★★★★ Director: Camille Vidal-Naquet Writers: #CamilleVidalNaquet Starring: #FélixMaritaud, #EricBernard, #PhilippeOhrel Film Review by: #KirstyAsher Sauvage very much lives up to its name. It not only shows the unflinchingly drastic extent to which a young gay prostitute with a drug problem will go to both feed his habit and keep himself alive, but it is also animalistic in its choice of locations and its sound editing. The area where the protagonist Léo, a kind of elfin version of Romain Duris, streetwalks for clients in competition with other gay prostitutes, is immersed in nature. Even though a road runs straight through it, and the deafening roar of car engines pollutes the air, it is hard not to see these men sizing up one another as strutting stags amongst the foliage. Unfiltered masculinity and homoeroticism abound. Cut-aways to establishing shots of the unforgiving urban landscape are accompanied by the metallic shriek of engines, brutally tearing the viewer away from this strangely idyllic setting of the working boys’ pick-up spot. Léo could be a character straight out of a Victor Hugo novel - young, drug-dependent, vulnerable and with an aggressive tuberculosis-type cough, it is almost too much of a cliché. But where this film really excels is how it avoids the stereotypes of prostitution and focuses instead on the realities of the job, which many sex workers have vocally advocated for as part of their necessity in this world – catering for the disabled, the elderly, the lonely. One particular scene with an elderly widower who eventually just wants to be held close by Léo, who readily agrees, is so touching, probably because delicately unfolds deeper aspects of Léo’s personality. Despite the often sordid nature of his job, Léo is a loving and affectionate person, and he gives his love freely, with an innocence that runs deep in his very being. This innocence and naivety leads him into dangerous moments that are almost too unbearable to watch, and this film very nearly falls into the Bury Your Gay trope with how graphically distressing and sadistic some of the scenes are. Nevertheless, it just about saves itself from this with its enigmatic ending, a gorgeous and achingly slow zoom-in on Léo lying in a foetal position. Having fled the stifling boundaries of an attempted ‘normal’ life, he once again finds himself immersed in nature, and in this final scene he is like a peacefully sleeping faun, at home in the wilderness once again.

★★★★ Directed by: #NinaMessinger Starring: #TColinCampbell, #JaneGoodall, #MelanieJoy, #CaldwellBEsselstyn, #VandanaShiva Indie Film Review by: #JackGibbs In modern society a great many of us have immured ourselves in comfortable habits - chief among them, the tendency to consume copious quantities of meat. Often we convince ourselves that our actions are harmless, that the effect we are having on both ourselves and our environment is minimal at best - and courtesy of Nina Messenger, indie film H.O.P.E What You Eat Matters seeks to disabuse people of that notion as bluntly as it can. Featuring #interviews involving several eminent names in the field of food health and veganism, the documentary’s core message is the promotion of a plant-based diet, and it goes the extra mile to back up its approach. H.O.P.E. What You Eat Matters grounds itself as best as possible, appealing to common sense and calmly emphasising how our actions as a species have had a pernicious effect on our lives and on Earth’s ability to thrive - as well as elaborating on small if no less important facts about the evolution of meat as a food source and the impact those changes have. A particularly revealing conversation near the start of the feature outlines how meat was once a rare delicacy, reserved exclusively for nobility - and now, it is commonplace. The feature film also spares no expenses in displaying the opinions of others front and centre. Featuring a wide variety of notable individuals and their thoughts on human diet and our impact on our planet, from simple yet undeniably moving life stories that served as a catalyst for change to scientists providing a bevy of revealing and disconcerting facts and statistics regarding our current course as a species, this does not come across as shameless scare-mongering, even if it leans heavily on its core message. This is a message of concern, not of patronising superiority, an earnest attempt to convince others to consider the impact they are having on this fragile cradle we call home and to preserve it for future generations. It suffers, perhaps, from being a touch overwrought in the presentation of its central goal - idyllic presentations of a green life are plentiful, pastoral scenes with fruit and vegetables in abundance as happy families relish in the lifestyle they have chosen, to the point where one might think that the creators are becoming more than a touch self-absorbed. Its intentions are pure, however, and even for those who are not of a vegetarian or vegan persuasion I recommend a viewing. It is not too late to ensure our legacy and save our home - and maybe, this feature will prove transformative in the years to come.

How would you describe yourself in terms of filmmaker and art? Filmmaker and an artist are two different titles but they both use tools to help them tell a story. Want to show someone weak you shoot them from above. Want to show someone powerful you shoot them from below. Similar to an artist you create works in the time period you work in. The art form of #storytelling allows us to travel through time and relive the creator experience. Why did you make Car Play? I made Car Play because I was listening heavily to Lil Uzi Vert at the time. I was spending a large amount of time looking for something new to do. But in the creative field. I came across his video called “XO Tour Life”. The rest is history. What advice would you have for creative people in 2019? My advice to a creative or someone trying to do that is to work your tail off. The best place to start is at the bottom because to make it you have to be relentless, focus perseverance and believe in what you do. Finally, work on your craft. In all honesty, there’s no such thing as overnight success. What can you tell us about your new movie I? My film is not your typical film. What I mean by that is to expect unconventional and highly symbolic content and issues that are important to me. Mainstream film has a clear narrative style to keep the film in order. Having a well-known protagonist. Art film is the total opposite. Expect a lot of close-ups. Head and shoulders, head close up. I want to show a lot of emotion. Put the audiences in an uncomfortable position. Hollywood has been obsessed with the close-up. It's used a lot in classical film. “I’m ready for my close up…” said Norma Desmond. There is something artistic and fascinating about the close-up. As an artist, you have to find a way to produce an emotional and integral feeling in the audience. Every time you go to a close up the audience knows to look at this - this is important. Where can people see more of your movies? I’m going to have a private screening with my friends, family, and actors that are involved in the film. After that, it will be available online. What's next for you? It’s really hard to say. I don’t know yet. It depends on how inspired I feel. In addition, I will always try to stay productive. What would you say if you were a dolphin? LOL, I have no idea. I believe dolphins communicate with sounds. But I do know that they’re a highly intelligent creature. That’s a good thing being one of the smartest animals.

★★ Directed by: #GraceWilliams Written by: Grace Willians, #LeeChristian Starring: #SteveHay, #TabithaCox, #GabrielHawking and #AniaGlapiak. Short Film Review by: #BrianPenn Agatha Christie had a neat trick when plotting a story; she might give you the solution within five minutes if you watched carefully; but then quickly snatch it away and take you off in a completely different direction. Misdirection is a useful tool in a scriptwriter’s box of tricks and draws the audience into a web of possibilities. While short film Eazy Meets gets the first part of the equation it completely disregards the remaining element. Molly and Richard (Tabitha Cox and Steve Hay) are a middle-class couple living in a cosy suburban environment. They are both foodies with contrasting tastes; Molly is vegan and Richard a carnivore as they fussily edge around each other in the kitchen. Although their occupations are never specified, Molly goes out to work while Richard apparently works from home. Richard’s attention soon wanders as he logs onto the ‘Eazy Meets’ dating website. Various women visit and Richard leads them to a private padlocked room in their home. Molly is preoccupied with an assessment at work and barely notices Richard. Until one day Molly comes home unexpectedly and finds him in a compromising position. The key to this story was blown in five minutes because they made no attempt to divert the viewer’s attention. It was blindingly obvious what was going on and where it was heading. Blatant signposting destroys any concept of drama and suspense it might have had. The dialogue is largely meaningless and does little to drive the plot forward. Conversations such as they are focus on food, and Molly’s annoyance that Richard has forgotten the shopping. Whilst the leading actors are engaging they are used to little practical effect. A middle-class couple living in suburbia might hide a multitude of sins; but there are more interesting ways of bringing out the dark side.

What is your film about? Cactus is about the personification of God. The film focuses on Christ era, and the eras that succeed and precede it. Cactus comments on feminity of Christ, and Christ's crucifixion leading to his nirvana depicted through Pieta, an artform by Michelangelo. Why did you what to tell this story? I wanted to reflect on the established western traditions and beliefs that are not much questioned. Moreover, it is high time to scrutinize ancient establishments that needs to be corrected. What are the hazards of trying to make a film about this subject matter? I could not get a single producer from any of the developed nations and my pitching got numerous rejections from west as it is highly controversial. Moreover, even our country was not ready to accept such a topic as the film is monotonous as per them. What were the obstacles in getting it made? Finance turned out to be a major obstacle and it will be vast on distributing the film as well. We are prepared for it. How do you plan to get this film out there? How can people see it? First of all, I am planning to target film fests followed by a probable online distribution later this year. Did you have any particular influences when planning/making Cactus? I was highly influenced by Leonardo da Vinci and Michelangelo. Speaking of any particular filmmaker, Mani Kaul had inspired me a lot. What's next for you after Cactus? Well, I have a few projects lined up; one of them is a dark comedy and a sensitive drama as well. But before everything, I would like to research more on prisoners.

★★★★ Written and Directed by #AnaBarredo Starring #NoraLapena, #JaredXanderSilva, #FaithToledo, #RhandyTorres, #MariaNoble and #NoreenLanie Indie Film Review by #HannahSayer Set in 1985 in the #Philippines, #TheYearIDidNothing follows a year in the life of the Santos family as they await their anticipated emigration to America. The film is based on a real life family and is set during the build up to the first presidential election in the Philippines since 1981, as the country prepares to unseat the infamous dictator, #FerdinandMarcos. The informative opening introduces you to the family, as well as the politics of the time in the Philippines through photographs and footage. History is of great importance to the narrative and The Year I Did Nothing enforces how historical and political events impact on growing up and the decisions that people make throughout their lives. The film opens in Manila in May, 1985. Christina Santos, played by Nora Lapena, and her siblings George Washington Santos (Jared Xander Silva) and Elena Santos (Faith Toledo), are watching American TV programmes. They are immersing themselves in American pop culture to prepare themselves for their big move to the States. They stop going to school to save money from the tuition for the move to America, and the film follows how they spend their days in the lead up to this life changing event in the family. Whether it’s going to church, spending too much money on ice cream so they are unable to afford the taxi home, or watching Star Wars, the Santos siblings spend their days awaiting the news that they will finally be leaving for America. The Year I Did Nothing is certainly a political film, but Ana Barredo’s script and direction are successful in capturing a comedic and lighter look at emigration. For example, the son in the film is called George Washington, as the parents hoped it would help them with their visa application and when the family arrive at their interview they are all wearing the American flag on various items of clothing. These lighter touches to the film add to its charm and make for a thoroughly enjoyable and engaging look at emigration and the politics surrounding it. The overall filmmaking technique feels quite simple, yet still effective. Extended scenes of conversations round the dinner table allow for the performances to take centre stage. The film boasts great performances from its cast, particularly from the three siblings of the Santos family. They all have believable chemistry with one another and it is easy to imagine that this is a real family. Overall, The Year I Did Nothing is funny, charming and insightful in its depiction of the political history of the Philippines in 1985-6. This coming of age story is successful in intertwining important political milestones in a country’s history while documenting a family’s year while they await their own momentous change. Watch the official movie trailer for The Year I Did Nothing below.

★★★★ Directed by: #AlessioCappelletti Written by: #KrisSalvi Starring: #MarybethPaul, #MichaelGonza, #DamienChinappi Film Review by: #DarrenTilby As The Date begins, you’d be forgiven for thinking this was a tale of lonely hearts; of sadness, but ultimately, of warmth and togetherness. But you’d be wrong, dead wrong. Instead, Alessio Cappelletti’s short film (a mere 9-minutes in length) is an intelligent and thought-provoking socially charged #thriller, whose finale penetrates the heart and destroys any trace of warmth the second act may have built-up. A man sits alone in a diner, anxiously awaiting someone’s arrival. A woman (Marybeth Paul) arrives shortly after, but who is she? His date? It doesn’t seem likely, as the man declares, “I just wasn’t expecting that they would send someone so pretty.” As the woman sits down and the pair begin talking, it seems fairly obvious that she’s a sex worker. There’s talk of “wanting something” from her, and he pays for her “services” under the table. But as the conversation continues, the pair seem to warm to each other, as they lament their current situations. A warm fuzzy feeling begins to form as the second act draws to an end, but then, well… There’s a lot to digest here when we look at the performances in The Date, but only so much I can talk about without giving anything away. So, I’ll simply say that Marybeth Paul is outstanding in what, I’d argue, is the lead role. It’s debatable, but without a shadow of a doubt, she’s the central character. It’s through her we meet our other two characters, played by Michael Gonza and Damien Chinappi: one we’re introduced to right at the beginning of the film, but who then disappears during the third act, the other, only arrives during the third act. The Date is exceptionally minimalistic in its aesthetic design. #NahuelAttar’s (editor) snappy editing works perfectly in tandem with #JamesWoodbury’s (Director of Photography) unpretentious framing and simple, yet effective, colour palette. The dialogue between the characters is brilliantly written and purposefully misleading, while #PatrickODonnell’s score – the first in his career – is moody and atmospheric. Sometimes, less is more. And that certainly seems to be the case here. The Date brilliantly plays with the expectations of its audience: it promises hope, maybe even love, but then cruelly snatches it from us. The sudden switch from hope to hate is violent and shockingly nonchalant. It somehow seems alarmingly relevant to today’s social-political climate; as if reflecting upon the isolationist nature of modern society and its tendencies towards casual violence and self-alienation. Provocative, poignant and staggeringly honest filmmaking; complete with solid and well-rounded performances from a small but talented cast. Alessio Cappelletti's, The Date, is a marvellous short film you'd be mad to miss.

★★★★ Directed by: #BenediktErlingsson Written by: #OlafurEgilsson #BenediktErlingsson Starring: #HalldoraGeirharosdottir Film Review by: #RachelWillis One of the best things about Woman at War is the hero, Halla (a superb Halldóra Geirharðsdóttir). Not often do we see a heroic middle-aged woman, but that’s exactly what we get in director Benedikt Erlingsson’s odd, charming, thrilling comedic fairy tale about a female warrior fighting against the devastating environmental effects of a local aluminum plant. Like any superhero, by day Halla is a model citizen protecting her secret identity as the “Mountain Woman.” A choir director who rides her bicycle to work, she lives a seemingly routine life. But her inner turmoil compels her to fight the environmental destruction she sees happening in the name of greed. A wrench is thrown into Halla’s life when she learns that her dreams of adopting a child are finally coming to fruition. A little girl in Ukraine needs a home, and Halla wants a chance at motherhood as much as she wants to fulfill her mission. Emphasizing the film’s heroic theme, musicians play the score onscreen. In terms of stage theater, it’s reminiscent of a choir that typically opens a play by setting the scene. Then by popping up throughout the acts, they keep the audience apprised of things happening “off stage." Erlingsson uses these musicians to similar, if not exact, effect, and it’s a unique way to demonstrate Halla’s internal conflict. To underscore the motif of the importance of environmental preservation, we're treated to many scenes of Iceland’s vast natural beauty. Halla uses the environment to her advantage, finding out of the way locations to sabotage power lines (skillfully using a bow and arrow), effectively cutting power to the plant. She hides from authorities in natural fissures in the ground, and earns her media-branded nickname by being of the earth that she seeks to save. Interesting questions are raised in connection with Halla’s mission. When does activism become extremism? What actions will we accept as the effects of climate change become more and more drastic? What will we do to protect our home? Because Woman at War is interested in these questions, and it’s time we make a serious attempt to answer them.

★★★★ Directed by #AnthonyMaras Written by #JohnCollee #AnthonyMaras Starring #DevPatel #ArmieHamer #NazaninBoniadi Film Review by #BrandonThomas On November 26, 2008, 10 Pakistani terrorists launched a coordinated attack in the Indian city of Mumbai. At least 174 people were killed, with thirty-one dying inside of the Taj Hotel where the initial attack turned into a four-day siege. In the modern era, terrorism has become an ever-present part of our lives. Cinema’s response has been to turn these perpetrators into moustache-twirling villains with a penchant for money more than ideology. Only in the wake of 9/11 did filmmakers routinely start to tackle terrorism with gravitas. Paul Greengrass’s United 93 and Steven Spielberg’s Munich were two of the first films in this wave to treat terrorism in film as something more than an excuse to blow something up. Hotel Mumbai’s terrifying journey into the 2008 attacks places it firmly alongside these latter day efforts. Hotel Mumbai follows a handful of guests (Armie Hammer, Jason Isaacs and Nazanin Boniadi) and hotel staff (Dev Patel and Anupam Kher) as they struggle to survive the armed assault by four gunmen. As the ordeal continues and family and friends are separated from one another, the surviving hotel employees band together to help keep the guests as safe as humanly possible. The tension flowing through every second of Hotel Mumbai is palpable. When the violence begins, it’s shocking and matter-of-fact in its ferocity. Director Anthony Maras wisely keeps the action grounded, using a lot of hand-held camerawork to create a chaotic feel. There’s an eerie sense of normalcy to what’s happening that gets under your skin. Speaking of normalcy, making the heroes of Hotel Mumbai the hotel guests, waiters and kitchen staff only adds to that sense of realism. We’ve already seen the version of this movie where the star is a cop or an elite team of commandos. Watching the hotel staff work together to usher the remaining guests to safety adds an emotional element that would be missing if this was simply an “action movie.” Patel leads the pack with a riveting performance that isn’t showy or recycled. His character of Arjun is in complete contrast to the men terrorizing the hotel, his sense of honor and purpose driven by saving people. Hotel Mumbai offers an unflinching look at the horror of terrorism. Thankfully, it also shows us that true heroism can exist even in the darkest of moments.

★★ Directed by #HarmonyKorine Written by #HarmonyKorine Starring #MatthewMcConaughey #IslaFisher #SnoopDogg Film Review by #GeorgeWolf Though it shares much more of the mind-altered DNA found in the works of Cheech, Chong  or S. Thompson, The Beach Bum left me quoting directly from John Hughes. "You know when you're telling these little stories? Have a point! It makes it so much more interesting for the listener!" Writer/director Harmony Korine spent years as the cult auteur behind such WTF classics as Gummo and Trash Humpers, only to go semi-mainstream in 2012 with Spring Breakers, a surprisingly coherent pop culture rumination buoyed by a memorable turn from James Franco. The Beach Bum's star power burns bright courtesy of Matthew McConaughey, which has to be the main reason the film got this size budget, promotion and release. But after watching him party with Snoop Dogg and Jimmy Buffett while wearing women's clothing for 90 minutes, even the effortlessly likable McConaughey's welcome wears thin. He's Moondog, a legendary gonzo poet who hangs in Key West while his uber-wealthy wife Minnie (Isla Fisher) tends their mansion in Miami. Reality comes calling when the Mrs. cuts off the gravy train, kicking him out and insisting that he dry out and finally write his novel if he wants to regain access to the family funds. What to do? Smoke some weed? Drink some beers? Bust out of rehab and wreak some havoc with Zac Efron? Sure, and maybe write a little bit on that old manual typewriter he drags around. It's all drenched in yacht rock (yes, that is "Key Largo" crooner Bertie Higgins), "Boats 'N Hoes" bad boy style and improvisational freedom, and it makes for a shallow brew with a murky purpose. Is Moondog's crazy journey just an after-effect of Snoop Dogg's special blend, Korine's final ode to his wild past, or what? What is clear is that after trying his hand at social commentary with Spring Breakers, Korine wants to have a good time. No doubt he and the cast (also including Johan Hill and Martin Lawrence) had a blast filming it, and good for them. For the rest of us, though, The Beach Bum is a mildly funny one trick pony, a rambling barfly always cracking up at his own jokes.

★★ Directed by #TimBurton Written by #EhrenKruger Starring #ColinFarrell #MichaelKeaton #DannyDeVito #EvaGreen #NicoParker Film Review by #HopeMadden and #GeorgeWolf There was something so terrifyingly perfect in the idea of Tim Burton reimagining Disney's 1941 circus tearjerker Dumbo. If anyone could rediscover, perhaps even amplify the grotesque tragedy lurking at the heart of this outsider sideshow, it should be Burton. He seems at home with the material. Burton's Edward Scissorhands is basically Dumbo: an innocent misfit, safe only with the one who birthed him, tragically loses that protector and must face a cold, ugly and abusive world that accepts him only because of what it can gain from the very oddities it mocks. Dumbo is maybe the most emotionally battering film Walt Disney ever unleashed on unsuspecting families. But Burton seems thrown off course by a hero seeking release over acceptance, and instead of that macabre sense of wonder that infuses Burton’s best efforts, he seems content to bite the white-gloved hand that is feeding him. Dumbo, the wing-eared baby elephant himself, does come to impressive CGI life – all grey wrinkles, long lashes and big, beautifully expressive eyes. The film’s other squatty little character - Danny DeVito - is also a joy to watch. As circus owner Max Medici, DeVito charms every moment onscreen, and seeing him face to face again with Michael Keaton (as the shady, badly-wigged amusement park magnate V.A. Vandevere) is a nostalgic hoot. The balance of the cast—Colin Farrell, Nico Parker, Finley Hobbins, Eva Green—fluctuates from passable to painful while staying consistently detached, and any true emotional connection just cannot take root, despite the inherent head start. Because let's be honest, many parents will be carrying an emotional connection into the theater with them, perfectly ready to surrender to the ugly cry moment they know is coming. And it does...but it doesn't, the scene strangely cut off at the knees to serve a bloated narrative that adds nothing but running time. True movie magic, heartbreaking or otherwise, is nowhere to be found. The only interesting thing Burton and screenwriter Ehren Kruger (The Ring, several Transformers installments) do, via the Vandevere character and his theme park, is deride the film’s parent company. It’s nearly impossible to view "Dreamland" as anything but a Disneyland stand-in, and equally difficult to decipher the purpose. Are they calling out rampant consumerism, unsavory Disney memories such as Song of the South or none of the above? Whatever the answer, it only adds to the confusion found in the center ring of this misguided update. Watch the movie trailer for Dumbo below.

★★★★★ Directed by: #MassimilianoSappa Written by: #MassimilianoSappa Starring: #CalebAlloway, #ConradLeBron, #PeterMcAllum Film Review by: #DarrenTilby #Australian films are known for their unique humour and wit: they’re often dark in atmosphere, and at times, even cruel in manner. It’s a fairly common motif. One only needs to look at #GregMcLean's #WolfCreek films to know what I mean. And whilst there’s nothing that’s anywhere near as gruesome or bizarre as that in #MassimilianoSappa’s engaging and brilliantly put together #thriller, that wicked sense of humour is present by the bucketload. The film opens as #PeterMcAllum’s character – Credited only as ‘Austere Old Man’. Which is just wonderful, isn’t it – monologues to two young captives (#ConradLeBron, #CalebAlloway) about how their generation lacks respect. Fighting back the tears, our ‘Austere Old Man’ then drops the bombshell that his wife and baby were killed in a hit-and-run by a young driver. Grief soon turns to hate, however, as he sets out his plan: two injections for two captives; one is a sleep drug, the other––lethal. And do you know what? As the camera lingers closely on McAllum’s face, you’ll believe every word of it. Just like I did. The performances here are brilliant, but it’s McAllum in particular who really stands out. The sense of threat in his character's voice, the hatred in his eyes, the sorrow he so obviously feels as he talks about his wife and child, and moreover, the way he flicks between all these things in the space of a couple of minutes is astonishing. Both Le Bron and Alloway give solid performances, but neither has an awful lot to do, other than look scared. At least not until the end, when the movie undergoes a massive tonal shift. The film creates and maintains its tense #thriller atmosphere by utilising every asset at its disposal. Sappa’s writing is good, but it’s his skill as a director that really brings this film together. #StephenRangott’s cinematography, #RhysDWebb’s music, and #ChristopherSpurr’s editing have all been expertly pieced together; and the result is superb. The dimly lit garage setting, the character-enveloping shadows and the soft, menacing whir of the film’s score work alongside one another to generate a full-blooded #thrillermovie ambience; which is then completely stripped away for that twist ending. Respect 101 is a quintessentially #Australianfilm. But more importantly, it’s just a bloody good movie. It’s a well-made and highly entertaining piece of #independent film-making with some outstanding performances from its small cast. The finale is genuinely brilliant and hugely funny; something which took me completely by surprise. And, at less than 6-minutes in length, you’ve got no excuse not to watch it.