★★★★★ Directed by: #JudsonVaughan Film Review by: #JackBottomley Doing the right thing is more than brave, it is truly being human. Even if this right thing puts you in the firing line of some powerful, scary and dangerous people, you cannot over overestimate the power of standing up and saying no to the evils of this world. Across the globe, many abuses, prejudices and violent acts continue to shake us and attack the fortitude of our soul but in standing against the tyranny, there is something invincible about this morally-driven act of defiance. Questioning the wickedness of powerful forces (especially those operating in a fierce storm cloud of mystery) and urging them for an answer can be deadly, it can be anger-inducing, it can be shattering but, as Mexican Wave shows, it is also a beaming display of the human heart and the resilience of our will. #JudsonVaughan’s documentary sheds light on a topic that many people may well be unaware of (this writer certainly was) and in doing so, lingers strongly with you long after viewing. Mexican Wave looks at the efforts of a London-based group of Mexicans and non-Mexicans, who protest against the human rights violations and corrupt acts that continue to take place across Mexico, with focus on the September 2014 disappearance of 43 farming students. This act, has still yet to be explained and the people involved have yet to be found and they are but the tip of this murderous iceberg. Students, journalists and Mexican citizens continue to turn up tortured, maimed and murdered and the culprits remain a mystery. Vaughan’s film cannot offer answers for the truth remains locked away and protected by true high powers but this film is a distressing call to the Mexican government to find its heart and disclose the brutal mystery behind ‘the 43’ and the many many others never found or that have been discovered mutilated. It is a most horrible story made slightly less so only by the impassioned advocates the film centres upon, who have found supporters in predominantly the Labour party leader #JeremyCorbyn among others, and who will not stop in their admirable, vital, mission for justice. Filled with horrific real images of dead bodies, footage of discussed atrocities and even - in one really disturbing sequence - actual video footage from one of the students phones, Mexican Wave makes its points swiftly and effectively and every inch of the film is filled with passion. Passion to tell a story others deny, to raise an issue tucked away and to stand up and call out those who are massacring their own country. Made for just £300, this is a work of real integrity and drive, which deserves to find the attentions of as many people as possible, for this is precisely why documentary films remain so respected and why they exist in the first place - to educate a wider audience on a subject. The disappearances of these students in Iguala, Guerrero continues to dwell in the minds of a confused, frightened and yet empowered public, who will not let these people’s memory die nor give up on hopes for peace and truth. This film’s unnerving discussions about the political issues surrounding the violence really resonates and compels you to think of a wider picture and context. Mexican Wave is a powerful watch about a very under-discussed subject but amidst all the pain, corruption, lies and grief, there is a rather inspiring story here of pursuing peace and answers in a climate where, increasingly, neither seem possible but that only makes them more necessary to achieve. Remember the 43. Remember the countless other lives lost/disappeared. Remember the moment you first watched Mexican Wave. Haunting, compelling, essential.

★★ Directed by: #JoeScott Starring: #SabrinaDickens, #BrigidShine, #AnuHasan Indie Film Review by: #JackCameron Is This Now is the fourth feature film from writer/director Joe Scott. It tells the story of Ingrid (Sabrina Dickens) a young rape survivor who is being moved to a new home to live with court-appointed guardians. Ingrid’s life is clearly marked with tragedy and doomed to repeat itself; at the film’s opening, she is at her most vulnerable and the world she lives in at its most dangerous. That is until she meets Jade (Brigid Shine); cool and funny, Jade introduces Ingrid to a local rock band on the rise. Inspired, Jade begins to write her own songs and it seems her life might be about to change for the better. The film opens strongly with a sequence of a naked and vulnerable Ingrid lip-synching to a rock song in a flooded bathroom. It’s an affecting visual to open and it’s followed by a series of voiceovers from Ingrid’s abusers, which are genuinely upsetting and deeply uncomfortable to listen to. The film handles its subject matter well: managing to convey effectively that Ingrid is deeply traumatised and that her life is a daily struggle, without becoming exploitative and recognizing that she still a complex character in her own right. The problem the film has is it does know what it wants to be. Plot points ranging from the scary (Ingrid’s new guardian is a clear abuser) to the jubilant (making friends with the band and discovering her talent) smash into each other, jump-cutting about with no clear consistency or pay off. Some scenes are blink-and-you’ll-miss-it short nearly always fading to black so that any pacing is repeatedly lost with each cut. And they’re filled with increasingly poor dialogue that has characters either blandly stating what they’re thinking, what has just happened to them or even describing what is currently happening in the scene. As a result, the entire film feels flat, two-dimensional. The epitome of this comes when Ingrid first meets Jade, (the character who sends her on her path of recovery) a trill of wind chimes underscoring the moment creating a feeling more akin to levelling up in a video game than anything tangible or real and could not be more out of place in a drama. However, the filmmakers clearly think this is sufficient and continue in this vein for another hour. The blocking is incredibly static with the camera given the one instruction of just covering the dialogue. When Ingrid is recording her first song (a high point in her character development) the camera is positioned so that her face is completely obscured by her microphone. Aside what can be inferred from the plot, this scene has no significance: the most the audience can do is watch but never engage. Of course, there are a number of factors that could lead to such poor quality, time or budget constraints. However, according to IMDb, this film had a budget of £2,000,000 pounds, by comparison, Moonlight had a budget of $I,500,000. Obviously, a film’s budget does not guarantee quality but it does give you fewer excuses when you don’t deliver. The performances do save it, fractionally, delivering the very poor dialogue as best they can and it’s a shame because they are let down by virtually everything else; cinematography, editing, sound design. However Is This Now definitely has its heart in the right place, and the music sequences are directed with flair (except the exact same sequence of shots are repeated each time the band plays). Unfortunately it never manages to engage, because there is no correlation between the story and the medium with which it is told.

★★★★ Directed by: #AnshulChauhan Starring: #ShunaIijima, #OrsonMochizuki, #KoheiMashiba and #TakashiKawaguchi Indie Film Review by: #BrianPenn Far Eastern words of wisdom are all around if you look closely; according to the Samurai, it is better to be the enemy of a good person than the friend of a bad one. #Indiefilm Bad Poetry Tokyo explores this theme and the perils of trusting the wrong people. Jun (Shuna Iijima) leaves home for the bright lights of Tokyo and the promise of an acting career. Boyfriend Taka (Orson Mochizuki) has dubious connections and draws Jun into the dark world of a nightclub hostess. She convinces herself it’s only temporary and her big break is drawing closer. Her dreams are ultimately dashed as a disturbing experience forces her to flee. Jun returns home to confront a past mixing uneasily with the present. A dysfunctional relationship with her father (Kohei Mashiba) gradually unravels as home truths race to the surface. Relief arrives in the shape of old flame Yuki (Takashi Kawaguchi), who reminds her that life in the countryside wasn’t quite so bad after all. Her respite is shattered when new revelations trigger a showdown with her father and duplicitous boyfriend Taka resolves to track her down. Director Anshul Chauhan carefully avoids the trap of filming the story in flashback which might have weakened the impetus. Instead, the piece benefits from a linear narrative beginning with Jun’s final months in Tokyo. The script is deeply visceral, depicting characters that attract little (if any) sympathy. It offers no sentiment and strips away any hint of self-pity in Jun’s demeanour. Of course Jun is human, but her mental strength makes her less vulnerable; which is a refreshing change for a character that is almost always written in victim mode. Many scenes portray a sense of confinement; where characters appear physically and mentally trapped in the moment. Simple lighting and framing of shot can heighten the tension, and the technique pays off handsomely with some memorable face-offs. Shuna Iijima has tremendous presence in the role of Jun and runs away with virtually every scene in which she appears. An elfin like appearance betrays the physicality and consistency of performance; but make no mistake, this girl can act. Bad Poetry Tokyo is without doubt a finely tuned piece of #filmmaking; but the finale leaves the audience with a tantalising almost infuriating cliff-hanger. After setting the scene so carefully, it would have been more satisfying to present some form of resolution. Perhaps Anshul Chauhan has a sequel in mind; I wouldn’t complain if he maintains the same quality of output?

★★★ Directed by: #StephenMerchant Written by: #StephenMerchant Starring: #FlorencePugh #JackLowden #NickFrost #LenaHeadey #VinceVaughn #DwayneJohnson Film Review by: #HopeMadden Rarely, if ever, has WWE PR been as charming as Stephen Merchant’s biopic Fighting with My Family. A traditional underdog tale, the film is also savvy enough to know how to wield its source material to broaden its audience beyond your traditional WWE fanatic. Saraya Knight (Florence Pugh) — or Britani or, later, Paige — takes part in her family’s business. Mornings, she hands out flyers to their wrestling events, mainly to passersby who look down their noses at the notion. Afternoons she helps her brother Zak (Jack Lowden) coach local kids on the arts of grappling. Evenings, she gets in the ring with her brother, mum (Lena Headey) and dad (Nick Frost) to entertain amateur wrestling enthusiasts in Norwich, England. Then the call comes inviting Saraya and Zak to audition for WWE at an upcoming London Smackdown event. The set-up is there and, for any sports story, it is golden. Scrappy working class upbringing? Check! Sibling rivalry? Check! Opportunities for montage? Everywhere! Better still is a madcap supporting cast you can’t help but love. Frost and Headey share a really lovely and incredibly goofy onscreen chemistry as the Mohawk-sporting ex-con patriarch and former homeless drug addict turned devoted mum. Merchant’s sharp direction and even sharper script avoids condescension or sentimentality. The solid first act dovetails nicely into a less comedic journey for Saraya, the only sibling the WWE actually hires. Additional supporting players cannot live up to the charisma of Saraya’s family, but Dwayne Johnson plays himself and he has enough charisma for an entire cast. Vince Vaughn, adding one more to a string of solid performances, plays the recruiter/drill sergeant/coach who helps Saraya find her individual strength for the journey to WWE Diva. Pugh is the spark that makes the engines go, here. Though Saraya’s wigs are not always believable, her inner conflict and fighting spirit are. While Fighting with My Family manages to sidestep or subvert a lot of genre clichés, it hardly breaks new ground. Instead, Merchant elevates the familiar with a more authentic feeling backstory and a winning cast.

★★★★ Directed by #DeanDeBlois Written by #DeanDeBlois Starring #JayBaruchel #FMurrayAbraham #AmericaFerrara #CateBlanchett Film Review by #GeorgeWolf I usually like to steer clear of spoilers, but I really need to warn you...this film contains gratuitous dragon flirting. And full-on nuzzling. It's cute, but How to Train Your Dragon: The Hidden World offers so much more than just cute, and more than enough substance to solidify the entire Dragon saga as a top tier film trilogy. Writer/director Dean DeBlois is back to finish what he started in 2010, and continued in 2014. He picks up the tale one year after the close of HTTYD 2, when our hero Hiccup (voiced by Jay Baruchel) finds that his pal Toothless isn't the only Night Fury dragon, after all. This new one is a Light Fury, she's a charmer, and Toothless is in love. But all of Hiccup's dragon friends are in danger, none more than Toothless, thanks to the bloodthirsty Grimmel (F. Murray Abraham) and his batallion of dragon hunters. To continue living in peace, Hiccup and his entire village must find mythical dragon birthplace The Hidden World before Grimmel does. This franchise has delivered true visual wonder since the original film's opening frame, and part 3, taking natural advantage of enhanced technology, ups the ante. The aerial gymnastics and high seas swashbuckling are propelled by animation that is deep and rich, while new details in the dragons' faces bring wonderful nuance and expression. There is real tension here, along with warm humor, thrilling action pieces and resonant themes backed by genuine emotion. As you realize Hiccup is leading a group of wartime refugees, the bittersweet coming-of-age tale moves to the forefront. We've watched Hiccup move from losing his father (Gerard Buter) to finding his mother (Cate Blanchett) to becoming a father figure for the orphaned Toothless. Now, he may have to let his best friend go and remember that "with love comes loss, it's part of the deal." These themes may not be new, but DeBlois handles them with an understated poignancy that hits the feels, leading to a breathless emotional high point reminiscent of Toy Story 3's classic "holding hands" throat-lumper. Packed with excitement, sincerity and visual amazeballs, How to Train Your Dragon: The Hidden World ties a can't-miss ribbon on a wonderful trilogy. Watch the movie trailer for the film below.

★★★★ Directed by #JoePenna Written by #JoePenna #RyanMorrison Starring #MadsMikkelsen Film Review by #GeorgeWolf Arctic is a survival film that wastes no time getting to the survival. Director/co-writer Joe Penna drops us somewhere in the Arctic Circle long enough after a place crash that lone survivor Overgård (Mads Mikkelsen) has had time to construct a makeshift camp. We get no backstory, no thrilling crash effects and no time to assess the situation, which is perfect on two fronts. 1) The situation is pretty damn clear, and 2) so are the film's unflinching parameters. There'll be no spoon-feeding here, are you in or are you out? Mikkelsen is all in, with a supremely committed performance full of both strength and vulnerability. In a film that's nearly dialog-free, Mikkelsen sparks a curiosity about his character that the film is in no hurry to indulge. Overgård is clearly meticulous and intelligent, cautious and resourceful, but it is after an early rescue attempt goes awry that Mikkelsen delivers the layers of humanity that add an ethereal beauty to the sterile, potentially deadly climate. Suddenly, there is the safety of a badly injured woman (Maria Thelma Smáradóttir) to consider. As Overgård weighs the options of waiting for another rescue or striking out on foot, Mikkelson excels in making the emotional weight authentic, along with some simple joys that come from supplies found in the woman's downed helicopter. While it might be tempting to label this a snow-covered Castaway, the experience is closer to Robert Redford's 2013 vehicle All is Lost. In his feature debut, Penna displays majestic wide-angle vistas without any photographic glamour that might betray what Overgård is up against. In trimming away all excess narrative, he immerses you only in the often gut-wrenching journey. The result is never less than believable, a no muss, plenty of frigid fuss endurance tale that feels real. And real cold.

★★★★ Directed by: #JustinPetty Written by: #JustinPetty Starring: #BobbyDornbos, #AdamEdwards, #JosephGraham, #LindsayGustin Film Review by: #DarrenTilby What can you say about a film that’s so bizarre, so fundamentally off balance and so messed up, that you’re still not entirely sure what has happened and what hasn’t after 100-minutes worth of film? Well, “can I watch it again?” obviously. And you will want to watch it again. And you absolutely should. Because if ever a film benefitted from repeated viewings, it’s Nothing Really Happens. Mattress store owner, Dave Stimple (Adam Edwards) trudges through the monotony of everyday life: wake up, brush teeth, drop keys loudly to wake still-sleeping wife, go to work, come home, sleep, rinse and repeat. As the repetition of this daily grind leaves him feeling ever more disconnected from his friends and family, increasingly strange things begin to happen. And soon, Dave begins to doubt his own sanity. Nothing Really Happens is a strange film with acute #absurdist qualities. But within its cast, we find its grounding. Adam Edwards strikes a sympathetic chord in the lead role of Dave Stimple, and Lindsay Gustin adds a compelling dynamic to Dave’s home life as Jess, his wife. Even the more outlandish characters of Randy, the neighbour (played by Bobby Dornbos) and Carl, Dave’s brother-in-law – a brilliant turn here from Joseph Graham – who is, for lack of a better word, a complete lunatic, are relatable in some way, to most people. You also get a sense, from watching the film, that this was (is?) a close-knit team, who enjoyed a very friendly working relationship. And it makes sense. The film was in development for four-years, and most of the cast has several credits to their name: Justin Petty dealt with the writing, the editing and #cinematography, as well as directing. Joseph Graham acted as producer and sound editor as well as having a prominent (and hilarious) role in the movie. And, Adam Edwards also co-produced in addition to starring as the lead. In this case, I think this has worked in the film’s favour. I have no problems with any of the technical aspects of the film. And in fact, while watching the film, you get the most wonderful and endearing sense of intimacy. Nothing Really Happens is a difficult film to categorise and won’t work for everyone. I suppose you’d call it a #sciencefiction #comedy? On the one hand, there are themes of mind manipulation and reality distortion, which seem to draw inspiration from films like #EternalSunshineoftheSpotlessMind (one of my absolute favourites) and #Inception. And on the other, there are humorous takes on the #mundanity of everyday life and our inability to #communicate effectively with one another. But this film will find its audience, and whatever you take away from it, the filmmakers are clearly very proud of their work—and so they should be. Want to know how proud? Just wait until the 'Special Thanks' section, where they give thanks to “ That greasy cokehead director guy at that one Texas film festival who told us we couldn’t make a movie in our spare time with no money.” Isn’t that just the most wonderful “in your face” ever?

★★★ Directed by: Lee Neville Written by: Lee Neville Starring: #LeeNeville, #JaneHogan, and #DanielleLittle Short Film Review by: #RachelPullen It’s that time of the week again...oh yes the one you have all been waiting for, the time where we delve into the gripping and confusing world of Lee Neville’s issues with commitment. Ironic, for a set of short films about commitment issues, I sure as hell have committed a lot of time to understanding the point of this drama...and this week I am one step closer, maybe. So for all you out there who have problems with their memories, lets recap on what Mr Neville has been up to in my last few movie reviews...Neville has a bunch of women in and out of the one room he forever resides in, then they all get uppity because no one can commit, he then starts boning one of them on the reg but at the same time is into making out with his lady friend, who for some insane reason has super deep feelings for Neville. But guess what? He can’t commit either, and upon seeing him hugging another woman she gets all annoyed and they argue outside of the bedroom about it for a bit, because by now they all need a bit of fresh air. So now we are all up to date, let’s crack on with the next instalment, drum roll please for short film Three Times Moving: A Time to Lie. This week Neville busts in on his main lady friend and grabs her face to make out with her, only to reveal he feels nothing about her, and surprisingly she feels nothing for him too [seems like a promising relationship]. This is simply a booty call, friends with benefits kind of deal, once again Neville is a total gangster with the ladies. Neville has to pop out, clearly not to attend the job he has not got or to find an apartment that has more than one room in it, but to sit pensively on a bench and think about all the ladies he just can’t commit to. However, while he is lost in thoughts of how to get a bigger net to catch women in, his so called friend who has the hots for him decides to go to his one room flat/black hole/void of despair to see if he is about. Oh no, Mr Neville is out, but she bumps into his beneficial lady love, the two of them butt heads as they hash out what is really going on here, talking about how in the moment they should really express themselves, not waste the opportunity to say how they feel, beneficial lady wastes no time in cutting to the point, she knows best friend lady has feelings for him and pushes her to tell Neville how she really feels. That will fuck Neville right up, he can’t stand talking about feelings...does she know nothing? With Three Times Moving: A Time to Lie I didn’t really feel like pulling my face off from boredom, a plus in the so far very confusing and repetitive tale that Neville has been weaving, I started to actually develop a connection between the characters and the outcome of the storyline. I like his lady with benefits, she has her head screwed on, she is not buying into all the #drama, she knows what she wants and where she stands, and if I pick up on this then clearly there has been a level of character development displayed, that had been missing heretofore. Yet I am still not caring that much about Neville, after such a long investment into this saga, you can’t help but wonder if he is gonna get his act together, is he gonna actually settle down or figure out a much better system for juggling his harem of lady loves. So what is left to come? Will he pick lady with benefits for the casual fun or actually have a monogamous relationship with his friend? Will he get an apartment that is more than just one room and a black hole? Will he ever stop listening to piano scores all day long? And will we ever, ever find out if anyone is secretly a lizard person? Tune in next week to find out....oh and also I give this week three stars because they leave the black hole room for some vital fresh air again and a lady takes off her top, a worthy cause for extra stars.

★★★★ Written, Directed and Animated by #JonnyEveson Short Film Review by #HannahSayer #JonnyEveson’s animated sci-fi short film #Meteorlight was made as part of the #BFI’s Animation 2018 project. The result is a short film with a beautiful visual style, sumptuous score and a clever and thought-provoking moral behind its story. It’s an absorbing watch which successfully builds an alien world from scratch in its short running time. The short film is set in an alien world where the people living in the city live in darkness. They rely on light orbs to survive, which are powered through a factory. A child discovers that his parent’s factory depends on a creature’s suffering to literally fuel these light orbs, which the people need to be able to live. He is then faced with the agonising decision as to whether he chooses to defy his father and stop this creature from enduring suffering, or do nothing to make sure that the people in the city still receive the light they rely on. By considering how the characters in this world communicate with one another without speaking, #LindseyWilliams created a language specifically for the film which uses symbols rather than words. This clever and subtle addition to the film adds another layer and deeper meaning to the characters and the world created by Jonny Eveson. The fact that this #animation is a silent film allows for the score to take centre stage and heighten moments of tension and complement the visual look of the film. The black and white animation evokes a dark and brooding tone and adds to the dark nature of the secret being kept hidden in the factory. The #futuristic feel of the set pieces helps to capture this alien world and the animation brings this world fully to life. In its short running time, Meteorlight is successful in capturing this alien world and transporting its audience into its story. It is impressive that all the elements of the production come together in such a way that make this animation a real triumph. Watch the official movie trailer for Meteorlight below.

Join the good people at Barnes Film Festival for another exclusive event in partnership with Olympic Studios - Female Filmmakers talk the Future of Film. In the build-up to International Women's Day on 8th March, Barnes Film Festival are delighted to announce some award winning names joining the panel. Producer Finola Dwyer has worked on Brooklyn, An Education, and Our Souls in the Night. She’s joined by screenwriter Rebecca Lenkiewicz, whose credits include Ida, Disobedience, and Colette. The all-women discussion will be chaired by writer Charlotte Bogard Macleod and held at the fantastic Olympic Studios, Barnes. It’ll take place on Wednesday 6th March from 6.30pm. Click here for more information on the esteemed panel.

★★★★ Directed by: #RachaelMurphy #BevinHamilton Written by: #RachaelMurphy #BevinHamilton Starring: #NatashaStClairJohnson #CrashBarrera #NancyLaScala #JohnColton Short Film Review by: #ChrisBuick While there have been recent examples of strong female characters on screen, from superheroes to jewellery thieves to time-travelling doctors, under-representation and stereotyping of women in cinema is regrettably still an issue that needs addressing. But short film INCALL from directors Rachael Murphy and Bevan Hamilton looks to prove a point in this regard, and offers an exciting confrontational thriller dominated by a female cast in a time where gender equality, female representation and the overall position of women in the cinema could not be more of a hot topic. Chloe (Crash Barrera), adorned in an alluring red dress, arrives at the home of Aneleyse (Natasha St. Clair-Johnson), a woman full of confidence and success judging by her luxurious penthouse suite and fashionable attire. While at first their relationship is unclear, slowly we come to understand that Aneleyse is using the services of call girl Chloe to play out her sexual fantasies of dominance and submission, swapping her power suit and heels for handcuffs and other instruments. From here, the power games begin and while the lines blur with regards what is real and what is part of their game, everything soon takes a turn after the arrival of alpha-female Sam (Nancy LaScala), who turns this bout of sexual fantasy into something much more serious. The film explores themes of “sexual power-play, greed and deception from a female perspective”, and does not hold back in this regard. As soon as Chloe steps through the penthouse door to meet Aneleyse, the balance of power is constantly shifting, and the film is laden with moments where these women use manipulation, seduction and physical violence to exert their dominance over one another. Roles such as these have typically been portrayed by men on screen but having an all-female cast here with minimal male presence gives this short film a very different tone, and more importantly, the correct one. Having a more prominent male character in any capacity, either as a victim or antagonist, would have undermined the film’s message but by having a trio of strong and convincing female leads, this short film manages to fully emphasise its point. All three women deliver great performances, but especially Johnson and Barrera, who work both sides of the scale as they shift from being controlled to being in control. INCALL has a fairly simple plot, but to be fair that is all that it really needs, and it has the feel of a gripping drama with clear potential to be stretched out further into a feature long narrative. There is the sense that we have been brought into the film halfway through and end up leaving right before the end which feels a bit frustrating and leaves you wanting more details, but ultimately also adds to the intrigue. Directors Hamilton and Murphy should be commended for showcasing female characters who are not only compelling and confident, but also represent today’s women. While some of the details in this short film are left a little vague and it maybe ends a little too quickly, it doesn’t stop the film from delivering in what it sets out to do.

★★★ Directed by: #SeanRichardBudde Starring: #SeanMcGill, #AllieLong, #ChristianGray Short Film Review by: #AlexandraJames Machine Baby, written and directed by Sean Richard Budde, follows a paparazzo who wishes to chase down top stories surrounding the pageant industry. Unfortunately, the story takes a dark turn as he discovers the twisted and surreal horrors which are attached to America’s beauty contests. This short film certainly is an unusual piece and does not entirely base its premise on conventional storylines that often portray the basics, such as ‘sense.’ However, it becomes evident that the film is a comment on the corrupted world of pageantry with use of horrifying and graphic images. The #cinematography is done well and does truly create a dark and warped atmosphere. Attempting to not give too much away here, but the setting with which both audience and photographer discover the soon to be Miss America, creates for an almost a dungeon- like feel. The unsettling basement further strengthens the victim’s helplessness, as she is surrounded by methods of torture and places this short piece within the heart of the horror genre. The beginning Machine Baby piece gives warning to those who are light sensitive as the audience are dazzled with a jarring light effect which creates for a foreboding and uncomfortable sensation. As Miss California waves and smiles eagerly to the hundreds of cameras and paparazzi, the juddering of the lights takes away any sense of joy and beauty from her completely. This light movement certainly confuses whilst simultaneously frightens the audience and solidifies their expectations for more disturbing and grisly scenes. The piece does take a sharp, perhaps even abrupt turn as the storyline thickens. Delving further into the horror genre with images of the strange, unnatural and just outright bizarre! At face value, this short film may not be easily digested by the average film-goer as writer and director Sean Richard Budde integrates scenes which feel out of place or abnormal to the storyline. Nonetheless, although some scenes may appear extraordinary, the story can be seen to unravel once a deeper look into the film’s message is considered, thus, allowing the audience to appreciate it from a whole new perspective. Although there was a majority of scenes which seemed to confuse, the entirety of the film does indeed portray America’s beauty pageants as a cruel and almost manufactured process. Churning out a repetitive image of what constitutes as ‘beauty’ to the world. The film strips down the façade of glitz and glam and highlights the danger of pumping this image out to young women. All in all, an interesting although slightly peculiar film with an important message within.