★★★★ Directed by: #LukeCouch Written by: Luke Couch Starring: #RowanBywater and #LoriAda Short Film Review by: #RachelPullen Today, thanks to the wonderful world of movie reviews, I learnt a new word, Autophobia. Autophobia is the intense fear of being alone, one where by the patient feels severe anxiety and fear, even when in a safe space. Let’s say that does not sound like a whole load of fun, unless you are really into being scared. Anyway, this week’s short flick is titled just that, and tells the tale of a young man in a therapist’s office, reliving a nightmare that plagues him on the reg, one where he is running through the forest unable to outrun himself...seems logical since you are you, and you can’t beat you, or can you? Only you can know...Ow, my brain. This #shortfilm focuses doesn’t focus directly on the story, but is more concerned with creating the feeling of tension, fear, anxiety, all of the symptoms that people suffering from autophobia would feel. Writer and director Luke Couch does this by employing close and personal camera angles, forcing the viewer to look directly into the eyes of the character on screen. We are with them through their fear and stress, living in the moment. Another choice that #filmmaker Couch uses to generate an uneasy viewing experience is the musical score, clunky clonky piano sounds, the broken yet composed sounds reminds me of the famous theme from Halloween, composed by Carpenter after they told him that the film was just not scary enough without it. Couch, like Carpenter has realised the importance of using the correct score and the impact it can have on the audience, and it’s broken harmonic implications continue the rising tension of Autophobia. The claustrophobic therapist office, the invading soundtrack and personal camera angles leave the viewer on edge and anxious. We are fully immersed in our leading man’s fear, and for a short movie with a 4-minute running time that is an impressive result from the #filmmakers. Oh yeah, don’t think I have overlooked our little Luke Couch, a man with the triple threat erotica that I expel every time I unearth one from the world of independent film...but wait Luke is a little different, and not unlike a country with a stable economy or smartphone that does not let the government track your every move, we had found the next rarity...the quint threat, that means 5. 5 things, good for you Luke, I am in awe of your dedication and skill set, and not only that your ability to address and present an accurate depiction of a mental health disorder that often goes uninvestigated, and as a short film Autophobia is just that, a study of an illness, an immersion into the world of those who suffer from this mental state...my five hats off to you.

★★★★ Directed by: #NanfuWang #JialingZhang Starring: #JiaomingPang #NanfuWang #BrianStuy Film Review by: #GeorgeWolf A heartbreaking, sometimes devastating and absolutely necessary history lesson, One Child Nation turns a filmmaker's very personal story into a profile of shared helplessness. Nanfu Wang grew up in China during the nation's strict "one child per family" social policy. Launched in 1979 and added to the Chinese constitution three years later, the policy endured until 2015, leaving scarred generations of parents and children in its wake. Wang (who also provides frequent narration and commentary) and her co-director Jialing Zhang detail the shocking number of people affected by the policy, the horrifying lengths with which it was enforced, and the splinters of impact it continues to leave on families living oceans apart. With interviews often reminiscent of Joshua Oppenheimer's unforgettable doc The Act of Killing, Wang looks back on atrocities with those who personally carried them out. The repeated defense of "I had no choice" is layered with startling and timely reminders of both Orwellian propaganda campaigns and the worldwide struggle for women's rights. In another deeply poignant segment, we meet an elderly midwife desperately using the last years of her life in hopes of atonement for her past. But the success Wang has with many of these interviews only makes the film's main weakness more glaring. Where are the women who personally endured the forced abortions and sterilizations? Where are the mothers whose newborn daughters were casually abandoned or sold? Despite an early warning for Wang to "not make trouble," there is no clear explanation why this seemingly necessary perspective is lacking. Otherwise, One Child Nation - disturbing as it often is - attacks an inhuman policy with an effectively informed humanity, along with a dire warning about whitewashing history. "No child should be separated from their parents." Imagine that.

★★★ Directed by: #MattBettinelliOlpin #TylerGillett Written by: #GuyBusick #RyanMurphy Starring: #SamaraWeaving #AdamBrody #MarkOBrien Film Review by: #HopeMadden Fucking rich people. I don’t know about you, but this is a sentiment I can get behind. Grace (Samara Weaving, Mayhem) doesn’t know whether her soon-to-be in-laws are eccentric or they just plain hate her. Or maybe they are as evil as her groom Alex (Mark O’Brien) and his drunk-but-amiable brother Daniel (Adam Brody) say they are. The brothers are just kidding, right? Directors Matt Bettinelli-Olpin and Tyler Gillett (Devil’s Due—meh) invite you to join the happy couple as they plunge into a world where the wealthiest among us would rather commit murder than do without what none of them worked very hard to earn. At midnight on Grace and Alex’s wedding night, everyone assembles in the Le Domas family game room: Mom and Dad (Andie MacDowell and Henry Czerny), Aunt Helene (Nicky Guardagni), other siblings and in-laws. It’s a ritual. Just one quick game of hide and seek. What could go wrong? The inky black comedy plays like a game of Clue gone mad with arterial spray, the film’s comic moments coinciding most often with the accidental slaughter of servants. The filmmakers take advantage of Weaving’s grit and comic timing, skipping from one bloody comic set up to the next. The plot and the chase move quickly enough to keep you from dwelling on the shorthand character development, the errant plot hole and the occasional convenience. It’s fun, it’s funny, and it’s a bloody mess. And yet, the film feels safe, as if it is loath to truly represent the wealthy as people who’d leech the life from those beneath them (a la Get Out). Although, like Jordan Peele’s horror classic, Ready or Not introduces a deeply disturbing song almost as chilling as Get Out’s “Run Rabbit, Run.” Weaving is proving herself to be reliably badass in the genre, her central performance elevated by the sometimes inspired work of the ensemble. MacDowell, in particular, seems to be enjoying herself immensely. Even with the clever turns and cheeky performances, the film lacks substance. I mean, yes, I can indulge my secret belief that the rich are evil all day long. So, thank you Ready or Not for playing that card. In the end, though, the film’s just a slight and entertaining (and gory) way to waste your time.

★★★★ Directed by: #JenniferKent Written by: Jennifer Kent Starring: #AislingFranciosi #BaykaliGanambarr #SamClaflin Film Review by: #HopeMadden There is a moment in George Miller’s 2015 action masterpiece Mad Max: Fury Road. The empty bridal chamber is revealed quickly. Scrawled on the wall: Who killed the world? It occurred to me partway through Jennifer Kent’s sophomore feature The Nightingale that Miller isn’t the only Aussie director with that question on the mind. The Nightingale is as expansive and epic a film as Kent’s incandescent feature debut The Babadook was claustrophobic and internal. In it she follows Clare (Aisling Franciosi), an Irish convict sentenced to service in the UK’s territory in Tasmania. What happens to Clare at the hands of Leftenant Hawkins (Sam Claflin), the British officer to whom she is in service, is as brutal and horrifying as anything you’re likely to see onscreen this year. It’s the catalyst for a revenge picture, but The Nightingale is far more than just that. As Clare enlists the aid of Aboriginal tracker Billie (Baykali Ganambarr, magnificent) to help her exact justice, Kent begins to broaden her focus. Those of us in the audience can immediately understand Clare’s mission because we witnessed her trauma in its horrifying detail. Kent needed us to recognize what British military men were capable of. What she wants us to see is that the same thing—the worst, almost imaginable brutality—happened to an entire Australian population. In the second act, Clare—on a higher social rung than her tracker, and just as condescending and racist as that position allows—and Billy begin to bond over shared experience. Franciosi’s fierce performance drives the film, but Ganambarr injects a peculiar humor and heart that makes The Nightingale even more devastating. Kent’s fury fuels her film, but does not overtake it. She never stoops to sentimentality or sloppy caricature. She doesn’t need to. Her clear-eyed take on this especially ugly slice of history finds more power in authenticity than in drama. Her tale becomes far more than an indictment of colonization, white male privilege, domination and subjugation. It’s a harrowing and brilliant tale of horror. It’s also our history.

★★ Directed by: #RicRomanWaugh Written by: #RobertMarkKamen #MattCook Starring: #GerardButler #DannyHuston #MorganFreeman Film Review by: #GeorgeWolf Olympus, then London, now Angel. They keep Fallen, must they keep getting up? To be fair, Angel isn't nearly the dumpster dive we took in London. It sports comic relief from Nick Nolte, a fun mid-credits stinger and a truly impressive performance from a baby. Surrounding all that, though, is a pedestrian and all too often obvious gotta -clear-my-name frame-up that under-delivers on the action front. Gerard Butler is back as Secret Service hero Mike Banning, with Morgan Freeman returning to the franchise as now-President Trumbull. Mike has headaches and insomnia after years of action, but debates leaving the field for a desk promotion. He is still great at knocking out all the baddies who are nice enough to walk blindly past a corner he's hiding behind, but when there's a drone attempt on the President's life, Mike can't keep his entire team from being wiped out. Suddenly, mounds of incriminating evidence point to Mike as the would-be assassin, who then must leave his wife (Piper Perabo) and child (that baby is good, I'm telling you) and go full Bourne fugitive guy to root out the real villains. Who wants the President dead? And why? If the answers are supposed to be surprises, someone forgot to tell director Ric Roman Waugh (Snitch) and his co-writers, as Angel is telegraphed from many preposterous angles with all manner of heavy handed exposition. And once Banning takes refuge with his long lost, off the grid, battle scarred Dad (Nolte), the attempts at debating the morality of war land with a thud of pandering afterthoughts. Hey, if your just here for some mindless action highs, that's fine, but Angel skirts them, curiously settling for repetitive shootouts and nods to first-person gaming enthusiasts. Like Mike, this Fallen seems mostly tired. Even if it can get up, maybe it should reconsider.

★★★ Directed by: #CindyChupack Written by: Cindy Chupack, #MarkAndrus Starring:#PatriciaArquette #AngelaBassett #FelicityHuffman Netflix Film Review by: Chris Buick Based on the book Whatever Makes You Happy by William Sutcliffe, Otherhood follows three mothers, Gillian (Arquette), Helen (Huffman) and Carol (Bassett), who having become friends through their respective sons when they were children, are now living in the Poughkeepsie suburbs in near-empty houses as their boys have grown up and left home. After feeling neglected on Mother’s Day, the three friends decide to venture together into New York City to surprise each son in turn. But in their attempts to discover what their seemingly ungrateful offspring are up to in their own lives, they unwittingly each embark on their own journeys of self-discovery and end up having to face some hard truths. The shining aspect of Otherhood is undoubtedly the three leads, who turn in performances that you would expect from actors of such calibre. Huffman, Arquette and Bassett bounce off each other effortlessly allowing you to easily believe that these three have in fact been good friends for many years. Each brings a unique shape and feel to their characters but all portray the underlying feeling of heartache from not wanting to become irrelevant in their sons lives, however special mention must go to Felicity Huffman who brilliantly plays both sides of self-entitled, overbearing mother but also someone who just wants to be loved. The back-and-forth between these characters and indeed the rest of the cast seems fresh and organic, in fact the dialogue throughout is very often witty and funny, including a quick tongue-in-cheek joke about “sagging bridges”, egg-based metaphor and classic mother’s guilt lines (“I birthed you”). All the embarrassing mother tropes are present here; matchmaking, baby photos, questioning girlfriends and judging lifestyles. Mothers with adult sons who have flown the nest will of course relate to a lot of themes of this film and are very much the target demographic here, but these all too familiar moments will be easily recognised by sons as well. The issue here is that the film unfortunately offers nothing that we don’t already expect to happen, or anything that we haven’t seen done before. There is the inevitable crazy night out montage as these three women try to recapture their youth, as well as a host of awkward encounters that while not unwelcome, play out exactly how you might think. Also, although some third-act revelations provide a real acting tour-de-force to enjoy, for some reason it doesn’t seem to pack the full punch that was perhaps intended. While Otherhood doesn’t break any new ground and is most definitely intended for a specific audience, it is an endearing character piece driven by three brilliant actresses and it might just want to make you call your mother and see how she’s doing.

★★★★ Directed by: Amanda Spencer Written by: #AmandaSpencer, #TobyOsborne Starring: #TarraRiggs, #ReginaWilliams Short Film Review by: #ChrisOlson Mae (Tarra Riggs) and her sister Lily (Regina Williams) are living their worst life. Cooped up in a mobile home, the former spends her days tending for the latter who is suffering with an unmentioned illness that requires popping lots of pills. As the narrative progresses, we learn that plenty of air needs clearing between the sisters, who are both on the verge of an emotional breakdown. Loaded with pathos and bludgeoning realism, Every Grain of Sand is a short film designed to grip the audience with poignancy. From the creaking noises of the mobile home to the shifting lens focus that obscures characters, the #filmmaking is tinged with tragedy, aimed to immerse the viewer in the stark sadness of the story. And it works spectacularly. Writers Amanda Spencer and Toby Osborne (the former of whom also directs here) create a rich and bleak tale with Mae and Lily, delivering a story that has solid foundations of family, love, resentment, and pain. They have carved a very believable and relatable narrative and captured it beautifully using an intimate setting and an understated mise en scéne. The mobile home becomes the therapist's couch that these two sisters need before they can break free into the open air of the real world. Tarra Riggs is formidable as the beleaguered sibling, destined to care for her ailing sister at the sacrifice of her own personal freedom and career. The bubbling rage and passionate displays are superbly delivered in what is an exceptional performance. Regina Williams is great as the guilt-ridden Lily, whose poor choices and lack of vitality make her the vulnerable sister in need of care. There were some technical issues with Every Grain of Sand. Riggs' audio was quiet at times and some of the framing felt clunky or difficult to follow. However, the major victories for this short film more than outweigh the minor shortcomings. Thematically, the movie touched on plenty of interesting and emotive topics. The carers genre is a potent one, and this short reminded me of other great pieces such as Nicholas Connor's impactful short Cotton Wool, or Andrea Niada's documentary How We Are Now. The human elements are so riveting when watching the characters cope with the turmoil brought on by serious health issues. When forced to consider the life and death of a loved one, a serious truth emerges and it is incredibly difficult for people to keep their "happy face" intact, as shown by Mae screaming into a towel. Aside from a little rough around the edges aspects to the filmmaking, Every Grain of Sand is a crushing and wholly compelling drama packed with two brilliant performances. Watch the official movie trailer below.

★ Directed by: Michael Keane Written by: Michael Keane Starring: #MichaelKeane Short Film Review by: #IeuanWalker From Steven Spielberg’s underrated classic Duel to the excruciatingly gripping Black Mirror episode ‘Shut Up and Dance’, the invisible antagonist trope has become an effectively suspenseful albeit somewhat cliché feature within the horror-thriller genre. Nevertheless, Michael Keane’s chaotically assembled Stalker generates an uncomfortable viewing experience for all the wrong reasons. Director Kean stars as a man who is ostensibly hiking alone in a desolate countryside. However, through a series of anonymous text messages, it swiftly transpires that he is being followed by an unseen presence. Although it is never made clear why the walker is being pursued, he cannot escape the domain of his eponymous stalker alive. Constructing a film solely upon a singular onscreen protagonist is an undeniably bold feat. Indeed, many filmic examples of an inconspicuous yet omnipresent evil such as It Follows also incorporate a larger cast to solidify its threat. On the other hand, Keane entrusts his own performance alongside a mobile phone to transmit the dread that the lurking aggressor represents in Stalker. Whilst this is an ambitious decision on the actor-director’s part, Keane’s self-confidence is warranted as the resultant acting sufficiently conveys his character’s fear throughout the narrative. More impressively however is his ability to avoid the error of many horror films which digress into a farcical attempt to express terror through exaggerated performances. Notwithstanding, even as Keane’s acting remains formidable throughout Stalker, any intensity is simultaneously diminished through his misguided filmmaking sensibilities. For instance, works which successfully incorporate the unseen villain trope typically avoid expressive filmmaking techniques such as editing and cinematography. As a result, the evil is rendered more frightening as it is made to feel as though it occupies the same reality as the spectator’s own. Conversely, Keane opts to amplify his character’s subjectivity through frantic editing, use of non-diegetic sounds including electrical discharge, and frame warping. Whereas this had potential to innovatively distinguish Stalker from thematically similar films, their abrasive and illogical inclusion instead produces an uncomfortable cacophony of the senses. Much like #comedy, the #horror-#thriller genre is defined by elucidating a particular emotional response. If a comedy is not funny, then it essentially ceases to be a comedy. If a horror-thriller fails to generate fear and anxiety, then it subsequently flounders its own purpose. A successful horror-thriller is therefore predicated by the spectators’ engagement in a work which is the responsibility of the #filmmaker. Unfortunately, even as Keane deserves credit for his attempt to break from the formulaic with Stalker, its daring albeit coarse assemblage renders the film awkward to merely watch let alone become an engaging viewing experience.

★★★★ Directed by: Michael Dolha Written by: #MichaelDolha Starring: #DesiIvanova, #TudorPetrut, #DanielaMariaSacuiRoman, #ElenaPlesa, #JoseSaldaña Short Film Review by: #ChrisOlson A gripping in-flight drama from filmmaker Michael Dolha, short film Hayley is an intense and affecting piece of cinema that tackles heavy themes at high altitudes. Desi Ivanova plays Alina, an observant flight attendant whose interest is piqued by a young girl (Daniela Maria Sacui Roman) travelling with a mysterious man (Tudor Petrut). As the journey progresses, Alina finds herself taking desperate measures in order to determine whether the young passenger is in danger, even at the abdication of her own job security and personal safety. Reminiscent of wonderful airplane thrillers such as Non-Stop or Flightplan, as well as other trafficking shorts like Aimee, Hayley also has an immersive atmosphere that keeps the audience in an upright position for the duration of the piece. Characters are sketched intriguingly well in such a short time span, and the narrative is given just the right amount of time and space to unfold without feeling rushed or cluttered. Isanova is a spectacular lead, empathetic throughout with subtle touches of passion and frenetic panic. Petrut is also great, as the taciturn passenger getting increasingly annoyed by the intrusive attention of the flight attendant. There was also a nice appearance by the film's director who shows up as another passenger. At the film's close the viewer is greeted with some startling statistics on the sexual abuse of children from the American Society for the Positive Care of Children. The message being to not look away. It is no accident that Dolha sets his story on a flight, where a huge cross section of people are forced to congregate, where fears about safety are heightened, and where human trafficking does take place. The vigilance and humanity that Alina displays are traits common in most people but ones that often get quashed by concerns about interfering with other people or simply by being distracted by our own situations. Cinematically, Hayley is an efficient and well-constructed short film. The claustrophobic use of the cabin works well to enhance the atmosphere, with fluid #cinematography and tight angles allowing a greater sense of tension to build, especially when Alina's investigation becomes more engaged. The soundscape was also interesting, allowing the diegetic noises of the passengers closing overhead lockers or the rattling of the drinks trolley to build suspense. Aside from a few shaky moments of acting (the stepping in of an air cop was a little clunky) Hayley is a spectacular short film. Full of high tension and compelling themes. Watch the short film trailer below.

★★★ Directed by: #JohnReign Written by: #JohnReign Starring: #JohnReign, #ThomasStoops, #JamesSchultz, #AaronMccrumb Film Review by: #DarrenTilby 25-years ago John Kayhill (Dave Campbell/John Reign) was a well-respected leader of men; a US sergeant during the Bosnian war. But now, after years of service, he's a down-on-his-luck fiftysomething who lives in a mobile home and can't even afford to pay his electric and water bill. It's a familiar tale; the haunted, down-trodden veteran. And although we're more used to seeing the Vietnam war as the source of torment (Jarhead remains an outstanding exception to this rule), it's incredibly sobering that the same story can be transported to modern-day and still have relevance. This is, perhaps, the film's biggest achievement. Focussing primarily on John's relationship with his mentally disabled brother, Rodney (Thomas Stoops) – for whom he cares – and fellow veterans, Spock (James Schultz) and Dozer (Aaron Mccrumb), Finding Purpose serves as a character study of these men, who have seemingly been abandoned by their country. And while there are a few issues with some of the performances (awkward dialogue delivery and the lack of an appropriate emotional response being the main culprits), the chemistry between the central group is never one of them. The technical aspects of the film are a bog-standard affair. And while competent throughout, there are moments in the film that are made jarring by its low production values: the beginning, a flashback scene to John leading his squad through an ambush, for example, looks painfully cheap, and would have been better served as a series of short, blurry flashbacks instead. There's also a slight problem with the editing in places, as some scenes do linger a little too long, or cut away a little too quickly. All in all, though, this wasn't a huge problem. In spite of the film's problems (not least the contrived finale), there's much to enjoy and digest here. At its core is a heart-warming and poignant story of brotherhood and fellowship, which also touches upon contemporary social-political issues. At almost 100-minutes in length, parts of the film do feel drawn-out, but there's some solid and genuine storytelling here to enjoy and ponder. Finding Purpose is well worth a look.

★★★★ Directed by: #RyanRussellSteele & #JosephVictor Starring: #NicholasBadamo, #ChristiPerovski & #MarcoReynaldo Short Film Review by: #JasmineHollyBullock The word ‘verso’ is defined as ‘the reverse of something’ and usually refers to a book or a painting, making the name of Ryan Russell Steele and Joseph Victor’s short film a very fitting one. The whole film is shown in chronological reverse, which also makes Verso very visually interesting. The climax of the plot occurs right at the beginning and works its way back to reveal the trigger for the sequence of events. Verso was rather refreshing to watch because the piece actually seems like a modern day silent film or a sort of music video/film hybrid. The film is also set during an artistic mixer’s event and so the theme of art and visual appeal runs throughout the production. Verso is less than 4 minutes long, and there is no real premise to the events that occur, making its plot a hard one to judge. The plot doesn’t provide much explanation. Furthermore, there is no dialogue at all, this makes the relationships between the characters and the motivations of individual characters more ambiguous thus, judging the performers is also tough. However, if considering the actors’ abilities to use only their movement and expressions to portray their feelings and what is happening in a situation, then I can admit that this is done successfully by the entire cast. Nicholas Badamo, who plays the unnamed lead, did particularly well. Arguably, the lack of information regarding plot and characters makes the film more intriguing. An audience member is more likely to spend time thinking about why the events of the film occur and what the relationships are between certain characters. At least, I’ve certainly thought about it. Although, for some, I suppose the unknown could also be a source of irritation. In regards to the score, it alters to perfectly suit the different levels of stress that take place in the story. The music transitions from a heavy rock instrumental, which features guitar and bass, to a more romantic and light style of music with piano instrumentals. It is nice that the music was thought out well enough to fit the mood of different moments, because the lack of detailed plot and characters means that Verso relies on music and performance of the actors to convey its tale. There is a description on Vimeo about the themes that Verso is trying to depict, such as the voyeurism of violence in society and how predetermined perceptions affect our opinions on what we see. I could definitely see themes of distasteful voyeurism in Verso and I appreciate this being a topic that Steele and Victor have considered due to its relevance in society. With the popularity of social media and the easy access of smart phones, we apparently live in a society obsessed with capturing every single moment digitally, whether it is good moments or horrific moments, our moments or the moments of others that we intrude upon. With this in mind, I think Verso is a work that should be appreciated for its serious themes yet playful and artistic way of exploring these themes. I wonder if Verso is a film with the aim of storytelling or a project with the aim of exposing the questionable social practices of modern-day society.

★★★★ Directed by: Chris Shepherd Written by: #ChrisShepherd Music by: Carl Davis BFI London Film Festival Review by: #ChrisOlson If you are absolutely saturated with the Brexit discourse going on in the UK, welcome to the club. Population = everyone. Whether you voted Leave or Remain, the likelihood is that you are sick to the back teeth with the news, headlines, and political spinning games that have been the after effect of the referendum. Chris Shepherd’s brilliantly funny animated short film Brexicuted is a refreshing and painfully accurate portrayal of the reasons and excuses people used to vote they way they did. Presented like a New Yorker sketch come alive, Brexicuted wonderfully captures the insanity of the arguments people had for voting leave or remain. The lack of information and recklessness of the vote in general is represented with sublime cartoon drawings of explosions and increasing levels of anarchy and violence. As the short film progresses, we see the disastrous effects of such a huge decision, one that was made with nothing more than hearsay and unfounded prejudices. The excellent animation is coupled with a brilliant sound design by Andy Humphreys and music from Carl Davis, who expertly capture the laughable atmosphere needed to accompany the interview dialogue (which is potentially real, though I would need to see proof of such astounding ignorance). There is a limitation to the effectiveness of the short as we are not being presented with any central character with which to identify or whose eyes we can see the arguments through. Instead, the audience is asked to endure the cacophonous debates which rage on, sometimes simultaneously. There is no particular narrative with which we can see any structure or familiar storytelling. All this feels purposeful, though, in that the filmmakers seem to want us to journey back to the time of the referendum and feel the chaos, a chaos that is sadly still incredibly topical and relevant. As satirical as 2DTV and just as entertaining, Brexicuted is not quite an antidote to your Brexit fatigue but it will certainly offer some comfort to those who wish to know they are not alone in their baffling bewilderment as to how we got ourselves into this mess. This short film will be part of the BFI London Film Festival’s Stop Making Sense programme which plays on Thursday 11th and Friday 12th of October. The tickets are currently SOLD OUT :( #BFILondonFilmFestival #BFILFF #BFILFF2018 #FilmFestivals #ChrisOlson #AnimatedFilmReviews #Animation #ShortFilmreviews #ShortFilms #ChrisShepherd