★★★★ Directed by: #LewisDGilbert Starring: #MarkStanton Short Film Review by: #RachelPullen PTSD is a thing right? You know that thing people got after being in the Korean war or after watching The Blair Witch Project (it’s a goddamn good movie, stop saying it’s not you heathens) or like me, after that one time I went into a KFC, chicken should not be in a bucket and what the hell is a boneless banquet? It seems the least banquet like product ever. The point being PTSD can strike anyone over anything, but what if you had to face that PTSD every day? Most people are able to separate themselves from there stress and work on recovery, I mean I never go near a KFC anymore, that’s my recovery, some see a therapist, each to their own, but if escape is not an option, how long is it until you lose your mind? The Veteran is the story of a man who can do nothing to escape his trauma, we see him in an office plagued by war flashbacks, his clear #PTSD plagues him, typing on his keyboard triggers the memory of gun fire, movements of the mouse make him think of bombs flying through the air, it’s all very stressful, but what office job isn’t. Director Lewis D Gilbert highlights the impact that this trauma is having on his mind by the heightened level of sound, its cutting and jarring, there is no gentle introduction and gradual volume increase, like a jump scene in a horror film as the baddie hops out from behind a wall/door/bean bag chair, we are startled into paying attention, into feeling the same stress as the characters on screen. But this also serves as a reminder of the harsh reality of PTSD, how is engulfs and consumes the human brain, unforgiving and demanding it paralyzes its victim, and this cannot be more apparent as our main man grips at his desk, unable to move from him own fear. The Veteran is a short but interesting investigation into the human mind, and although clearly on a shoestring budget, it does everything it says on the tin, filling us with the anxiety our leading man is feeling but a level of empathy for anyone who suffers from this mental trauma...now I’m off to throw my own banquet, KFC not included.

★★★★ Directed by #LonnieMartin Starring #ElliottKashner, #JenBevan, #CindyMarieMartin, #SarahTaurchini Film Review by #JackBottomley Charles Manson and “the Tate murders” is a culturally significant event in history. This brutal and abhorrent occurrence not only acted as a nail in the coffin of the ‘60s and its hippie movement, it arguably spurred on an era of fear, paranoia and mistrust in figures of authority that has followed and intensified ever since. This year (in fact nearly to the day at time of writing) marks the 50th anniversary of the tragic event and all these decades later, the true face of the events and the people involved are still being questioned. Add to this the huge hype, praise and - yes - controversy surrounding #QuentinTarantino’s latest film set amidst the Tate murders #OnceUponATimeinHollywood and the timing could not be any better for writer/director #LonnieMartin’s #TheLastoftheMansonGirls. Based on The Realist magazine editor/founder/contributor #PaulKrassner’s (who passed away in July) “My Acid Trip with Squeaky Fromme”, The Last of the Manson Girls makes no mistake about it’s revisionist approach to areas of its subject. The opening epitaph even makes light of this very fact and what follows is not so much a true telling (which is practically impossible) as an interpretation of a violent, confusing and hallucinogenic moment in time. The film stars a brilliant, witty and charismatic #ElliottKashner as Krassner, as he meets with Mae Brussell (#RobinReck), a woman who strongly believes that Manson was a patsy for the murders and that there was a CIA-aided conspiracy at work to fuel a disbelief in the increasing counter culture at the time and help bring about the institutional power of Nixon and his ilk (shockingly to me, this is an actual theory). As a result of her encouragement, Krassner meets with “Manson girls” Squeaky Fromme (#JenBevan), Sandy Good (#CindyMarieMartin) and Brenda McCann (#SarahTaurchini) to get a wider sense of the truth...if possible? Inter-cut with black and white on-stage satire/comedy routines (with lots to say about past, present and future of our world) and with trippy moments of drug-fuelled animated effects and kaleidoscopic sequences, Martin’s film is very entertaining and also quite thought-provoking. Never being swallowed up by the crazy conspiracy at the core of the story, the writing instead makes a comment on how insane it is that, 5 decades later, we are all still talking about this and are all still unsure of the true unclouded reality. Contrary to films like #WolvesAtTheDoor, this film does not glorify or manipulate the brutality of its true story underpinnings, in fact there is a deep respect of the lives lost literally and metaphorically by the Manson phenomenon and a jab at the events that have followed this violent turmoil. #RobertYoho and #StephanieAmsterYoho’s great make-up work, alongside some fantastic cinematography by #AaronShirley and a well placed score by #JesseRayErnster, capture the era in a number of ways and the themes and acid-trip sequences really combine uncomfortably well to show just how mind-melting, frightening and uncertain this all was/remains to be. The performances are really good with everyone on strong form, Kashner and Jen Bevan especially, as they all harness an unknown story from a troubling time and equally perplexing real-life characters all surrounding a false god figure. By the end of this intriguing - if niche - twisting of a real story and theories, and re-writing of history, we are left with lingering questions as to where the 100% truth lies. Realistically we know a good portion of the sad story but with the way the world was then and has become since, who the hell knows anymore? And that’s precisely what The Last of the Manson Girls is saying.

★★★★ Directed by: #MollyDworsky, #DaveNewberg Written by: #ZacharyCapp, Molly Dworsky, Dave Newberg, #JulianWilliams Starring: #LarryLang, #ZacharyCapp, #LindaLang, #PeteBerg, #LexyLionel Documentary Film Review by: #ChrisOlson Documentary filmmakers have a completely different cinematic experience than those making movies around fictional narratives. Whilst the latter can remain independent of their story and rest peacefully in the fabrication, the former must often work directly with their subject, shaping a narrative that is at once compelling to an audience and respectful of the topic. When the topic involves a living person, this struggle can be even more acute and this is blatantly obvious in documentary The Ringmaster. Telling the legendary food story of Larry Lang and his famous onion rings, producer Zachary Capp attempts to make the Lang family famous by making a documentary about him. However, the endeavour becomes a coalescing piece of fourth-wall-breaking #filmmaking whereby the crew are under just as much scrutiny as the central subject. Capp's nature and history as a gambling addict comes into play, as does his relentless pursuit of creating the film regardless of the financial cost to himself or the personal cost to the Lang family. At times, The Ringmaster feels like a #mockumentary, with bizarre behaviour from those on screen being partnered with quick, sharp edits between a smorgasbord of quirky characters. Everyone and anyone who has a tale to tell about Larry or Zachary gets some screen time and the result feels like The Office meets Man Versus Food. Where the documentary was able to transcend the comedic confines was within the emotional narrative which emerged between Zachary the filmmaker and Larry the subject. The subconscious manipulation and desperation of Zachary, who by all means seems to genuinely want to help Larry, is at times heartbreakingly compelling. From a structural perspective, the movie is scrappy and messy, something which is clearly explained during the duration of the piece. The crew eagerly shot hundreds of hours of footage and at times seemed to be absent of any lucid direction in terms of what story they were meant to be telling. Numerous filmmaking talent were brought in at different times to help coordinate the effort which added to the chaos. This chaos was, eventually, essential to the power of the final third which was remarkably poignant and moving - I will not spoil though. Frenetic, enthusiastic, and charming, The Ringmaster is actually a documentary made from simple ingredients assembled strangely appealingly. Unlike like the famous onion rings of Larry Lang, this movie is an acquired taste but both are (by all reports of the onion rings) memorable crowd pleasers. Watch the indie film trailer for The Ringmaster below.

★★★★ Directed by: #BogdanAlbu Starring: #AndreiCiopec, #AnaMariaBercu, #AureliuSurulescu Short Film Review by: #ShrubabotiBose Bogdan Albu’s Romanian short film 500 presents an optimistic perspective on life. It shows us how seemingly insignificant acts of kindness can add up to bring miraculous changes. The film begins with a cathartic invocation to the Gods followed by a drowning scene where the protagonist is shown trying to commit suicide, metaphorically symbolizing the idea of purging, an attempt to wash herself clean. However, just when Maria decides to quit, she notices another person attempting to take his own life. In a strange reversal of fates, Maria ends up saving this man from drowning. But exactly who saves whom? While the identity of the man remains unspecified, one can interpret his presence as an angelic force, a sort of blessing in disguise. Throughout the film we witness how one act of kindness on the part of Maria starts off a cycle of kindness all around. One is stopped from becoming a thief, another is saved from losing her pension. While Maria gives away the money she had gathered to pay her electricity bill, it returns to her as luck would have it. As an expression of his gratitude, the unnamed man returns the money he receives from Maria’s husband to Maria, leaving it in her car. The film beautifully demonstrates how people’s lives are interconnected and to maintain harmony, one must be empathetic to one another. In the opening scene, waves advance and retreat on the shore, like our lives taking twists and turns for better or worse. The music stretches across the horizon of the sea shore, haunting us and blurring the voices of the characters, giving their conversation that detached sense which happens when someone suddenly regains consciousness. Inside Maria’s kitchen, the man sits quietly eating the food that she has served him and water from his jacket drips on the floor creating a strange tension. Will he stay back, will he leave, is he alright? It is important to note that, here, the screen stops being a divide, like Maria we are also worried about him and anxious about his safety. Thanks to their realistic performances, we can relate with the characters at a personal level. The camera lingers, focusing on every little detail, the way he cuts his food into pieces, the way she stirs the coffee. The story flows slowly, patiently unfurling each scene without any hurry. But the restrained behavior of the strange man makes us uneasy. We keep anticipating something. A certain level of mystery and suspense is created that helps with the grander picture of miracles. It suggests how some things in lives cannot be explained or comprehended. 500 is a short film that asks us questions but leaves them unanswered, letting us choose our own interpretations. It’s an open ended film, thought-provoking and almost philosophical, allowing our imagination to run wild. Worth watching! Watch the official movie trailer for 500 below.

★★★★ Directed by: #DarrenJamesKing Written by: #DarrenJamesKing and #KieranBourne Starring: #CameronBell, #DeanKilbey and #PerryBenson Film review by: #AnnieVincent A topical short film, #SoftHands tells the story of Kieran, a college student struggling to find a way to reveal his homosexuality to his aggressive and traditionally-minded father. This film has power because it explores a situation so many struggle with, though there are some casting and scripting issues. An abrupt opening introduces us to Kieran and his partner Joe who are being harassed by some louts throwing eggs. We come to understand that Kieran and Joe are regularly taunted by these boys for their sexuality, though it appears that few other people in their world realise their relationship exists. We see this bullying and homophobia escalate later in the film when Joe is attacked in the college toilets, in a scene which really does have you on the edge of your seat as the attackers begin to strip Joe, and the fear of what might happen to him is quite overwhelming (we have all read horror stories of the kind of abuse some homosexual men have been subjected to in the news). However, the casting here undermines the scenario a little – the actors and the ages they are supposed to play are a little too old for some of the bullying antics, including ‘egging’ and a bizarre moment when Kieran is pressured into kissing a girl who is apparently very willing to be kissed by him. It all feels a little naive somehow and whilst there is of course a chance this sort of scenario could play out in real life, I think an examination of college students today would highlight some very different homophobic behaviours. Having said that, the family drama in this film is hugely compelling and well-scripted. We witness the strained dynamics between grandfather, father and son and it is well-crafted by actors who clearly know what they're doing. #DeanKilbey puts in a great performance as Kieran's Dad, which some might label with the ‘traditional cockney boxer’ cliché but is actually incredibly nuanced as we watch his own insecurities slowly come to the fore. This character’s development and eventual acceptance of his son’s sexuality – something which clearly terrifies him yet which he is prepared to defend with his fists – is well scripted and performed. There is no big ‘I’m sorry, son’ scene with a crescendo of music and gushing hugs: the ending and reconciliation of father and son is much more subtle than that and all the more touching and genuine as a result. This film has been nominated for several awards including in specific #LGTBQ categories and this is well deserved due to its topical relevance and the examination of family dynamics in these situations. The editing is clean and professional, with flashback used powerfully in places, particularly when Kieran’s own anger comes out in his bedroom scene, and the tension created during family scenes is palpable and a credit to those actors. Well worth a look.

★ Directed by: #MayGrehan Starring: #LaurenGrego, #AnthonyTaufa, #KarinaBracken, #CooperFlynn, #NatassijaBelleJames Indie Film Review by: #NathanialEker A bewildering mishmash of tones and ideas, Zombie Bro follows a dysfunctional family adjusting to the ghoulish infection of their son, who slowly spreads his plague through the town. In a bizarre mix of family drama, forced comedy, and perhaps the least intense horror ever put to film, Zombie Bro is truly unique. The vision of director, writer, and producer May Grehan is both clear and commendable, even though what is put to screen is ultimately, a total mess. At the centre of this bafflingly un-macabre tale is our adolescent lead, Francine. She acts as both narrator and protagonist, and is one of the few highlights, bringing a genuine determination, in addition to sweetness and likeability. Though regrettably an audible corpse (and not the kind of the titular antagonist) remains in the final cut, young Grego takes the weight of a deeply unfocused product on her small shoulders, and carries it with an admirable tenacity and warmth. Equally good is Anthony Taufa, the secondary lead, who makes the relationship between father and daughter into the beating heart of this relatively bloodless affair. While his dialogue is at times questionable, with painfully unfunny jokes and dissonant character motivation, Taufa’s natural comedic flair remains obvious and he provides an eminent energy that saves an otherwise dull film from a swift and early grave. Other performances are average at best. The child actors in particular lack direction and in one scene, dance with a painful discomfort, creating a prom that is laughable at best, and soul destroying-ly awkward at worst. The sparse dance scene also makes the decision to cast Natassija-Belle James as Calissa, even more of a head scratcher. While one might assume that she appears visibly older as a metaphor for Francine’s idolisation of her, her height and older demeanour are openly acknowledged by the parents, which only makes the situation more confusing. As the actor attempts to replicate the manner of a ten-year-old, the performance ultimately provides more horror than the combined gusto of the cast of walking dead. This regrettably isn’t the only bizarre plot-point in this nonsensical script. Given the benefit of the doubt, let’s say that the entire cast of characters are written as oblivious idiots for the purpose of putting us in the shoes of young Francine. With this exceedingly generous concession in mind, the actions and dialogue of almost every person still remain beyond bonkers, and veers into absurdism in the worst way possible. Everyone is ignorant to the fact that Teddy is very obviously a walking cadaver, and Francine is inexplicably treated with such contempt that you’d think she’d committed a war crime. Her treatment by her father in particular is appallingly unforgivable; locking a young child in a dark room, while playing it for giggles, makes a serious redemption arc a laughable prospect; one of the few laughs in the entire film, in fact. As the script sits on such shaky ground, it’s perhaps poetic, that the camera is too, literally. An inexcusable number of scenes that should be straightforward to film are done so with an irritating shaking camera that is as distracting as it is annoying. The awful camera work is further compounded by scenes that overstay their welcome, holding the scene for far, far too long, and crafting a film that feels dreadfully protracted at only one hour and fifteen minutes. As with many overambitious projects, had Zombie Bro been a tightly written short, it could’ve been a far more polished product. There is talent here, it’s just stretched thinner than a ghoul’s skin. Ghoul is the predominant word, as the interpretation of the ‘zombie’ here is dubious. Teddy lacks the rotting skin, sharp teeth, or bloody features of the traditional interpretation, which could be fine, but the alternative is severely lacking. Whether going for comedic effect or horror, it looks equally unbelievably awful. With pale makeup and sunken eyes, Teddy, and later the whole town would likely be mistaken for students after a big night out, before being recognised as an army of the dead. The absolute low point for the effects department comes via a dismembered arm, which must’ve been intended as an ill placed joke. As is, a stuffed arm and hand with Mickey Mouse style proportions and paper-white skin is just too silly to be even slightly believable. The score is a mixed bag. The music chosen often sounds like it could be ripped from a low budget furniture advert, and it fails to evoke either dread, or lovable family hijinks. There are, however, subtle piano pieces that do work to evoke a pleasant moment of familial connection during the emotional climax, but generally the music does nothing to aid the slowly dying narrative. Overall, Zombie Bro is an undead dud. Though it commendably tries something fresh by blending horror with family comedy, its core is as rotten as ghoulish flesh. It fails to adhere to its own verisimilitude, making it unbelievable and alienating, and there is little to enjoy, bar the amusing premise and the odd rare joke that sticks the landing. Despite two stand out performances, the bizarre tone, messy script, overlong scenes, and sloppy camera work make Zombie Bro a corpse that should stay underground.

★★ Directed by: #GideonRaff Written by: Gideon Raff Starring: #ChrisEvans, #HaleyBennett, #AlessandroNivola, #MichaelKWilliams, #BenKingsley, #GregKinnear, #MichielHuisman, #AlexHassel, #ChrisChalk Netflix Film Review by: #ChrisBuick Based on real-life events, The Red Sea Diving Resort tells the story of a group of Israeli Mossad agents who for a period of time in the early 1980s, ran a diving company out of an abandoned hotel on the coast of Sudan as a front to help smuggle Jewish-Ethiopian refugees fleeing religious persecution out of Sudan by sea to Israel. Led by Ari Levinson (Chris Evans), the agents work with their local contact Kedebe (Michael K Williams) to rescue as many of these people as they can, all the while trying to hide their operation from dangerous military leader Colonel Abdel Ahmed (Chris Chalk), as well as having to actually run a hotel for the real tourists who have come to the resort for pleasure. The Red Sea Diving Resort seems have one objective; to relentlessly drive home that this operation was extremely dangerous, something that one could easily surmise for themselves quite quickly. But nonetheless, the film seems to repeat the same three-phase cycle throughout; the supporting characters will remind us and Ari that they are in a life-threatening situation and should get out while they can, Ari will then retort with a passionate address about no one being left behind, and eventually they succumb until the next rescue operation where things don’t go according to plan (mainly due to recklessness from Ari), before we go through it all again, which after a while this all starts to wear a bit thin That being said, the #Netflix film is paced relatively well, picking up during the action sequences which do provide quite a good level of tension, but does tend to drop again in between these moments. The cast on paper is a solid embarrassment of riches however unfortunately, these characters seem awfully bare-bones, and little is established in terms of backstory or development for any of the supporting cast to allow us to truly invest in them, especially poor Michael K Williams, whose talent is wasted as he is reduced to sneaking through shadows with groups of refugees looking terrified. The writing and dialogue are hampered by the aforementioned three-phase cycle where the same lines are simply recycled into something similar each time. Evans’ speeches also seem like they could be pieced together from a random pick of Captain America dialogue, but there are moments of levity and humour that breakup some of the more monotonous moments. There are also a few potential subplots highlighting the history between this group bubbling just beneath the surface, but unfortunately, none of this ever comes to light. The Red Sea Diving Resort has the gift of a truly gripping real-life story behind it, but it seems a shame that a lot of that intrigue appears to be missing, and instead provides a basic telling of events that is not exactly boring, but won’t exactly have you on the edge of your seat and might leave you none the wiser about what truly happened.

★★★★ Directed by: Hugo Diego Garcia Written by: Hugo Diego Garcia Starring: #HugoDiegoGarcia, #LorenzoBentivoglio, #PietroMercieca, #MaloGarcia, #WilfriedCapet, #VincentFabiani Short Film Review by: #ChrisOlson A period crime piece from filmmaker Hugo Diego Garcia, short film Tony is a slick and stylish gangster flick that embodies some of the best cinematic aspects of the genre whilst bringing in a coming of age thread to splendid effect. Tony (Hugo Diego Garcia) is a rebellious teen whose street crew of misfits have become a real family to him, replacing the violent father he has at home. As his connection to his loyal friends becomes cemented, his destiny looks to be increasingly in peril through the variety of thuggish antics the group embark on in order to establish respect for themselves in the area. Historically, #crime and in particular #gangster movies have a strong sense of isolation. Characters that crave huge amounts of power seem to do so from a motivation of having none to begin with. This is sometimes the reason why the central characters are immigrants, stepping into lands where they have no inherent influence or control over their surroundings. By transposing this structure onto a teen's search for his own identity and freedom from his controlling father, Diego Garcia has beautifully combined two cinematic tropes to masterful effect. The performances are enrapturing, with intimate and bold portrayals of these anti-hero characters, in particular Hugo Diego Garcia who captures the emotional fragility of the central character brilliantly. As an ensemble, there is a close, personal physicality to the chemistry which was visceral. Certain sequences bordered on homoeroticism, with plenty of touching and the pouring of drinks into each other’s mouths, perhaps denoting the important formative part of Tony’s life that we are witnessing rather than providing any conclusive answer as to his sexual orientation. Movies that throw their trilby in the ring with classic crime greats are always going to be fair game for comparison and scrutiny. With short film Tony, the #filmmakers are careful to do justice to the revered genre whilst taking risks with their aesthetics. The film has an 80’s period feel, with an incredible synth score, and even make references to Scarface, so they know where their cinematic heritage lies. That being said, there are bold moments of signature style that are impressively delivered, such as an entrancing dance sequence as well as the beautiful opening shots of French mountains. These stylistic touches and formidable filmmaking ensured this crime caper brought a gun to a gunfight when it comes to standing shoulder to shoulder with arguably some of moviedom’s most cherished gems. Watch the short film trailer for Tony below.

★★★★★ Directed by: Gabriele Fabbro Written by: #GabrieleFabbro Starring: #EstebandelaIsla, #JordanKnapp, #DonBaldaramos Short Film Review by: #ChrisOlson Shooting pool hasn't been this intense since The Hustler. Gabriele Fabbro's short film 8 is a stylish and thrilling tale of a pool player hoping to find redemption, loaded with brilliant camera trickery and an engulfing atmosphere. Esteban de la Isla plays Jack, a self-proclaimed cheater at pool who hustles (and wins) at a small pool hall. However, his winning streak comes to a crashing end when Jessie (Jordan Knapp) kicks his ass and doesn't bother to take his name. In order for Jack to establish himself again within the pool hall, he must learn how to play the game without cheating. Chalking this one up to great style and flair would undermine the wonderful storytelling on display, however, the aesthetics of 8 as a #shortfilm cannot be undersold. Fabbro keeps a tight grip on all the elements of his movie, whilst allowing the piece to still feel fluid and light. Comedy is injected through small glances and subtle physical performance rather than any guffaws in the dialogue, and the use of gothic orchestral music leant an ethereal edge to the proceedings. De la Isla is a phenomenal lead in 8. From his cocky arrogance at the beginning of the story to his Rocky-esque montage of training to the final sections, the performer does justice to this anti-hero character. Knapp is incredible on screen too, especially given the limited amount of lines she has to say. Her portrayal of the scarred yet terrifically talented pool player was simply riveting to behold. The short taps into pool and sports movies of past decades but also has a formidable influence from Westerns. The quest for redemption is a classic theme from the genre and Jack's character arc in 8 is familiar yet still compelling. The movie plays with topics such as misogyny and fairness whilst not getting bogged down in those heavy themes. Instead they are racked up to be fun, such as Jack placing his groin painfully close to a pocket before Jessie slams a ball in his direction. Some of the #cinematography was remarkably manoeuvred. The camera seemed to be the only thing that could keep up with the flying balls and trick shots, and these were spliced together with impressive quickfire editing. The short film is an example of how stellar a movie can be when all of the aspects are so accurately delivered. There is no messy wastage in this piece, all of the #filmmaking is pushed with a well-chaulked cue. Watch the official movie trailer for short film 8 below.

Film Festivals > Press Releases In 2017, filmmaker Ashley Walters received the BUFF Honorary Award - The British Urban Film Festival Awards: 2017. Find out more by watching the video below.

Film Festivals > Press Releases Actor, writer, producer and director Noel Clarke is to receive the 2019 British Urban Film Festival honorary award in recognition of more than 20 years spent working in the film and TV industry. The 43-year-old, who currently stars alongside actor Ashley Walters in Bulletproof on Sky One, will accept the honour at the British Urban Film Festival Awards 2019 on Saturday 7th September. Clarke said: "I'm honoured to be receiving this award from the British Urban Film Festival. It's not every day that you get honoured by your film peers and so to be joining an elite list of recipients including people that I count as friends including Wil Johnson and Ashley Walters is all the more satisfying. Thank you BUFF." BUFF Chairman Emmanuel Anyiam-Osigwe said: "In accepting this year's highest honour, Noel joins an illustrious list of recipients including Richard Pryor, Wil Johnson, Ashley Walters and Amma Asante who have enriched the British Urban Film Festival with their talent, their spirit and their supreme work ethic. The UK owes Noel Clarke a huge debt of gratitude for single handedly kickstarting a revolution in the UK film industry. The British Urban Film Festival would not be the beacon that it is if it wasn't for Noel Clarke. As an actor, his performances continue to leave an indelible mark on audiences and critics far and wide. As a Black British producer, he is one of a rare breed who has grossed multiple million pound plus movies at the box office. As a writer and director, his vision is the mark of a true genius. As a student of the business, Noel continues to be an inspiration to me and to millions of people." This year's BUFF Awards ceremony is taking place at Met Film School, Ealing Studios.

Film Festivals > Press Releases Legendary filmmaker Amma Asante received the BUFF Honorary Award at The British Urban Film Festival Awards: 2018 Watch the video below to see more from the event and #AmmaAsante