★★★★ Directed by: #RichardAnthonyDunford Starring: #KarlKennedyWilliams, #JudsonVaughan, #JulieRoseSmith, #PaulCoster, #FaithElizabeth, #HarrietMadeley, #BhaskerPatel Indie Film Review by: #AmaliahSMarmonHalm Dragonflies Only Live For 24 Hours opens with what seems like a young man, walking to fulfil some mission. He ignores the world and everyone he passes. It soon becomes clear that he is walking with murderous intent. A fight, a struggle and victim. So many questions to ask in just this opening segment. We are then hurtled into the true heart of the story. A tale of two men wanting to scale the ranks of their police team, by any means necessary. Even it means going rogue and becoming the very thing they fight against. Through a series of badly-judged decisions, infidelity, some double-crossing and even a corpse or two, will this less than honest duo get their comeuppance in the end? Actors Karl Kennedy-Williams (Rise of the Footsoldier 3) and Judson Vaughan (Glamour Dolls) excellently portray the two dodgy detectives as we watch them follow a lead on a known gang. They do so well you might finish the film feeling a certain way about them. A convincing performance will cause the mind to forget that they are only acting. Faith Elizabeth (13 Graves), Harriet Madeley (Doctors), Paul Coster (The Afterglow) and Bhasker Patel (Emmerdale) all give a fantastic performance, further leading to a very engrossing viewing experience. The standout aspect of this film is it’s a perfect example of what can be done with a good story, some passion, backing and encouragement from local enterprises and a highly skilled skeleton crew. Director and writer Richard Anthony Dunford, has successfully used the skills and experience he gained through making short films, to create a gritty yet well-made independent feature film. A film made with heart, determination and the backing of one’s audience is the reason why Independent British Cinema is where an audience can still find films made with quality, rather than just Box Office figures. We crave decent productions, and films like Dragonflies Only Live For 24 Hours give me a bit of hope that the heart of British cinema is still beating strong.

★★ Directed by #AdamRobitel Written by #MariaMelnik and #BragiFSchut Starring #TaylorRussell #DeborahAnnWoll #TylerLabine Film Review by #HopeMadden Man, I really liked Escape Room back in 1997 when it was called Cube. Director Adam Robitel, who managed to do something fresh and upsetting with his 2014 feature directorial debut The Taking of Deborah Logan, here contents himself with borrowing … lifting…no, this is downright larceny. In Vincenzo Natali’s underfunded but groundbreaking Canadian horror, Cube, six strangers—each with unique skills and backgrounds—find themselves trapped in a building and must unravel each room’s puzzle only to escape to the next room/deathtrap. I don’t know if you’ve seen the trailer for Escape Room, but Robitel and screenwriters Maria Melnik and Bragi F. Schut have certainly seen Cube. Cripplingly shy brainiac Zoey (Taylor Russell) is one of a handful of random strangers to receive a puzzle box in the shape of a cube. Let’s just assume that’s a nod toward the film’s source material and not a different, terrible rip off of Hellraiser. By solving the puzzle, Zoey—and, sprinkled all over town, others—win the opportunity to attempt the most elaborate escape room ever constructed. Actually, the architecture is weirdly familiar. If you can get past the plagiarism and lazy theft–please add Final Destination and Saw to the list of the aggrieved—you will note that Russell and the entire cast performs quite well. Deborah Ann Woll (True Blood) impresses as a bit of a badass, while Nik Dodani endears in a small role and Tyler (Tucker and Dale vs Evil) Labine is adorable, as is almost always the case. Many of the set pieces are pretty cool, too. One upside-down billiards room bit, in particular, holds your attention. But the game cast and sometimes fun sequences can only overcome the film’s weaknesses for so long. Even if all these antics are new to you, the film’s predictable climax and disappointing waning moments are bound to leave you feeling that this movie could have been better. It was once.

★★★★★ Directed by: #RobertTHerrera Written by: #RobertTHerrera Starring: #LibbyBibb, #OlajuwonDavis, #IngebartheDog Film Review by: #DarrenTilby #Palacios may well be the easiest 5-star review I've ever given. Robert T. Herrera's achingly #beautiful and #poignant film is the best #cinematic introduction to the new year I could have asked for. And I'll be surprised if it's not still one of my favourites come the year's end. A widowed woman and the inner-city teen she finds sleeping on her roof, form an unlikely bond after agreeing to spend one-4th of July night together. A bond developed through a series of conversations about the past, the present and the future; prompting the pair to reevaluate their life choices and current situation. Libby Bibb is Holly, a lonely woman living in the shadow of her husband’s death, with only her Boston Terrier, Hulk (Ingebar) for company. And Olajuwon Davis plays Eugene, a disadvantaged black teen with no family. Performances throughout the movie are virtually perfect and utterly #mesmerising. What isn't said with words, is as easily said with a look or gesture: an area where both actors absolutely excel. Which is just as well, as dialogue is scarce and to the point. In fact, for a film held together by the strength of its central characters – which in turn are developed through conversation – there is a surprising lack of dialogue. Be that as it may, what little dialogue there is, is sublimely written and delivered impeccably with an aptitude for verisimilitude. #Palacios is a technical #masterpiece of #filmmaking: and at its centre is #DavidRocco's #exquisite #cinematography and #JohnKelley's wonderfully #emotive score, both of which blend harmoniously together. Rocco's #camerawork employs the use of off-centre camera angles, extreme close-ups, hand-held shakiness and peeping tom-like vantage points (looking through windows, bars in fencing, etc) to give the film a fly-on-the-wall #intimacy. Honestly, within 10 minutes of Kelley's #gorgeous mood-setting accompaniment rippling over the stunning #monochromatic film as it drifts in and out of focus, I was completely blown away by the sheer #beauty of it all coming together. But there's #beauty to be found everywhere in this film; in every small gesture, in seemingly inconsiderable actions. Whether it's Holly making breakfast for a stranger, a tough question being asked and answered, or Eugene playing with Hulk on the roof. Even the ending — which left me an #emotional wreck, by the way. Every little thing carries a weight of importance, not necessarily to the story, but to the characters themselves. It's what binds them, and it's what bonds them and it's these little actions that reveal the character's search for a place to belong and a reason to be. For Eugene, that's having a stable parental figure; something he finds in Holly. And for Holly herself, it's simply having someone that gives her life a purpose again. As you've probably gathered, I'm really quite fond of this one. In fact, I've really rather fallen in love with it. If I watched #Palacios last year, it would be amongst my top 10 films of the year, easily. As it turns out, it will more than likely be there at the end of this year instead. A #cinematic #masterpiece and a #showcase for #independent #filmmaking, #Palacios is everything I want in film and a reminder of why I fell in love with it in the first place.

★★★★★ Directed by: #ThomZimny Starring: #BruceSpringsteen, #PattiScialfa Netflix Film Review by: #ChrisOlson Having been a mega fan of Bruce Springsteen for many years and seen “The Boss” live in London a few years back, I had some idea of what to expect in his newest live performance. What I was not prepared for was the utterly moving, transcendental storytelling that is loaded with a potent intimacy in this show. This is one of THE defining live recordings of all time. Springsteen on Broadway the live shows came to a close recently and when #Netflix announced they would be showing the whole thing on their streaming service, audiences and fans worldwide rejoiced. He is a musician that has established demigod status and yet, after watching this, viewers will be taken back by his talent and humble nature. As with any legendary music act, live albums are always wrought with playlist issues and Springsteen on Broadway is no exception. When you have recorded so many amazing songs and albums over decades, with fantastic new material (Wrecking Ball is one of my favourite Bruce albums) still emerging, it is never going to be possible to curate one ultimate setlist. What is fabulously brilliant about this show, however, is how the songs and their emotional introductions, come together to form one complete tapestry of an incredible life and journey. Bruce himself is an enigmatic presence on stage, regaling the crowd with anecdotes and jokes aplenty. He also debunks his own rock and roll mythology and how his blue collar status is fairly undeserved. This only makes him even more of a man of the people. His heartbreaking admissions surrounding his father, his saxophone player Clarence, and his mother who inspired Dancing In The Dark are gut punchingly affecting, making the music that follows all the more poignant. From a #filmmaking perspective the approach for Springsteen on Broadway is fairly stripped back. Lighting is used to create transitions, as with most classic theatre productions, and the swift instrument changes ensure the rock show atmosphere is never lost. There were some lovely moments where Springsteen veers away from the microphone and lets his booming voice carry naturally across the audience. This cemented the connection for the viewer who feels like they are witnessing the real time revealing of a icon in the most intimate way. Essential viewing for music fans, this is human and heartbreaking in the best way possible.

★★★★ Directed by #BarryJenkins Written by #BarryJenkins and #JamesBaldwin Starring #KiKiLayne #StephanJames #ReginaKing Film Review by #GeorgeWolf Writer/director Barry Jenkins follows up his 2016 Oscar-winning masterpiece of a debut, Moonlight, with the ambitious goal of translating the work of a beautifully complex writer to a cinematic narrative. By respecting the material with a stirring commitment to character, If Beale Street Could Talk meets that goal with grace. Based on the novel by James Baldwin (and the first English-language adaptation of his fiction), the film follows a struggling couple as a means to illustrate the intersecting forms of oppression facing African Americans. Tish (KiKi Layne in an impressive feature debut) and "Fonny" (Stephan James, from Selma and Race) are a young couple in Harlem who embraces their unexpected pregnancy while struggling to prove Fonny's innocence in a rape case. As the surface tension is driven by the potentially dangerous chances Kiki's mother (Regina King) takes to clear Fonny's name, smaller, more quiet moments around the neighborhood cement Baldwin's incisive take on what it means to be black in America. Baldwin's writing - a mix of brutal honesty, brilliant clarity and weary outrage - is understandably daunting as a film adaptation. Themes which breathe with life on the page can come to the screen in an awkward rush and land as heavy handed melodrama. Jenkins, whose early script got the blessing of Baldwin's estate even before the triumph of Moonlight, brings an elegance to the story which fits comfortably. A poetic camera, authentic characters and tender, fully realized performances—especially from the glorious King—weave together to sing the praises of Baldwin's prose in hypnotic, and often heartbreaking fashion. Amid a story of grim realities and American resilience lie bonds of love and family that the film never loses sight of, even in its most sober moments, which may be the most miraculous aspect of If Beale Street Could Talk. It is a film without illusions, but one that carries the unbowed spirit of its characters on a deeply felt journey that honors its origins.

★★★★★ Directed by: #RudaSantos Starring: Billy, Yan, Rayaan, Muna, Theo, Leon, Faiza, Hassan and Angelo Short Film Review by: #RachelPullen It’s funny how we make attachments to material goods nowadays. People can’t even function without their phones [I dropped my friend’s phone in Tesco last night and everyone turned around and stared at me like I killed the pope], we have relationships with childhood toys, or a reaction of cuteness to a soft toy and the desire to hug it. I’m guilty of the last one; what if the bears have feelings? Who are you to not give it a little love hug. Sometimes these objects can become part of the family, part of a ritual in our day to day. So much so that we couldn’t imagine doing these things without it, and here lies the backdrop for Ruda Santos short docu fiction film, Jabulani. Jabulani is the tale of a group of friends who make regular trips to a woodland near there home town. These trips revolve around them having a ‘’sesh’’, now for those who are over a certain age, having a sesh means getting tanked basically or high, either way, you’re welcome. And on one of these trips they stumbled upon an abandoned trolley which they used to cart all their firewood, tents and immense amount of Capri Suns and Haribo Super Fun Mix, up the hill to the woods. They are not hardcore enough for the Haribo Sour Mix...lightweights. What starts as a measure of convenience, soon becomes a part of the ritual, the trolley appeared again and again, aiding the youths on their trips into the wild, and in turn the trolley became part of the group, being seen as a member of the family, named and respected. Shot with a mixture of handheld and steadicam, you get a juxtaposition between clean and professional documentary #filmmaking and what feels like shots extracted from the smartphone of one of the young people, capturing another evening spent with the trolley and co. This allows the viewer to feel immersed and involved, but able to observe and understand the motives behind the connections developed between man and cart. This #shortfilm is beautiful, visually as well as within its content, this trolley lifts the mood of those involved in it, they speak of it as if it were a real person, someone who adds to the dynamic of the group, a valued member, and it does not feel ridiculous, and you too come to love its little steel face. As well as that, it reminds us of those moments in our lives, where as silly as it may seem, how enjoyable and comforting it is to know that you can have this connection with a reliable source, people come and go, trolleys last forever...

★★★★ Written and Directed by #MatthewR.Ford Starring #TeeMorris, #CatherineRichmondMaud, #CarolineFrewin Short Film Review by #HannahSayer In Matthew R. Ford’s short film #ClimbingTrees, there is an overwhelming sense of loss and sadness evoked from the very beginning. In this quietly affecting character study, Tee Morris plays Kris, a father haunted by dreams of his eight year old daughter who was murdered twelve years earlier. This tragic character study and meditation on grief and its effects boasts impressive acting from its lead and a stand out score. Climbing Trees follows Kris as he tries to live his life twelve years on from the tragedy, yet he is completely isolated from society. He can often be found drinking alcohol and taking drugs at home or heavily drinking at the local pub. He is struggling to cope and these scenes throughout are interrupted by haunting dream sequences which reinforce the horror of his past. The story leaves details out and maintains a level of ambiguity surrounding the tragic events of Kris’ past, which adds an air of mystery and envelops the narrative in a heartbreaking fashion. It is unclear what is going on for some of the beginning of the short, yet Tee Morris’ brilliant performance as Kris enables the viewer to feel the weight of the pain and the grief that he is experiencing. The most memorable scene occurs between Kris and the mother of his daughter Sarah, played by Caroline Frewin, as in only a short meeting they have a heartbreaking conversation about their loss. The score is evocative of Kris and his situation. When paired with the hallucinatory dream sequences which occur throughout the film, the melancholy music created by #KaiEngel is powerfully moving. The music mirrors Kris’ disorientated state and his disillusionment with his life after the tragedy. It is as if the score takes on a life of its own and it is one of the best aspects of the film. Climbing Trees is powerful in its depiction of a grief-stricken father and the ending is particularly striking. However, the pacing begins to feel repetitive and slow after the film’s lengthy running time for a short film. It takes a while to reach the climax of the narrative and there are multiple dream sequences cutting in and out of the narrative which appear more frequently than they could have been. Overall, Climbing Trees is a hard watch, but it is one which is worth your time. Watch the official movie trailer for Climbing Trees below.

★★★★ Directed by: #JonellRowe Written by: #JonellRowe Starring: #KarlQueensborough, #YanaPenrose, #TJSchooling Film Review by: #JackBottomley As our age advances technologically, we find society becoming savvy or even driven by this new equipment. Some use this high-tech advancement to acquire knowledge, some use it to stay connected in a busy world and many increasingly use it for convenience, be it in finding your entertainment or your essential resources. In the last decade or so, no doubt we have all noticed the progression of card machines, scanners or self-service checkouts in not only supermarket chains but also our local shops! And it is in this zone that Jonell Rowe’s new short film resides and thrives. Number 13 is a darkly comic sci-fi that tells the story of an aspiring actor/performer who nips into a shop and is confronted by a bizarrely conscious self-service till. From there on Rowe’s plot delightfully stabs at societal attitudes to technology, technophobia, themes of mankind against machine and the effect of growing consumer convenience on the working man. For a short of such concise stature, Rowe has mapped things out nicely and wisely kept the cast count at a reasonable number, allowing the characters some very commendable levels of development and depth. The film itself strongly evokes a kind of #SpikeJonze’s Her vibe, an influence already expressed by the director on Number 13’s official website, but there is also an air of 2001: A Space Odyssey’s HAL 9000 and even – come the very vintage science fiction finale - a whiff of Terminator, only with this Skynet starting in retail! Rowe has a very relevant and timely story here that is impressively presented, in a fashion becoming of one of the popular dystopic TV shows of late (Black Mirror comes to mind). DOP #JackAyers makes good use of the familiar shop setting (the film was shot at a East Putney Co-op) and Rowe directs with a flair for a slowly unfolding tech thriller, that makes great use of its characters. The character of Number 13 (the self-service checkout at the core of the story) is manipulative yet believably endearing and Yana Penrose’s voicework sells you on the concept and on the soul of this machine. Meanwhile human lead Adrian, is given hopeful life by Karl Queensborough, and his work makes the character likable and helps give the open finale more of a punch. While there is an effective supporting turn by TJ Schooling, who as a kiosk salesperson, inserts a level of disdain towards the machine and stokes the films themes. I really enjoyed Number 13; it leaves you thinking about its outlook on the future of technology for consumer convenience. Well made and with a lot to say in a very short time, Number 13 is both fun and meaningful. After this you may head over to the human till!

★★★ Directed by: Dan Behshad Written by: Dan Behshad Starring: #DanBehshad, #JohnDarvall Short Film Review by: #ChrisOlson An experimental #shortfilm from one-man-band filmmaker Dan Behshad, who not only writes, directs, edits, produces and stars here, but is also the cameraman. Adopting a mockumentary style, A History Long Forgotten is an ‘alien in a foreign land’ fable that denounces modern life and all of its soulless trappings. Leo (Dan Behshad) is announced by the narrator (John Darvall) as being an escaped mental patient near the beginning of the movie. After regaling the audience with a little backstory, the narrator goes on to describe the details of Leo's emergence into the real world as it is happening. At first, Leo finds tranquility amongst the natural beauty of the world, however, it's not long before our protagonist finds himself amongst the urban population which is riddled with pollution, claustrophobia, and smelly fast food. There is a nice structure to Behshad's piece. He moves his character from a place of freedom to a world of chaos and consumerism with excellent pacing. The intimacy of the visuals being juxtaposed with the various locations is particularly brilliant. Seeing close ups of Behshad's subtly emotive face depending on his surroundings was a great way to inject emotion into the film. Even if, at times, he visage resembles that of Daniel Radcliffe's in Swiss Army Man. The limitations of a specific #filmmaking approach or gimmick can often be restrictive and that is definitely true to a certain extent in A History Long Forgotten. By offering the central and only character no lines or explicit emotional behaviour, aside from those small expressions, the short film struggles to cement the relationship with the viewer. As a result, the isolation and distance that Leo feels towards the modern world is mirrored by ours towards him. Whilst the narration does an amicable job of providing detailed information about what we are seeing and how Leo feels about it, the exposition starts to feel burdensome, leaving little room for the audience to connect or ponder. As the script takes a nosedive into preachy territory in the latter sections of the movie, many viewers are likely to be unprepared to concern themselves in any particularly meaningful way. The scope of A History Long Forgotten is impressive and there is a nice idea at the movie's heart. To embrace a thoughtful discussion on the world's global issues, storytellers may need to utilise alien characters who can highlight the dangerous indifference we have to the suffocating issues around us, such as climate change and homelessness. In order for these films to be truly successful, however, they will need to elicit more empathy from the audience than Behshad does here.

★★★ Directed by: #JohnTomkins Written by: #JohnTomkins based on the poem by #RobertGarnham Starring: #RobertGarnham as narrator and #JackAllum Film Review by: #AnnieVincent Utilising the spoken word poem by Robert Garnham, who is also the narrator, #BeardEnvy is a whimsical short exploring the covetousness and yearning of the baby-faced for the increasingly fashionable beards of today. The mixing of the narrated spoken word poem and the retro mimed performance it accompanies, enhances the humour of Garnham’s original poem with the casting of the smooth and supple-skinned Allum on point. Allum also has a slightly oblivious look about him too which only reinforces his alienation from the hip and masculine (though sometimes slightly unhinged) men he seeks to befriend. So desperate is Dan A Beard to join this elite group of woolly-mushes, he makes a few feeble and desperate attempts to achieve one, dreaming of the day scientists will be able to enhance his bum-fluff and other beardies will flock to him for a stroke. This film has been produced thoughtfully and professionally, with the editing of the visual sequence clever and well-matched to Garnham’s narrated poem. The entire production, from the editing to the acting to the sound, is in keeping with the light humour of the original poem and never takes itself too seriously. It is a clever idea, to bring visuals to a spoken word poem and in an age where visuals reign supreme, an excellent vehicle for extending the reach of the poem. This film slots nicely into that small niche of film for pleasure’s sake. There are no hard-hitting ideas, no Oscar-worthy performances, but there are some smiles for a topical and fashionable phenomenon that some of us are sadly (or perhaps gladly) excluded from.

★★★ Directed by: #ElmerJHoward Written by: #DavidVernon Starring: #ScottOlson, #AllenMontes, #RhayneThomas Film Review by: #DarrenTilby Elmer J. Howard’s based-on-real-events film is a melancholic tale of love and loss. But despite its gloomy facade, Loving Martin’s true heart lies within its messages of acceptance and reconciliation. 'An end can create a new beginning’, after all. We’re brought into the film by sublime camerawork and a soundtrack to match. An aerial shot of Erik’s neighbourhood gradually pulls us towards and into Erik’s house. Close-up shots of a most amazing looking meal – an anniversary meal, in fact – being prepared follow. This section is presented with a home video flair and leads us perfectly to our main characters: Erik, a laid-back middle-aged gay man, has a stable career and a comfortable living situation. Martin, his young wayward lover of 5 years, does not. Scott Olson is Erik and Allen Montes portrays Martin. And, despite their differences, the couple clearly care a great deal for one another; something demonstrated very well by our leads. And while the performances aren't quite as strong as they should have been, they form a solid foundation for the movie, nonetheless. In support (artistically and morally) is Rhayne Thomas, playing Erik's lesbian friend, Jeanine. Who pops up occasionally to offer Erik relationship advice. And although her scenes are few and far between, they are a welcome change of pace and contain some of the best dialogue in the film. It's the pacing of the film which presents us with my biggest quibble. To put it simply, it's just a little off. The first 5 minutes of the film is so resplendent with interesting cinematic flourishes: the home video style camerawork, the way the camera seemingly floats through Erik's house and the amazing soundtrack set a tempo and expectation the rest of the film struggles to maintain. And whilst this never becomes a movie-breaking issue, it is still a little jarring. Tonally, Loving Martin is a sombre film, one in which we are deprived of a happy ending. But out of that sorrow, there’s light. A conscious decision has been made not to dwell on the tragedy of Martin's young life, but rather, to find beauty and inspiration in it. And I can think of no better way to honour a person’s memory than that. With the movie being based on a true story, it is possible – albeit difficult – to look up certain events online. In fact, it was so difficult to research anything in-depth, or of any significance, I still don't really know anything about these people outside of what the film tells us. But I think, perhaps, this is the film's greatest achievement: bringing to a wider audience the tragic tale of Martin Valenzuela. The film has its problems, true. But for this alone, the filmmakers deserve full acclamation.

★★★ Directed by: #JoshCox Starring: #JaimeSullivan and #MollyMiles Short Film Review by: #BrunaFolettoLucas Touch Me Not is a beautiful and delicate #shortfilm that tells the story of two girls, Lily and Mesa (Jaime Sullivan and Molly Miles), who meet during a summer holiday and within a week they develop romantic feelings towards each other, but, unfortunately, as everything must end they face the expiration date that is coming. The film is set in 1985, which makes perfectly sense for the story as the characters must experience the best of their love affair but also must experience the heartbreak it leads as communication was established only through phone or mail in those years. On the other hand, it could have been dealt with more sensitivity, as the character Mesa had piercings and tattoos that are unquestionably very current. Nevertheless, these details I was more than happy to ignore in order to enjoy the film, especially since the costume design was flawless, not only in response to the times the film was set to, but also to character development. Josh Cox started the film by introducing Lily as she arrives in a villa to enjoy her holidays with her family, however, we are never introduced to her family and we are only delivered small details about her. We know that she is sensitive and artistic – she is quiet, reads a lot and draws from her feelings – but that is it. There is one phone conversation with her mother, which could have been handled in form of notes in order to emphasise her isolation. The isolation in question is not a bad thing, as it was created by her, after all, she is falling in love and only has eyes for the strange blonde she met on the riverside. The film is clearly very low budget and it suffers from it – the sound design fails to provide a clean mixing and by the same token the dubbing was at times badly synchronised. Although these problems are caused because of the lack of funding, the dialogue and story progression were too hasty in delivering the acts. The conversation between Mesa and Lily, especially when they first meet, is too abrupt it breaks the innocence and cleanliness the film tries to convey. In a film like this one, we almost expect to read between the lines and to respond to the character’s body language and silence; instead, what happens in Touch Me Not is the opposite. Having said that, some points of the film stand out due to their greatness. The actresses really incorporated their characters, mainly the innocent Lily that drives the story forward. Mesa, the enigmatic blonde that hides her sensitive side under her shell, is also a good character, but, as mentioned before, could have worked with better dialogue in order to explore her character further. The work done by Cox in creating the atmosphere through clean and beautiful camera angles was spotless. As the film is told through Lily’s perspective, Cox chose medium shots to show us how Lily’s world is empty, but also, how full it can be when Mesa is in it. The still camera shots allow the characters to explore themselves and each other slowly, and it also give us time to breathe out and relax – giving into the harmony of summer holidays during a time when we didn’t have smartphones or social media to keep us occupied. Using these tools Cox created a teaser for the lesbian version of Call Me By Your Name we desperately need!