★★ Directed by: Emilio Estevez Written by Emilio Estevez Starring #EmilioEstevez #JenaMalone #GabrielleUnion #JeffreyWright #MichaelKennethWilliams #AlecBaldwin Film Review by #GeorgeWolf Emilio Estevez just does not do nuance. The Public marks his fifth feature as writer/director, and it sports the conviction of his best work while also suffering from his familliar lack of restraint. Estevez also stars as Stuart Goodson, a dedicated, stoic manager at the Cincinnati Public Library. While Stuart and his staff deal daily with an array of homeless citizens using the library, he finds himself a "good son" under fire when complaints about body odor lead to one vagrant's eviction - and a lawsuit. And then things get complicated. Beyond the free computer use, the library also offers respite from the bitter winter cold, and when a deadly deep freeze grips Ohio, Stuart sits at the center of an armed standoff between the city and homeless folks needing shelter. And it's not just the homeless question The Public is addressing. From addiction and recovery to tabloid journalism, political cowardice and civic (ii.e. "the public") responsibility, Estevez has plenty of heart available for numerous sleeves, getting admirable support from a solid ensemble cast including Alec Baldwin, Christian Slater, Jeffrey Wright, Taylor Schilling, Michael Kenneth Williams, Gabrielle Union and the ever-ageless Jena Malone. Characters and subplots converge through dialog that's too often desperate for authenticity, and a film that decries "intellectual vanity" seems overly proud of its own moments of clumsy enlightenment. Case in point: a callous TV reporter (Union) is pumped at the social media traction she's getting for her live reports from the library conflict. While her cameraman points out the plight of people at the heart of the story, she stays glued to her phone. Point made, but Estevez can't leave it there. "Huh? What?" she answers, then a cut to the cameraman rolling his eyes. Second that. Similarly, the stunt Estevez engineers for the big resolve gets a bystander explanation that is not only unnecessary, but factually dubious at best. It's just a culmination of the slow slide from good intentions to self-satisfied finger-wagging. The film has a respect for books and libraries that is indeed admirable, but by the time Goodson starts reading from Steinbeck on live TV, it becomes painfully evident what The Public wants to be when it grows up.

★★★ Directed by #RobinBissell Written by #RobinBissell Starring #TarajiPHenson #SamRockwell Film Review by #GeorgeWolf At the risk of opening recent wounds, it's hard not to view The Best of Enemies through the lens of last year's Oscar race debate. It's a based-on-true-events historical drama draped in racial healing and also, the KKK. So, is this more BlackKkKlansman, then? Or Green Book? While it's nowhere near the rarified air of the former, it does a better job than the latter of veering from the white pandering playbook. For his debut feature, writer/director Robin Bissell adapts the tale of an unlikely friendship between a black community leader and the president of the local Klan chapter. Ann Atwater (Taraji P. Henson) and C.P. Ellis (Sam Rockwell) were on vastly opposing sides over school segregation in 1971 North Carolina when an arbitration exercise called a charrette forced them to hear each other out. So you know where it's going, but too often the trick is getting to that moment of average white awakening without making it the black character's reward for being exceptional, or the white audience's reward for being in the theater. Yes, Ellis has the biggest character arc, but Atwater changes, too, and thankfully isn't here just to help him grow. So Bissell is wise to put Atwater and Ellis on nearly equal footing, and fortunate to have leads this good. Henson mines powerful emotions as the defiant "Roughhouse Annie," while Rockwell refuses to make Ellis a caricature villain. Together they find a combative chemistry that is raw and often effectively human. Bissell is clearly a student of the Scorsese School of Pop Song Insertion, and an early sequence set to Roy Orbison's "Blue Bayou" is indeed striking. But while the film's overall structure is workmanlike, a few clunky, pause-for-dramatic-effect moments seem to exist more from indecision than confidence. The Best of Enemies tells a good story and does plenty right while doing it, but is held back by missed opportunities. As both factions in a divided community state their cases, the arguments are shockingly current, but Bissell can't find the tone that clearly connects this past to our present. Just when he's close (like the rundown of different challenges the black parents faced), some Mayberry-esque comedy re-sets the mood, leaving a worthy but not quite memorable history lesson on the value of reaching across the battle lines.

★★★ Directed by #KevinKolsch #DennisWidmyer Written by #StephenKing #MattGreenberg #JeffBuhler Starring #JasonClarke #JeteLaurence #JohnLithgow #AmySeimetz Film Review by #HopeMadden There is a lot of love out there for Mary Lambert’s 1989 hit Pet Sematary. Why, again? Was it the wooden lead performances? The adorably sinister villain? Massive Headwound Harry? Come on—there was a lot wrong with that movie and only two things were really right: The Ramones and Zelda. Zelda was creepy AF. Fear not! Directors Kevin Kölsch and Dennis Widmyer (Starry Eyes) were obviously also affected by Zelda because she (Alyssa Levine) delivers again. On all other items, the directing duo improve. Except The Ramones, but they are here in spirit. Jason Clarke leads things as Louis, big city doc transplanted to quiet, rural Maine. Apparently he and his family—Rachel (Amy Seimetz), Ellie (Jeté Laurence), Gage (Hugo and Lucas Lavoie) and Church the Cat—didn’t ask a lot of questions about that 80-acre lot they bought. Lotta nasty stuff out back. John Lithgow takes over for the tough to replace Fred Gwynne and his over the top Mainer accent. Lithgow’s more subdued Grumpy Old Man neighbor falls victim again to the pull of that “sour ground” out back when his beloved little Ellie’s cat gets hit by one of those semis speeding down the nearby road. The film really tests your ability to suspend disbelief, but it also layers a lot of history and creepiness in tidy fashion. The superior performances alone make the reboot a stronger film, although familiarity means it has to try a little harder to actually scare you. One help is a change screenwriters Matt Greenberg and Jeff Buhler make to the story. It’s a big alteration and not everyone will be thrilled, but it limits the laughability once things turn ugly. The film also lessons spiritual guide Pascow’s (Obssa Ahmed) screen time and gives his presence a spookier, less comedic feel. There’s a new ending, too—meaner and more of a gut punch. Nice. The movie looks good, and Clarke (playing a grieving father for the second time this weekend, including his WWII drama The Aftermath) anchors the events with a thoughtful, believable performance that helps Pet Sematary overcome some of its more nonsensical moments. It is not a classic, but it delivers the goods. I still missed The Ramones. Watch the Pet Sematary #movietrailer below.

★★★★ Directed by #DavidFSandberg Written by #HenryGayden Starring #ZacharyLevi #MarkStrong #JackDylanGrazer Film Review by #GeorgeWolf To paraphrase a classic segment from the old Letterman show: Can a guy in a supersuit get into a strip club? Easily, which is pretty exciting for the teenage boy inside the super man inside the suit. And it's just one example of the irreverent vibe Shazam! rides to bring home one of the most fun origin stories in recent memory. The teenage boy is Billy Batson (Asher Angel), who's just been placed in the latest of a string of foster homes. Just as he's getting to know his foster family, including the superhero-crazed Freddy (Jack Dylan Grazer from IT, impressive again), Billy is chosen to replace the aging Wizard Shazam (Djimon Hounsou) as protector of the Realms, bringing a youthful energy that will ensure the Seven Deadly Sin-Monsters cannot assume Earthly forms. The super-villainous Dr. Thaddeus Silva (Mark Strong, gloriously slimy) does not approve, and vows to defeat the new Shazam (Zachary Levi) and assume all his powers. So it's on! But first, Billy and Freddy have to find out just what superpowers are brought on by saying that magic word, which sets up a series of amusing tests and is the springboard for getting to know this grown up superboy while he mulls over possible super names. "Thundercrack?" "No! That sounds like a butt thing." If you're thinking Big (and the film acknowledges that you are with a cute homage), you're right on. Writer Henry Gayden (Earth to Echo) fills the script with action, humor, heart and spunk, while director David F. Sandberg (Lights Out) keeps things lively and engaging with plenty of impressive visual pop. The entire cast is wonderfully diverse and consistently winning, and a few corny moments aside, makes the feels on friendship, family and responsibility land nearly as flush as the winking riffs on superhero tropes. There really isn't much Shazam! doesn't deliver (okay, maybe it delivers a slightly bloated running time that includes two post-credits stingers), and as fast as you can say the magic word, DC has the best film in its universe since Bale was the Bat. Watch the Shazam! movie trailer below.

★★★ Directed by: Adam Walters Written by: #AdamWalters Starring: #AnnaCarvalho, #AlixRichard Short Film Review by: #ChrisOlson French-language short film, Stiltsville Sisters, is a drama starring Anna Carvalho and Alix Richard as two sisters whose reunion among the glorious waters of Florida is full of humour, emotion, and familial healing. Written and directed by Adam Walters, Stiltsville Sisters occupies that most enriched genre of cinema where the audience only has to grapple with two characters. This is an exploration of their bond, the nuances of their relationship, and the implications of their future when the revelations start to come. And start to come they do. Walters’ story is laden with subtext and hints at numerous dramatic angles for both characters. A troubled and estranged relationship with their parents for Marine (Alix Richard) and a failing marriage for Ines (Anna Carvalho) are some of the meatier topics hanging in the tranquil Miami air. However, the isolated and beguiling setting means that the drama never feels overwhelming, allowing this sibling scenario to play out in calm focus. Which is, regrettably part of the problem. Both performers have strong skills in front of camera. Their sisterhood felt convincing and the chemistry between them was engaging throughout the #shortfilm. Richard's mischievous portrayal of Marine is splendid, injecting some great moments of comedy into the piece, such as her inability to detach herself from her phone. It's Carvalho, though, who impresses most with her portrayal of the doting yet troubled older sister. It was reminiscent of Mark Duplass’ 2011 indie comedy, Your Sister's Sister minus the male character presence and drunken antics. The main flaw, however, with Stiltsville Sisters is the undercooked story. Whilst the dynamic of the pair is great and Walters depicts their touch points well, there is not enough depth to the conflict. Resolution seems to emerge as easy as the waves crash into the shore and the viewer is never expected to feel any kind of tension. As such, the characters feel charged for something substantial in the storyline which never materialises. Which is a shame because all the #filmmaking foundations were there for a knockout. Cinematically striking and a brilliant attention to characterisation make Walters a notable #filmmaker for 2019. He elicits two great performances and delivers a short indie movie that is tonally on the mark. Let's see something next that transcends the easy going tide of Miami for something a little more troubling. Watch the official movie trailer below.

★★★ Directed by: #RobertEugenPopa Written by: #TimothyMBrice, #RobertEugenPopa Starring: #PaulOctavianDiaconescu, #ConstatinFlorescu, #MaiaMorgenstern Short Film Review by: #ChrisOlson Ambitious to a fault, Romanian short film Veni, Vidi, Fugi: I Came, I Saw, I Fled attempts to thread together a number of plots and sub plots in its half-an-hour running time. Whilst director Robert Eugen Popa (who co-writes here with Timothy M. Brice) manages to bring an eclectic mix of filmmaking, #storytelling, and themes to his movie, the piece struggles to maintain its balance whilst coping with the chaos. Set in 1989, Paul Octavian Diaconescu plays K, a fairly rubbish Latin student whose academic future looks shaky at best. When his formidable teacher (Maia Morgenstern) sets him the challenge of unearthing the truth behind a Roman poet's exile, his chances look much improved when the poet Ovid (Constatin Florescu) himself materialises and offers to aid his quest. However, Latin is not K's only concern. His hopes to find love with an off-bounds daughter of an important man get crossed with his dealings with the local loan sharks. Much like someone's attempt to unpick Roman history in thirty minutes, Veni, Vidi, Fugi: I Came, I Saw, I Fled was never going to fully accomplish its mission. Too many strands are being loosely connected and K's incredibly complicated life never comes into full focus. There is a cacophony of characters milling around the set and the audience never fully understands who is important and who is not. The filmmaker has stated the script was originally intended for a feature length movie. Due to budget constraints, a short film approach was taken which is a shame because there is definitely enough material here. The chemistry between Paul Octavian Diaconescu and Constatin Florescu is easily the most enjoyable aspect of the indie film and certainly something that needed the full attention of the storytellers. It was more than enough to go on, perhaps with a simpler love interest angle, but the criminal aspect (whilst intriguing) just made the plot too thick to swallow. That being said, their performances along with Maia Morgenstern are excellent. The latter of whom is particularly strong (see her also in The Passion of the Christ, and Ulysses' Gaze). Robert Eugen Popa does prove himself to be a capable #filmmaker, however, by using strong editing and numerous locations to keep his film snappy. The viewer never feels overwhelmed by the complicated story because Popa keeps a peppy pace. There were some impressive moments of cinematography, especially a sequence where K looks out onto the coastline. We came, we saw, we tried to keep up and whilst the experience was exciting and varied there was a palpable lack of control that ultimately trips anyone up who tries to embrace every aspect and nuance of the piece. Sometimes simpler is better, even in a story about Latin. Watch the official movie trailer below.

★★★★★ Directed by: Sam Hurwitz Written by: #SamHurwitz Documentary Film Review by: #ChrisBuick A common thread that connects us all as human beings is the inevitably that we will all experience great sadness, pain or loss at some point in our lives. Tragedy is a force that does not recognise age, race, gender or religion and documentary 8 Broken Hearts from filmmaker Sam Hurwitz is a simple but brilliantly crafted look at how people from all backgrounds go through and deal with these experiences. Over the course of the #documentary film we hear stories from eight individuals from all different walks of life, with each having had to deal with immense heartache at some point in their past. There are stories from Rose, Patrick and Amber, who have felt completely alone and abandoned after the loss of a loved one. Erica, Suzanne and Jon recount the struggles of growing up with parents suffering with addictions to drugs or alcohol, and Tony and Rico, who suffered terrible upbringings filled with abuse and loneliness. Each tells the story of their own personal heartbreak, but also how they have overcome those difficulties to be the person they are today and the appreciation they now have for life. The structure of the film is split into three parts. The first consists of stories from four of the individuals, the second acts allows the same opportunity to the other four, while the third part is a culmination of all these stories. By spacing out and allowing breathing room between each of the stories, it avoids confusion for the viewer and gives them the opportunity to really listen to each one. It is a structure that not only does justice to the film itself, but also to each of the people being interviewed, with each getting the time to tell their story properly giving them the attention and respect they deserve. From a filmmaking perspective, there are no gimmicks in 8 Broken Hearts, no heavy production values, nothing except the subject and the camera. This approach is exactly what the film needs, letting the emotions and words make their impact as the subjects bare their souls in front of the camera, shaping the whole process into both a raw emotional interview as well as a cathartic form of therapy not just for them but for the us as viewers as well. 8 Broken Hearts is a film teeming with sadness but is equally as full of strength and hope. No matter our background, race or upbringing, each one of us can experience heartache and difficulties in life, but these brave individuals highlight the strength of the human spirit and what we can achieve if we manage to overcome our struggles. There are moments that will make you well up, smile and even laugh as Hurwitz’s film takes us on a journey through the human soul.

★★★ Directed by: #AmirNazar Starring: #JohnGrillo, #SarahWhitehouse Short Film Review by: #RyanMarsh An old man named Frank is haunted by a vengeful spirit. He needs to figure out how to get rid of it before something really nasty happens… The intriguing aspect of Amir Nazar’s Dark Secrets is that it is like a good, old-fashioned ghost story. This short film is subtle and slightly harrowing. Frank (John Grillo) and his daughter Amy (Sarah Whitehouse), are a refreshing change from the stereotypical horror targets whilst still conveying vulnerability. Grillo is great at playing the desperate or frightened whilst at times possessing sadness and loneliness. Nonetheless, there is a lack of sympathy with Frank as Grillo’s voice mostly has the same cartoonish tone whether he is fearful or making tea. Conversely, Whitehouse acts convincingly and- when she is recounting news reports of some murders- closes her eyes with subdued pain and fear. Disappointingly, the monster itself does not look scary, but is effective in communicating through unearthly whispers like a buried part of the subconscious. Even its subtitles creepily flicker and float out of frame. Nazar’s skilled direction and editing of this production are more successful. The opening scene where the camera fades into the house and pans around the kitchen establishes the setting. After Frank is introduced, the camera cuts to black to build suspense and indicates that something bad will happen. Later when the house shakes, the cuts between camera angles are quicker to build tension. Above all, neither Nazar or cameraman Jake White trip over each other, making the production feel like a collaborative process. Regarding #cinematography, the film is visually dark which works well for the country house setting. The location should be cosy and more at home in a John Constable painting, but thanks to White, the rural idyll becomes a haven for monsters. This darkness is evident when the monster is reflected in a mirror on the right of the frame, as though just out of the corner of the eye. There is also an intensity and claustrophobia to the tight shots on the actors’ faces whilst important visual clues are added such as unopened letters, family photographs and a shed. Another strength of the film comes from Michael Walters’s score which conveys foreboding atmosphere with its use of strings and is not overused. If anything, it should sound more harrowing to drive home the narrative’s tragedy. Nazar’s script is decent with the characters speaking believably. Although not conceptually deep, the dialogue warrants that the viewer pays attention as it provides vital information such as that coming from a news report for example. The only problem is when Frank sits down to talk to Amy and, after a short interruption, they begin discussing the local murders. Surely a “how are you?” would have been nice? However, this could have been down to the film’s restrictive runtime. This probably explains why certain themes are not fully explored, but at least they are present. There are ideas to do with morality, guilt and the lengths people would go to protect the ones they love. This also suggests taking the elderly and their loneliness for granted. Overall, Dark Secrets works as a ghost story, but lacks substance for it to stand out and will not appeal to those after satire or gore. Conversely, due to the technical skill, there is hope the film will find a wider audience or for the crew to prosper from it. At least the word ‘dark’ is not being applied to a franchise film for a change.

PRESS RELEASES Submissions to the 4th Annual Barnes Film Fest competition are currently open. We accept fiction, documentary and animation. Submit your film for a chance to win best film prize & launch your career as an award winning filmmaker! Earlybird deadline June 1st. Check out our website for more details or copy the following link into your browser www.filmfreeway.com/BarnesFilmFestival #filmfestival

★★★★ Directed by: #WilliamWayne Written by: #WilliamWayne, #JenZias Starring: #KorrinaRico, #WilliamWayne, #JonJacobs Film Review by: #DarrenTilby The seedy and drug-fuelled world of #Hollywood’s male-dominated film industry is masterfully probed in William Wayne’s #psychological #thriller, Lost Angelas. A real mystery of a film which strives (and succeeds) to purposefully mislead and confuse its audience in order to create a discussion, rather than deliver a clear-cut ending. That’s not to say Lost Angelas is a difficult film to follow, as such. In fact, the plot is relatively straightforward: Jake Hart (William Wayne), an aspiring screenwriter, searches for his ex-fiancé, Best actress nominee, Angela Rose (Korrina Rico), whose disappearance during a publicity stunt closely mirrors that of actress Angie Malone (Charlotte Lewis) thirty years earlier. The difficulty comes from the film’s many subplots, back-and-forth in time editing (much of the story is told in the past tense) and through Jake’s seemingly inherited #schizophrenia; which causes him to suffer from delusions. It's a difficult role, full of real complexity. And yet, it's one Wayne excels at playing; easily handling the many facets of Jake's character. Rico is equally as impressive in the joint lead role of Angela Rose, a character who remains a complete mystery, right until the bitter end. But I think what sets this film apart from many others (indie or mainstream), is the absolutely superb supporting cast. There's rarely a foot put wrong by any of the film's extensive cast of supporting actors, no matter how small a role they may occupy. Standouts include performances from #CharlotteLewis (Angie Malone), #DavidProval (Vince Rose - Angela's mafia connected father) and #JonJacobs (a fantastic turn as Walt Warshaw - a sleazy and dangerous movie producer). As well as directing and writing the movie and starring in a lead role, William Wayne is also responsible for that back-and-forth editing I mentioned earlier. The way in which he uses this particular aspect of the filmmaking process, to mirror and foreshadow, to drift in and out of the past and present, and reality and fantasy, is masterfully realised. So accomplished is each one of his credits, it's hard to decide where Wayne's main strength lies. Of course, Wayne isn't wholly responsible for the film's success. His marvellous editing only works because of #AnaMariaManso's remarkable cinematography. The lighting is stunning, and the framing is sublime. But it's the film's use of colour which really struck me. Lost Angelas uses a similar method of storytelling to that of (one of my absolute favourites) #EternalSunshineoftheSpotlessMind: where the different hues of colour in any given scene seemed to hint at whether the viewer was experiencing something in the past, or the present, or some delusional conjuring. The film’s use of the cinematography and editing to create its visual-heavy storytelling is unique and skillfully put together. My only complaint here is that some aspects of the film are a little predictable – mostly down to the film overstating the clues it gives – and so don’t have the clout they should once they’re revealed. But all in all, Lost Angelas is a fabulously contemplative movie. One which still hasn’t left my thoughts. And whilst I watched it alone, watching it with friends would undoubtedly cause discussion, and, if your friends are anything like mine––arguments.

★★★ Directed by: Ricky Townsend Written by: #RickyTownsend Starring: #OceanJones, #HarrisonSearancke Short Film Review by: #ChrisOlson A dramatisation of the 2010 quake which led to the even worse 2011 Christchurch earthquake, short film Tremble from filmmaker Ricky Townsend is an atmospheric and intimately chilling account of one person's experience of that night. Told with a ghost story methodology, with plenty of religious connotations, the short is rooted in local tragedy and sorrow. Faith (Ocean Jones) is a talented painter living in Christchurch. For a large section of the movie she is talking to Owen (Harrison Searancke) on the telephone. The pair arrange to meet the following night but are unaware of the harrowing events which will follow. Townsend uses some classic #horror tropes to tell his story. There is so much foreboding in Tremble that audiences will feel a palpable terror swarming the central character. Dark scenes and slow zooms on a picture of a church are just a couple of cinematic techniques used to make the viewer feel the same kind of tension and unease that citizens of Christchurch feel on a daily basis, plagued as they are by these natural disasters. Townsend also utilises mythology in his storytelling to add dramatic depth to the piece. The opening credits detail a tale about an unborn god whose kicks in the womb would move lands. This becomes more emotive when you consider the medicinal nature of the film. Coming to terms with such huge devastation and attempting to understand the impact on a community is going to be incredibly difficult. By exploring the natural destruction which occurred through the lens of a potential higher power, the filmmaker is able to bring even more poignancy to the story. This allowed for a particularly bold final third in the movie. The central performance from Jones is good if a little safe. Her chemistry with Searancke is believable and their flirty chat is endearing but when the plot starts to get more frightening we never see a full explosion of terror. It's actually her dog who provides the most on screen passion, barking at two potential intruders (or at the impending catastrophe). There was also an issue with an ill-judged electric guitar score over the latter part of Tremble. It felt dated and may bring audiences right out of the movie. Overall, however, an emotive and eclectic #shortfilm that pays hearty tribute to the natural disasters that torment the local community of Christchurch in New Zealand. The genre tricks used and the immersive atmosphere created by Townsend are compelling and intriguing. Watch the official movie trailer for Tremble below.

★★ Directed by: #BlakeHurford Starring: #LeilaBroughton, #HenryPhillips Short Film Review by: #AlexandraJames The short film Malum delves into the dark psychological abyss that is horror. The definition of 'Malum', as described in the film, is a Latin phrase meaning inherently wrong by nature or evil in itself. Nevertheless, the film does not entirely portray the epitome of evil but rather illustrates a strange crossover between reality and fantasy. Malum heavily plays out a trippy psychological journey, following a girl who awakes in a dreamlike scenario unable to determine where she is or why she has come to be there. It seems that she is held captive by a young boy named ‘Jacob,’ however, there is some form of connection between the two with which the audience are unable to decipher. Jacob’s character seems to desire the girl due to his overprotective nature and disturbing comments on Andrea’s appearance. It is never truly revealed as to what his purpose is within the story, and it can be said that this makes it difficult to see his character as well rounded or a central part to the storyline. Without are a true purpose is the character a necessary instrument within the story? Many questions arise from this short piece, to the point where the audience are placed within Andrea’s shoes, struggling to understand how to escape this entrapment of gloom and ambiguity. There are a variety of cutaways which reference a lot of Alice in Wonderland imagery. Characters wearing rabbit masks, snippets of the book and Alice herself were cleverly emplaced within this film. It certainly strengthened the idea that Malum should really not be dissected with logic or reasoning, but to be viewed with an open mind and seen as a film which dabbles on the fantastical and obscure. The editing could have been tightened up, there was some cuts which weren’t necessary and can be classed as amateurish. The frequent cuts often was out of place and made it difficult to concentrate on the story as a whole. It should be noted that there was limited light throughout the entire piece, making it difficult to focus on the characters’ faces, reactions etc. I understand that darkness is a crucial element within the thriller/horror genre, however, it is equally as important to not darken the film completely in order to create a spine-tingling atmosphere as this can in turn produce a negative effect with regards to the quality of the film making. This short piece was definitely a head-scratcher throughout and although the film is supposed to evoke a sense of confusion and ambiguity. However, there comes a point for the audience to have some form of satisfaction with regards to the outcome of the story or a clearer insight into the direction the drama will soon veer towards. Overall, an ominous and thought provoking short piece which definitely boggles the mind!