here, in One Voice, One Mic we get the exact opposite feeling – the podcasters themselves urge people to start their own podcasts and engage in the podcasting universe. Much like the media explored here, the #shortfilm is simplistic and it relies on archive clips, promotional videos and interviews conducted by Gummery and Michelle Sewell. The movie works smoothly because, as I mentioned before, it feels like a conversation between friends, and as viewers we become part of their group. It is inviting and we can definitely it was made with passion. As part of the audience who has always been out of the podcast world I can say that watching One Voice, One Mic it has ignited my desire to jump into it and start listening.

★★★★ Directed by: #SheikhShahnawaz Written by: Sheikh Shahnawaz Starring: #SamMalley, #DominicThompson, & #NisaroKarim Short Film Review by: Shrubaboti Bose The Initiation begins with a tense background music that steadily builds up as the director skillfully establishes the setting and the mood of the whole film. Intelligently, the claustrophobic space of the car is used to portray the power hierarchies between the characters involved. Two childhood friends decide to join the local mafia as a desperate attempt to change their lives. As the name suggests, The Initiation shows us how they are put to a test by the gang leader, an act of initiation, before being recruited. They are pitted against each other with their lives at stake. Only one of them can survive, only one of them will be chosen. Who is going to make it out alive of the two? The story unfolds rather slowly until the moment of climax is reached. A precise cut to a close up of the gun, with the fingers pressing the trigger. Snap. The gun was not loaded. It puts us out of our misery but only temporarily, as we continue to helplessly watch the leader loading the gun and stepping forward. The second guy stands with his shoulders hunched forward, his head bent down. He closes his eyes, his whole body posture that of defeat. He resigns himself to his imminent death. But in the last minute, the leader turns back to the first guy. This time when the bullet is fired, the camera focuses on the friend’s face instead of the gun. His eyes stare out blankly at the fallen body of his friend. “Loyalty keeps you alive.” The leader says, patting the back of his new recruit before leaving. But the dialogue rings in our ears like the last bullet shot that keeps resonating in the empty space even after our protagonists leave the room and move on to the next scene. The music has an almost dizzying effect, reflecting our lingering sense of shock. The film spreads a clear message, that it is in the face of adversity, a person’s true nature is revealed. Though obedient and seemingly calm, the first guy proves himself to be a coward when he betrays his friend’s trust and gives up on him, costing him his own life while in contrast, despite similar acute circumstances in life, the second guy resists compromising his friend and therefore survives. Within a span of barely 8 minutes, in spite of all the limitations that an indie #filmmaker is bound to face, The Initiation is a short thriller that packs quite a punch.

★★★ Directed by: P. William Grimm Written by: #PWilliamGrimm Starring: #PeterCoates Documentary Film Review by: Chris Olson Serial killer #documentaries are on the rise and the huge popularity is largely down to the binge-worthy nature of shows and movies as well as the painstaking lengths #filmmakers go to present them. Audiences are able to immerse themselves into the facts and fiction surrounding real life cases of brutal killings from a safe distance and even explore the findings outside of the show. One of the most legendary serial killer stories surrounds the Whitechapel Murders and "Jack the Ripper". Filmmaker P. William Grimm's short documentary film The Wigmaker of Wellington Street provides an intriguing and diverting examination of one theory as to the identity behind the infamous #London murders. Using modern and historical animation as well as period documents and newspaper articles to weave a ripping yarn, the audience is presented with a fascinating case to contemplate. The narrative goes that a prominent wigmaker called Willy Clarkson could have been the legendary killer. His upbringing in the area, his profession which involves sharp instruments and disguises, and his connection to the police case, all suggest it's plausible. Throw into the mix his criminal activities which include extortion, and a possible motive emerges of killing off accomplices. As with all documentaries, there is a particular thread being tugged at constantly, with the filmmaker wanting the viewer to see the content in a particular light. Grimm makes no bones about it that this is a fanciful piece, with many of the possible connections between Clarkson and the murders being tenuous at best, but there is something compelling here that audiences are likely to enjoy. The lack of talking heads and interviews makes it very difficult to feel that what is being presented is anywhere near hard truths. The best serial killer documentaries explore the subject from as many angles as they can, whereas Grimm here happily uses animation, archive footage, and a sole narration from Peter Coates (who is splendid by the way). This is the main shortfalling of The Wigmaker of Wellington Street, in that instead of a thorough and varied cinematic piece, we are presented with a fairly linear #animated movie that could easily be mistaken for a museum attraction. The being said, there is definitely huge enjoyment to be found here and the ye olde London feel is a pleasure to behold. There are some terrific dramatic devices in play that mark Grimm as a filmmaker to keep tabs on, and ultimately the movie could easily find a willing audience and cause plenty of lively speculation afterward. #ChrisOlson

Runtime: 98 mins Directed by: #RobiMichael Starring: #DrewFonteiro, #MarcMenchaca, #MelissaMacedo, #MichelleMacedo, #TylerDashWhite Grimmfest Feature by: Darren Tilby Synopsis: After Sam is killed, his consciousness begins to travel through the bodies of his friends in an effort to protect them. This dark passage leads him on a greater journey – discovering his true identity. Grimmfest say: A man plagued by blackouts and personality displacement struggles to remember who he is and what has happened to him… Robi Michael’s astonishing movie takes this classic film noir trope and spins it into a mindblowing metaphysical, existential revenge drama about betrayal, guilt, atonement and identity. It’s beautifully shot, with something of the tactile visual sense of Terrence Malick, smart, literate, sharply played, and genuinely gripping and moving by turns. The final twist, perfectly judged and timed, is both emotionally satisfying and a real punch to the heart. This is bravura filmmaking, not to be missed. What I'm Expecting: Every Time I Die reads like a wonderful mix of Memento and A Ghost Story, with maybe a dash of The Lovely Bones? An eternally lost soul, brutally murdered, drifting through space and time searching for answers and for revenge. Hopefully, though, there will be more to it than that. It sounds like we'll be getting a film which deals with redemption and atonement and of finding peace with one's past. It's this which interests me the most. I wouldn't expect this film to be particularly gruesome or violent, but perhaps shocking in its depiction of violence. I feel like Every Time I Die really has the potential to stand out here and I for one can't wait to see it.

★★★★ Directed by: #NicBarker Written by: #JordanBarr, #DarcyKent, Nic Barker Starring: #JordanBarr, #DarcyKent Short Film Review by: Benjamin Schofield It’s funny. You like funny things? Watch it? You don’t like funny things? Maybe see a therapist. I suppose that’s not really sufficient as a review so we might have to pad it out a bit more. Jordan Barr is hilarious as a confused Amanda, just trying to set up her Wi-Fi. It should be easy, just plug in the two leads and turn it on, but it’s never that simple. Her frustration at the situation and the patronisation of Lyle from tech support quickly turns into a bold but blundering monologue about systemic patriarchal oppression. She’s not wrong, but as she explains the issues to her friend Sean, she quickly becomes more flustered and frustrated. The male characters in the film, both played by Darcy Kent, are so detached and unhelpful that Amanda is pushed into further frustration; she can’t even argue with them because they’re speaking in completely different languages. Also detached is the style of the film, cutting between Amanda’s call with tech support, and her conversation with her friend afterwards. The camera is shaky and blurry and there’s a real sense of the confusion of the situation. Its unclear what is actually wrong with the Wi-Fi, and whether the issue is down to Amanda’s incompetence, or if she’s actually doing everything right, thus making Lyle’s condescending tone all the more frustrating. Of course, the issue at hand isn’t whether or not the Wi-Fi is working, but the general confusion and frustration at the whole situation. She reads the manual and does what it says, skims the Q&A to find out if that’s any help but it isn’t, then calls tech support only to be told the same stuff as the manual and the Q&A. We’ve all been there. Meanwhile, the scene with her and her friend Sean reflects much the same issues. They argue about almost nothing, and never reach any conclusions, then the film sort of just ends, because of course there is no solution, just an endless series of micro-conflicts. Before you start saying “well, if you love it so much, why isn’t it five stars?”. Ultimately, it’s a funny skit, and very little more. This isn’t a issue as such, but its not achieving anything ground-breaking or new. The main problem with the film though was that I just wanted more of it. It was bloody funny.

Filmmaker Features > Interviews Interview by: Chris Olson You were just nominated for Best Actor at the BUFF Awards, how did that feel? I can’t really put it into words to be honest. At first it was like cool woah some other people liked my work on the film, but then you start looking into like the history and size of Urban Films in general and to be recognised at the biggest awards for this genre is incredible. It’s these sort of honours that drive me and push me to get out of bed and study a role or push myself that extra bit further. So a big thanks to BUFF for the nomination because I was and still am so grateful for the recognition. The movie, Stray Dogs, was also nominated for Best Film. What can you tell us about the film? The film personifies urban culture. I feel like a lot of people won’t want to accept it because of some of their own insecurities or fears, but honestly I think it’s a story that needs to be told, particularly for the people that read the papers and watch the news and only listen to that side of stories on young people. Darren the youngster I play is just a young boy who wants to be accepted by anyone, he has crumbling relationships with his friends and family, he’s not welcome in his own home and he’s got no sense of direction in life. The only people that accept him are the gang, which in turn shifts Darren’s perspective on things I feel leading to interesting events. Personally I feel we all have a bit of Darren in us. How did you get the part? Why did you want to be in the movie? Interestingly I wasn’t originally cast. There were some issues with the council and getting permissions to film with the 13 year old they originally had, and Luke reached out to me through an online talent agency asking to meet up. We went from there really I was only 16 and fresh into the game so upon reading the script I was like woah this just sounds like something from the ends haha. Since I was born and raised in South London this whole thing was like second nature to me I mean in school you naturally make friends with certain people and see other people fall into these traps but yeah I felt like telling this story wouldn’t be something unknown to me because it was just like me representing all the people from the ends and acting through them I guess. As an actor in 2019, what's the most challenging part of the industry? I think finding my feet has been tricky. Talent only gets you the opportunity, it’s the hard work that gets the accolades and the recognition which ultimately is what I want, I want to be the one of those guys in the conversation of best actors, I want to build drama schools for people like me. But to get to that position of fortune is the hardest bit. Trying to get my name out there and find some representation, especially without going down the drama school route is so challenging. What's next for you? I’m gonna sit back for a bit, I’ve had a few interesting conversations lately, so we’ll see where that takes me. I’ve got some music coming so you can check that out soon, I go by the name of EDS, quick plug haha. But my 2020 vision says some big things planned for next year, so don’t sleep on me or any of my team. Who are your movie inspirations and why? Tom Hardy- my all time favourite actor. I’ve watched The Dark Knight Rises so many times and for him to be able to evoke the emotions in me that he did with Bane... it’s crazy. He’s so good at acting with his eyes, these days anytime I see Tom Hardy in a cast I’m watching the film haha. If you had any advice for aspiring actors what would it be? To be honest with any craft or passion the key advice I’d give is to never ever give up no matter who or what is put in your way. Noah had to build the ark before he got to see the rainbow so if you love what you do, do it until it kills you. More specifically to actors, for any aspiring actor I would suggest studying your favourite film/tv series... for me I’ve watched Breaking Bad like 10 times through from start to finish. When I watch now it’s because I’m studying and analysing Bryan Cranston or Aaron Paul along with the whole cast for small moments and intonations on lines. With scripts read them through thoroughly. Understand your character, know them inside out as if they were you. Write down and take notes of moments when you can shift your emotional energy and change intensities... Just by doing these small things when it comes to performing the scene you become the character, it’s not acting... it’s being... What would you say if you were a dolphin? A dolphin sleeps with one eye open so I’d probably say nothing but just constantly remind you that I notice everything. #BUFF #EddieLinina #ChrisOlson #BritishUrbanFilmFestival

Film Festivals feature by #NathanialEker. The biggest films at the 2019 London Film Festival By Nathanial Eker This year’s BFI London Film Festival boasts an extraordinary array of exhilarating works from a host of well-known and lesser known #filmmakers. Blockbuster directors like Rian Johnson (Looper, Star Wars: The Last Jedi) and James Mangold (Logan, Walk the Line) tell smaller scale passion projects that present more personal, intricate and stylised stories that look to challenge and thrill audiences in equal measure. This year also boasts a host of well known and talented veteran actors such as Anthony Hopkins, Johnathan Pryce, Felicity Jones, and Scarlett Johansson who’ll grace the screens, in a variety of different films spanning multiple genres and styles. Whether inciting laughter, tears, shock, or a combination, some of the industry’s most current and exciting filmmakers will take the London stage to transport audiences on a journey of their choosing. Here are the biggest films being shown at the #LFF2019 that we can’t wait to see… Jojo Rabbit Directed by: #TaikaWaititi Starring: Taika Waititi, #ScarlettJohansson, #RomanGriffinDavis Jojo Rabbit is perhaps the most well publicised film at the LFF, due in no small part to director Taika Waititi’s meteoric ascent into mainstream consciousness through the commercial success of Marvel goliath Thor: Ragnarok. The What We Do in the Shadows director brings his trademark visual flare and wicked wit through his dual role as screenwriter, in this biting black comedy set in World War Two Germany. Tackling absurdist Nazi racism through humour is one thing, but taking on the role of a sardonic imaginary Hitler is something that only Waititi would dare attempt. Jojo Rabbit looks to tell a story of heart that simultaneously oozes satire, making a mockery of the Third Reich’s ridiculous prejudice through sarcastic dialogue and droll commentary. Boasting a high-profile cast with the comedic chops of Scarlett Johansson, Alfie Allen, Sam Rockwell, and Stephen Merchant, Waititi’s latest venture is aiming to turn heads in all the right ways. A Beautiful Day in the Neighbourhood Directed by: #MarielleHeller Starring: #TomHanks, #MatthewRhys, #SusanKelechiWatson Following last years Can you Ever Forgive Me?, exciting up-and-comer Marielle Heller again dips her toe into the biopic genre with A Beautiful Day in the Neighbourhood. Exploring the cult personality of icon of wholesomeness Fred Rogers, Heller’s latest work looks to pull heartstrings and warm the cold hearts of critics by casting the most likeable man in Hollywood as one of the sweetest celebrities in recent history. Tom Hanks will no doubt effortlessly slip into that iconic red sweater, bringing his usual charisma, as well as the warmth presented when he played a certain other, more business minded childhood hero in 2013’s Saving Mr. Banks. The decision to focus on protagonist Lloyd Vogel (based on real life journo Tom Junod), looks to be a clever one, placing us on the outside and showing, not telling us the widespread impact of Rogers, hopefully through an unbiased lens. Though a more cynical man might expect it to be sickeningly over-sentimental, A Beautiful Day in the Neighbourhood could prove to be one of the most touching and uplifting pieces at the 2019 LFF. Abominable Directed by: #JillCulton, #ToddWilderman Starring: #ChloeBennet, #TenzingNorgayTrainor, #AlbertTsai, #EddieIzzard The biggest film at the LFF that film fans of all ages can enjoy, Abominable vaunts beautiful visuals with vast landscapes and a gorgeous colour palette, both in its more fantastical settings and in the beautifully realised Shanghai skyline. A collaboration between Dreamworks and Pearl Studio, this charming story of girl-meets-Yeti appears to offer more than just a romp in the snow. Infusing the gorgeous Chinese aesthetics of previous Asian set ventures involving a certain Kung Fu Panda, there is seemingly a focus from the studio to craft something that respects the culture. Hopefully what is shown will sit right with Chinese and western audiences alike; pre-release footage teases a narrative that relishes in and takes advantage of its beautiful setting, presenting the country as a mystical and magical land for our young heroes to explore. Combining a diverse cast, a cute (if a tad generic) premise, and genuinely amusing jokes, Abominable will hopefully reveal itself at the LFF as an animated great. As is, its impressive trailer evokes strong How to Train Your Dragon vibes which is certainly no bad thing. The Irishman Directed by: #MartinScorsese Starring: #RobertDeNiro, #AlPacino, #JoePesci, #HarveyKeitel Widely discussed for its technical aspirations, this Netflix film offers up a far more tantalising prospect; the collaboration of director Martin Scorsese with a cast that is nothing short of legendary. In a return to his roots, the multiple academy award winning director tackles the true crime drama, bringing with him an experience and finesse that is sure to produce an exceptionally well-paced and intricately written tale. However, the gimmick of the film brings with it both excitement and anxiety. Framed by an elderly Frank Sheeran (De Niro) recounting the disappearance of Jimmy Hoffa (Pacino), through revolutionary visual effects, the leads are ‘de-aged’ in post-production from their 70s to their 30s. Should this effect be as seamless as the marketing campaign suggests, this experiment could open the door for wider implementation of the technology across the industry. Though somewhat effective in mainstream blockbusters like Captain Marvel, if pioneering filmmakers like Scorsese accept its relevance, it’s a whole new ballgame. At any rate, there couldn’t be a more exciting film to end the festival with.

Runtime: 83 mins Directed by: #ChrisBavota, #LeePaulaSpringer Starring: #HestonHorwin, #JillianHarris, #MattKeyes, #KristinaSandev Grimmfest Feature by: Darren Tilby Synopsis: After Becca receives a distressing call from her suicidal brother Richie, she rushes over to his apartment and finds him alive and well – surrounded by copies of his own dead body. Grimmfest say: A masterclass in small-scale, high-concept filmmaking, this dazzling debut feature is a real charmer. Combining the low-fi, limited location quirkiness of cult Grimmfest favourite DAVE MADE A MAZE, with the surrealism and metaphysical weight of Charlie Kaufman, this is, for all of its crackling witty dialogue, droll black humour and delirious daftness, at heart a very serious and ultimately rather heartbreaking film about emotional interdependence and despair, which explores the way in which clinical depressives (fail to) interact with the world. It’s beautifully played by the three leads, genuinely startling in some of its narrative twists and visual coups, and delivers an emotionally wrenching final scene that manages to be both jaw-droppingly unexpected and yet all-too-painfully inevitable. What I'm expecting: From my understanding, Dead Dicks is about mental illness, so it’s already got its work cut out for it. Black humour is a difficult thing to get right at the best of times: balancing the comedy and gravitas of such films can be a real tightrope act. But with subjects like mental illness, films have a responsibility to treat them with great care and respect. This is my biggest concerns here. However, all being well, we should get a film whose humour is perhaps not laugh-out-loud funny, but rather understated, clever, and with depth; and whose core theme is poignant, heartfelt, and, more importantly, sensitively handled.

Film Festivals > Press Releases Write-Up Edited by: Chris Olson From Noel Clarke to Terry Pheto – here’s who won what at the climax of Britain's biggest film festival for diversity. This year’s 5th annual ceremony was staged at Met Film School, Ealing Studios. Terry Pheto’s performance as a long suffering wife and domestic abuse victim won her international success on Saturday evening – one of three awards for the anthology drama Faces. The film was the biggest winner at the VIP ceremony, picking up prizes including best actor for Aki Omoshaybi and best feature for director Joseph A. Adesunloye. There was other film success for director Richard Etienne, winning best documentary for The ID project - My Dominica Story (presented by Chris Olson of UK Film Review) and director Greg Hall, winning best short film for Smack Edd (sponsored by Met Film School). In the live script category (presented by Kelly Edwards from HBO), there was success for Jo Southwell (‘Loyalty’), Eno Enefiok (Asylum) and Malcolm J Solomon (Raped). The final award of the night was presented by actors Ashley Walters (Top Boy, Bulletproof) and Wil Johnson (Adulthood, Outlander) and accepted by Noel Clarke for recognition of 20 years of outstanding contribution to the film and TV industry. It was an emotional moment for Clarke who received two standing ovations from the packed audience, one at the start of his speech and one at the end. Moments after watching a summary of his accomplishments, Clarke said “the interesting thing about it and maybe that’s just testament to what I do is that I don’t feel like I’ve achieved anything. I don’t mean that in a sympathetic way. I haven’t done half of what I know I can do or what I know I want to do and so for me a lot of that stuff is just work it’s just what I do. I get up in the morning and I want to create. I want to succeed not just for myself but for others.” The winning films and scripts were pooled from 51 submissions selected by the board of the British Urban Film Festival, chaired by it’s founder Emmanuel Anyiam-Osigwe. The submissions were showcased during the week-long festival - now in it’s 14th year - at Met Film School, Ealing Studios. The full list of winners at the 2019 British Urban Film Festival awards Short film (sponsored by Met Film School) Smack Edd (Dir: Greg Hall) - WINNER Eli (Dir: Colin Gerrard) No Exposure (Dir: Marcus Thomas) Paparazza (Dir: Aurora Fearnley) Blessing Anyiam-Osigwe best actress Elinor Machen-Fortune (Acceptable Damage) Seyi Shay (Lara and the Beat) Terry Pheto (Faces) - WINNER Zoe Ranson (Stray Dog) Best actor Vector (Lara and the Beat) Elijah Baker (Acceptable Damage) Eddie Linina (Stray Dog) Aki Omoshaybi (Faces) - WINNER Best documentary (presented by UK Film Review) Block and Censor (Dir: Awei Chen) The ID Project – My Dominica Story (Dir: Richard Etienne) - WINNER The Mayor's Race (Dir: Loraine Blumenthal) Song for our People (Dir: Mustapha Khan) Live Script (presented by HBO) Loyalty (Written by Jo Southwell) - WINNER Asylum (Written by Eno Enefiok) - WINNER Raped (Written by Malcolm J Solomon) - WINNER Victor Adebodun best feature Faces (Dir: Jospeh A. Adesunloye) - WINNER Acceptable Damage (Dir: Lavinia Simina) Lara and the Beat (Dir: Tosin Coker) Stray Dog (Dir: Luke Hefferman) British Urban Film Festival honorary award - RECIPIENT Noel Clarke #chrisolson #BritishUrbanFilmFestival #BUFF #NoelClarke

Runtime: 101 mins Directed by: #PollyannaMcIntosh Starring: #LaurynCanny, #BryanBatt, #NoraJaneNoone, #CooperAndrews, #PollyannaMcIntosh Grimmfest Feature by: Darren Tilby Synopsis: Emerging from the woods filthy and ferocious, a feral teenager is indoctrinated into strict religious care, unleashing hell from the wild woman who raised her. Grimmfest say: This elegant addition to the ongoing saga of Jack Ketchum’s brutal backwoods cannibal family marks an impressive debut as both screenwriter and director for Pollyanna McIntosh, who also reprises her iconic role as the nameless “Woman”. Building on the themes of Ketchum’s original novels, and Lucky McKee’s film THE WOMAN, but with a slyly satiric edge and strongly feminist message all its own, DARLIN’ sees the implacable feral Woman confronted once again with the hypocrisies and cruelties of the supposedly civilised world as she strives to rescue her child from those who would claim to offer salvation. As much satire and social drama as horror, the film boasts an extraordinary lead turn from Lauryn Canny as the eponymous Darlin’; Bryan Batt is impressively hateful as the corrupt bishop, and McIntosh’s Woman is a force of nature, more terrifying than ever before. Truly one bad mother. What I'm Expecting: Having watched The Woman this morning, just before writing this, I feel like I have a fairly good idea of what to expect from Darlin’. For me, The Woman seemed to be a metaphor for man’s fight against nature, for our need to tame all things wild. I’m expecting Darlin’ to do the same with the hypocrisy of stricter religious teachings and the dogmatism that often surrounds it. And of course, I look forward to seeing Pollyanna McIntosh’s return as the Woman and her wreaking bloody vengeance on the people who have wronged her.