★★★★ Written and Directed by #SteveSprung Documentary Film Review by #HannahSayer “This film will capture a unique moment in our history - highly skilled workers showing how to turn swords into ploughshares. It is a vital lesson for us now, as Labour leaders ask questions about common ownership, what we produce and who benefits from the products. We can be inspired by the Lucas workers, by their foresight and imagination. Please support this film, see it, promote it and discuss it. If we want to transform society, this is a good place to start.” #KenLoach, Director Described as ‘a film letter in parts’, #ThePlanthatcamefromthebottomup is a thought-provoking and extensive video essay which chronicles the extraordinary story of the #LucasAerospaceUK engineers, who forty years ago responded to the threat of redundancy with their own plan of action. The film documents how this group of workers developed alternatives to the military products their company made, including wind turbines and hybrid cars. By having the documentary structured as a video essay, the result is a poetic exploration of this incredibly timely story in history. The documentary opens with archive footage of a busy scene outside a factory as people are leaving. The voice-over informs the viewer that this is the first film people paid to go and watch in a theatre. The extensive use of archive footage throughout the film is juxtaposed with images and footage from the present, further reinforcing its relevance and importance today. Interviews with the engineers who were involved are interspersed throughout and the documentary is informative and educational without feeling inaccessible to those unfamiliar with the events. The story being told is from forty years ago, yet it still feels relevant today. The engineers fought back against capitalism and a Western society which only helped and fuelled a certain group within society, while leaving others behind. This positive and inspirational call to arms is constructed meticulously by writer and director Steve Sprung who delves into detail about how this socialist reaction tried to change things for the good by attempting to move on from the ways of the past. The impacts that this had at the time and the reverberations for the future make the film feel like the story its telling is of epic proportions. The Plan that came from the bottom up details an extraordinary story which still feels timely and relevant in today’s political and economic time of uncertainty. Stories like these being told and highlighted with today’s perspective are more important than ever, and The Plan that came from the bottom up is an inspiring example of taking action to try and do better. I wasn’t aware of this story before, but this ambitious fight to think up better alternatives is a story which needed to be told.

★★★ Directed by #FedeAlvarez Written by #FedeAlvarez and #JayBasu Starring #ClaireFoy #SylviaHoeks #LakeithStanfield Film Review by #GeorgeWolf This far along, it's no surprise some freshness has wilted from the Lisbeth Salander franchise. But now, as the fourth book in Steig Larsson's "Millennium" series makes it to the multiplex, some of its identity seems to be slipping away as well. Claire Foy hops on the speed bike as the latest Lisbeth, Stockholm's most infamous hacker/vigilante/all around badass. Her latest impossible mission is to recover a top secret computer program known as Firefall. Developed by a weirdly tall code wizard (Stephen Merchant), the program can breach all missile defense systems and put them under the control of a single user. Though the program can't be copied, it can be moved, and when the Americans steal it, Lisbeth is contracted to steal it back. The job comes with plenty of attempts on her life and open wounds from the past, and as Lisbeth is pursued across Sweden by a Washington NSA agent (Lakeith Stanfield), her old pal Blomkvist (Sverrir Gudnason) tries to help sort it all out. Director/co-writer Fede Alvarez (Don't Breathe, Evil Dead) trades the cold, sterile atmospherics that marked the previous films for a more standard thriller tone. Despite a few nifty sleights of hand, the film always seems to be working from another's playbook. It's less grisly, less ambitious and more comfortable settling for overly convenient plot turns and painting the female action hero in more of a male fantasy world. Salander has been an anti-Bond since book one, making this shift particularly disappointing. For her part, Foy is a serviceable Salander but more of a blank slate. While Noomi Repace brought more instant menace and Rooney Mara more mystery, Foy can't define her turn much beyond hurtful stares and beatdowns. Spider's Web is always watchable, and engaging enough to keep you invested. But Lisbeth became memorable by being uniquely compelling, not merely satisfactory.

★★★★ Directed by #JuliusAvery Written by #BillyRay #MarkLSmith Starring #JovanAdepo #WyattRussell #MathildeOlivier #PilouAsbaek Film Review by #HopeMadden Perhaps you don’t know this, but Nazi zombies have a horror genre unto themselves: Shock Waves, Zombie Lake, Dead Snow, Dead Snow 2, Blood Creek. Well, there’s a new Nazi Zombie Sheriff in town, and he is effing glorious. Overlord drops us into enemy territory on D-Day. One rag tag group of soldiers needs to disable the radio tower the Nazis have set up on top of a rural French church, disabling Nazi communications and allowing our guys to land safely. What’s on the church tower is not so much the problem. It’s what’s in the basement. Director Julius Avery stays true to the war film vibe. Though clearly Overlord lacks the scope of something like Saving Private Ryan, visceral scenes of war set the stage for a film about the monstrosity lurking inside man. He’s aided immeasurably by two writers with a knack for tales of endurance. Billy Ray’s career is littered with tense political thrillers, and his co-scribe Mark L. Smith wrote The Revenant, for Lord’s sake. He knows how to put a man through some shit. The fellas find cover in the home of a sympathetic French woman (Mathilde Olivier) and plot their next move. Too bad it’s into that church basement. Pilou Asbaek offers another excellent performance, this time as the Nazi commander. He drips sinister and looks enough like a handsome Michael Shannon to terrify even when he’s not speaking. All the performances are strong, and character arcs feel fresh even though you know—if you have ever seen a war movie—how they will progress. Because this is a war movie, but war is hell and hell is horror. Avery creates the same kind of desperate tension you’d expect from a suicide mission, and when the tables turn and we’re suddenly inside some kind of filthy mad scientist horror, the film doesn’t lose a step. Suddenly, through Avery’s eyes and the horrified reactions of our heroes, we see how easily not only war movies but Marvel comic book films can cross the line to blood chilling horror. A satisfying Good V Evil film that benefits from layers, Overlord reminds us repeatedly that it is possible to retain your humanity, even in the face of inhuman evil. Plus, Nazi zombies, which is never not awesome!

★★ Directed by: #KeifGwinn Starring: #MalinPeter, Keif Gwinn Short Film Review by: #TomGriffiths Things Are Happening and They Are Strange, written and directed by Keif Gwinn, is an independent film made as part of the Kino Kabaret movement back in 2016 to celebrate films created with little to no budget at all. The film indirectly asks the audience a question that they probably do not get asked every day: what if your friend told you they could fly? It’s a valid one and something that we may all have different answers for, which gives this film the potential to take an interesting angle. Things Are Happening and They Are Strange follows Malin (Malin Peter) exchanging text messages with her friend Keif (Keif Gwinn) in a confrontation relating to the aforementioned question. There is a conscious effort to try and humanise the conflict through the use of voiceovers, however, despite this, the #shortfilm still suffers as the audience's ability to emotionally connect with the protagonist is hindered, as Malin is only reacting to a screen. Trying to capture an emotional exchange via text is no easy task, especially within a medium as visual as film, and therefore the script should have found another creative way for these two characters to discuss the matter at hand. Malik and Keif’s voiceover performances are good and help bring some much-needed personality behind the words presented on screen but sadly, regardless of the voiceover, the audience's eyes are neglected by Gwinn’s direction in the process. Malin does not have much else to do on the screen other than sit down or walk from point A to point B, resulting in the audience only having the messages that appear on the screen to engage with, some of which were occasionally dull. The inclusion of props may have presented Malin with more tools to keep the audience captivated throughout, whilst developing character through #costume, mannerisms and mise-en-scène. The #cinematography by #LudwigReuter is technically solid but for some reason seems fearful of getting personal with the characters within the story, which makes it harder for us to relate to these characters. Our eyes are never drawn close to anything specific besides Malin’s phone, something we are already viewing via the graphics on screen and this deprives her of being able to shine in a more subtle, physical performance. The film's finale, where Malin travels to Keif’s home to confront him, has some minor writing issues but ultimately succeeds in raising a smile on your face, and warmth in your heart. This is beautifully complimented by #AlexanderDavidNorman’s uplifting “I Can Fly”, one of two tracks throughout the film, and manages to partially redeem the movie by the time its credits roll. Things Are Happening and They Are Strange had the opportunity to explore such a weird conundrum, one that opens plenty of different doors to tell odd and wonderful stories. However, despite circling what could have been a funny, dramatic or interesting topic, this film struggles to truly get its feet off the ground. The characters did not have enough interesting personal moments throughout, and the final scene only highlights what the first two acts were missing - Keif and Malin finally interacting together in person. The story had promise, however it needed to be approached in a different way. This project is a good learning curve for these creative minds to hone their craft further, their technical competence is good throughout and, if applied in a more daring and creative manner in future collaborations, could bring up some very interesting work in the future.

★★★★ Directed by #MarielleHeller Written by #NicoleHolofcener and #JeffWhitty Starring #MelissaMcCarthy #RichardEGrant #DollyWells Film Review by #HopeMadden People forget that Melissa McCarthy was nominate for an Oscar. It’s a stiff year for female leads, but she might just nab another nom for her turn as a misanthropic writer in the true story, Can You Ever Forgive Me? A one-time best seller, author Lee Israel (McCarthy) is feeling her shelf life. Unwilling to conform to any kind of expectations—particularly those placed on females in the publishing industry—she finds herself facing the reality that no one wants a book on Fanny Brice, and no one wants a book by Lee Israel. McCarthy’s socially inept and down-on-her-luck biographer sits in a dingy bar midday, drinking away her unemployability, her cat’s illness and her writer’s block when in beams a boozy ray of sunshine disguised as upbeat alcoholic hustler Jack Hock (Richard E. Grant). It’s here that director Marielle Heller’s film hits its stride. McCarthy’s energy, her dimples and her infectious good nature have buoyed any number of mediocre films. But here, she carves a low key, solitary figure unable and unwilling to open up. It’s a fascinating about-face for McCarthy. Set Israel’s curmudgeonliness against the unbridled zeal and charm Grant brings to his character, and a compelling odd-couple-on-the-skids is born. To pay her bills and exercise her talent, Israel begins forging letters from literary icons and selling those forgeries at bookshops across New York. The wondrous respect this film has for writers, for the written and spoken word, and the nostalgia it has for a past when those elements were likewise revered generates a lovely, literary atmosphere. Co-writer Nicole Holofcener again subverts ideas of entitlement and self-destruction with a screenplay so full of empathy it’s impossible to dislike the deeply unpleasant Israel. A great deal of that success, of course, comes from McCarthy’s authenticity. The performance is nuanced and understated, as is the entire film, and aching of self-inflicted loneliness. She creates an believable and yet unusual character—one who embarks on a deeply strange yet somehow fitting journey. The story of Lee Israel offers a weirdly optimistic if cautionary tale for misfit women. It’s also a great reminder that Melissa McCarthy can really act.

★★★★ Directed by #MarilynNess Starring #ClaytonGuyton Film Review by #MattWeiner If the Midwest is often treated as America’s test market for new products, Baltimore makes a good case as America’s stand-in for how our cities have been neglected, in ways both passive and pernicious. With Charm City, Marilyn Ness sketches the big picture by zooming in on one city neighborhood. Ness centers the documentary around those most affected by the violence and lack of opportunity in the city, spending time on the streets with the irrepressible Clayton “Mr. C” Guyton. Mr. C runs a neighborhood community center, providing a mix of social services, inspirational sermons and a contagious hope that things must get better. Also represented is the Baltimore Police Department, whose officers are buckling under constant overtime in an attempt to stem the record murder rate. Politicians get their due through the eyes of Brandon Scott, a reform-minded city councilman (and the youngest person elected to the position). At first it seems like Ness’s framing is nuanced to a fault. She studiously highlights the interactions on all sides as an almost routine drudgery. Or as routine as life can be when you’re in a constant struggle for resources just to survive. But haunting the periphery is the death of Freddie Gray, which took place just months before the film begins. Ness limits her interviews to the more optimistic and eager officials and officers, but even relatively benign interactions are impossible to separate from the wider conversations happening around criminal justice reform in cities and police departments all over the country. As frustrating as it can be when Ness sticks to her granular talking head shots, there’s a still a message—even if that message to viewers is often that you’re going to need to do some extra homework on this. And it’s effective. It’s heartbreaking when the people on Mr. C’s block abruptly suffer the loss of one of their own. It’s bracing to hear them refuse to give up even though they feel like everyone else has abandoned them. It’s useful to see how city officials view doing the right thing, and how quickly that impulse crashes against a public health epidemic that cannot be theirs alone to fix. There have been plenty of superb recent documentaries about criminal justice in America, including Ava DuVernay’s 13th and Erik Ljung’s The Blood Is at the Doorstep. Charm City probably shouldn’t be the only film to watch if you’re looking to go deeper on the subject, but it’s a fine and no less urgent place to start.

★★ Directed by #FabienConstant Written by #LauraEason Starring #SarahJessicaParker #Common #SimonBaker Film Review by #RachelWillis What would you do upon receiving the worst news of your life? How would you spend the next 24 hours? These are the questions that plague Vivienne (Sarah Jessica Parker) upon learning she has a tumor. More tests are required to diagnose the nature of the tumor, but if it’s cancerous, she can expect to live another 14 months with aggressive treatment. It’s telling that Vivienne is alone when she receives this information. From the beginning, director Fabien Constant creates a sense of loneliness around her. After receiving the devastating news, her next stop is a rehearsal for her upcoming 25th anniversary show. A number of band members have clearly been waiting, but Vivienne mollifies their annoyance with banal pleasantries. She doesn’t mention to any of them, including her manager Ben (Common), that she is sick. Vivienne spends the next 24 hours wandering from place the place. The New York City backdrop perfectly captures the theme of isolation despite being surrounded by millions. Though Vivienne has friends, a concerned mother, a lover, and a daughter, it’s clear from the dialogue she has always maintained an aloofness around those who care for her. Writer Laura Eason gives us just enough to understand Vivienne’s relationships without giving away too much. Her relationship with the father of her daughter, Nick (Simon Baker) is cordial, but it’s clear from his tone when speaking about their daughter, Vivienne hasn’t been the most engaged mother. She’s been too busy with her career. Though the first act of the film manages to convey a lot of information in brief exchanges, and Sarah Jessica Parker aptly conveys the emotional anguish of Vivienne, the second half falls quickly into melodrama. The idea that Vivienne is desperate for a connection is conveyed by a number of trite interactions with a Lyft driver who happens to make repeat appearances in her life. The naturalness of the dialogue in the first half is replaced with brief, forced conversations about profound subjects, mainly the power of music. It’s unfortunate that Hollywood has adopted the policy of casting actors in singing roles when they can’t sing. Gone are the days of overdubbing actors with quality singers. Instead, we’re forced to listen to Parker muddle her way through a cheesy song. And not once, but twice. With a title like Here and Now, it’s not a surprise that the film takes a melodramatic turn, but it’s a shame since it had a promising start.

★★ Directed by #YarrowCheney #ScottMosier Written by #MichaelLaSieur Starring #BenedictCumberbatch #KeenanThompson #PharrellWilliams #RashidaJones Film Review by #GeorgeWolf Before we get to the Whos, let's consider the Whys. Is it too much of a GOML (Get Off My Lawn) moment to ask why, beyond the obvious cash grab, The Grinch has to be redone? The original, How the Grinch Stole Christmas, is 25 minutes of perfection, an animated TV classic that was already the subject of a charmless live action update for the big screens of nearly 20 years ago. Now we're back to animation, and facing the same quandary. How do you add an hour of narrative that is more than just filler, substantial enough to not dilute what made the original work so simply joyous, so universally touching? In 2009, Spike Jonze showed it can be done, delivering a wondrous and emotional take on Where the Wild Things Are. But in this latest re-imagining of The Grinch, what writer Michael LeSieur and Tommy Swerdlow giveth only ends up taking away. We're still told the heart of Mr. Grinch (voiced by Benedict Cumberbatch) is two sizes too small, yet we're given a new backstory for additional explanation as to why he hates Christmas so much. His heart is two sizes too small, didn't you hear? That's the reason! Well, it should be, but then we see the Grinch do little acts of kindness for his dog Max and some other creatures, meaning the whole idea of Mr. Grinch being such an unpleasant misanthrope (and thus the impact of the story's entire resolution) is compromised early. The narration (courtesy of Pharrell Williams) includes some of the delightful Dr. Suess wordplay from 1966, plus some fresh attempts to imitate it that, as you might guess, stand out like a ten dollar Rolex. Mr. Grinch's ultimate change of holiday heart doesn't fare much better, as he and Cindy Lou Who (The Greatest Showman's Cameron Seely) spend ample time hammering home a message that, while still welcome, shouldn't require that much force. Directors Yarrow Cheney and Scott Mosier craft a few giddy sequences set among the snowy terrain of Whoville, and SNL's Kenan Thompson squeezes as much humor as he can from his role as the Mean One's erstwhile "best friend," but for anyone hoping to recapture the magic of a holiday standard, The Grinch is nearly as empty as Cindy Lou's living room on Christmas morn.

★★★★ Directed by: #AmeneDedeSackey & #NaomiSoneyeThomas Starring: #RobbieFox, #DarrylGogar, #BeckyLingwood and #JasonBeney Short Film Review by: #RachelPullen So I was doing some research the other day, a nice break from googling pictures of Bungle, Zippy and George, and I learnt that it would take 76,000 years for us to travel to the closest solar system...quiet the commute don’t you think. So with that in mind, I honestly believe that somewhere there must be another form of life, aliens, lizard people, old contests from that show in the 80’s Bullseye, just floating around in space, and if I’m thinking about them, are they thinking about us? Most likely, and not unlike Neil Armstrong before, they may have the desire to come and check out planet Earth and all we have to offer. I would start with mini golf and a night at the strip club, a classic way to spend a weekend, and it seems to me I’m not the only one who thinks this to...so why don’t we pull up a chair, bean bag or inflatable furniture, if you're still in the 90’s and get to talking about #shortfilm The Integration Game. This #animated short, directed by Amene Dede Sackey and Naomi Soneye-Thomas, looks at a group of alien chums who decided to learn more about humanity by attending a stag do in modern day England. As they monitor and report back to their home planet, the weird and wonderful going on’s here on earth. They go to a club, they watch people dry hump on the dance floor, they get involved in the drug world, enjoy some trance music, so once again a normal weekend for most, but for some reason no mini golf...the fools. This comedic exploration into what we all see on a regular basis plays as an interesting narration to the magic of the human condition, pointing out all those silly things we do, that we just take as the normal, and in the end we can actually see the futility of it all. The #animation fits with the current popular style, reminding me of shows such as Rick and Morty and Bob’s Burgers, kind of rushed and a little juvenile but befitting of the storyline, giving a slight distortion to the reality that is around the aliens, just like they would view our world. Comedic writing in this is definitely a plus; the jokes are clever, well-timed and actually funny, making for an enjoyable watch to a wide range of audiences, anyone from the young to old may have a chuckle at this little number. The Integration Game is an interesting observation of the little things we do as humans, there are no big alien invasions, no attacks from mars, just a bunch of space dudes enjoying a night out with the lads, and when it comes down to it, isn’t that what life is all about...the little things.

★★★ Directed by #CherylAllison Written by #GregoryGAllen Starring #JudyMcLane, #JuleeCerda, #JimNewman, #GaryHilborn Short Film Review by #HannahSayer “We only get to do this once a week. Let us play our game.” In her directorial debut, Cheryl Allison’s #HidinginDaylight is set in a #dystopian future where there has been a gay purge. At the time of the making of the film, Allison highlights that homosexuality still remains illegal in 71 countries, and it is also punishable by death in 8 countries. With these stats in mind, Hiding in Daylight feels all the more relevant and poignant, and not as far fetched as might be believed at first glance. Hiding in Daylight opens with a couple walking through a seemingly nice neighbourhood, as they arrive at their friends’ house for dinner. As they shut and lock the front door behind them, there is a strong sense that what goes on behind closed doors, stays behind closed doors. The viewer learns that these two couples have in fact pretending to be together for over three years, as they are four gay best friends who are unable to be with their true spouse who is in the opposite couple. One night each week they secretly meet so they can forget about the dystopian practices being undertaken outside. This one night makes all four of their lives bearable, but they do so at the risk of being discovered at any moment. This imagined reality means they are not subjected to having to put on a facade, yet the growing fear and paranoia fuelled by the growing isolated tensions outside the home filters into the dinner party discussion. As the majority of the action takes place within the confines of the house, the dramatic music and long, sweeping shots reinforce the claustrophobic intensity of the dynamic these couples are forced into by their situation. The acting between the four leads feels natural and works well at bringing out the frightening and desperate situation that they find themselves in. The current political climate and media such as #TheHandmaidsTale reinforce that imagined dystopian futures such as the one portrayed in Hiding in Daylight are not far from becoming reality. In its short running time, Hiding in Daylight successfully captures the intense paranoia felt by these couples. With this dystopian future being fully realised and captured, it feels as if the film is over too quickly and ends just as the action really gets going.

★★★★ Directed by: #YenLiangChen Animation by: Yen Liang Chen BFI London Film Festival Review by: #ChrisOlson #Animatedfilms are highly reliant on their sound design in order to be successful. Whilst traditional cinema also needs to decide on the best approach to soundtrack, score, and effects to suit the story being told, animation cannot rely on natural sounds in the same way as a filmmaker shooting their film in the woods or desert can. Every part of the sound design needs to be purposeful and entrancing in order to submerge the viewer into the animated film and this is something filmmaker Yen Liang Chen does sublimely with her #LondonFilmFestival qualifying short film Am I Oright. Using everyday sounds as the foundation for her movie, which then utilises 2D #animation to reflect its story about an artist’s journey through the wonder that is creation. On the artsy side of animation, Yen Liang Chen delivers a spectacularly versatile piece that never lets the audience feel like they can predict what will come next. The visuals are engaging and vibrant, with colour and movement being used to place the viewer in a state of contemplation and abstract thought as they experience the fluidity of the storyteller’s bizarre state. The pacing of the #shortfilm is its biggest strength, allowing a sudden drop in the tempo that was useful in resetting our expectations of the piece before moving into the final section which was almost euphoric. Contemplative cinema, in particular in an animated movie, is going to find a willing audience at the #BFILondonFilmFestival where the tastes of the attendees are so eclectic, but the wider, mainstream audience are likely to find it difficult to penetrate the film’s point without knowing more about the mission statement of the #filmmaker. With no performances and an unorthodox narrative, hopefully audiences will take time to appreciate the use of such a simplistic art form that is delivered in an intelligently crafted (and complex) manner. The result is a short film wired into the experience of the artist, which can be so many things at the same time.

Film Feature by #ChrisOlson Hitting East London 13th - 18th November, the Fringe! Queer Film Fest will play host to a spectacular array of #LGBTQ short and feature length films. The film festival has been running since 2011 and has accrued a loyal and dedicated fan base in London, the UK, and internationally. Now #filmmakers are submitting some astonishingly impressive movies. In this #filmfestival feature, I am giving a few snippets of 5 films to catch at the 2018 Fringe! Queer Film Fest. When The Beat Drops Directed by Jamal Sims, When The Beat Drops is the opening film for the Fringe! Queer Film Fest and from the look of this clip rightfully so. The film focuses on the fairly unknown American movement of Bucking and is a unique combination of sport, dance, and society. The feature length film will open the festival on Tuesday 13th of November at 8:30 PM at the Rio Cinema. Tickets (at last check) were still available to purchase from the festival's official website - see the end of the article. A Winter To Remember On Wednesday 14th November, the UK premiere of A Winter To Remember will hit the Genesis Cinema at 9:00 PM. Directed by (and starring) Cecilia Venezuela Gioia, the film tells the story of Lucia, an anxious person whose new relationship with the free-spirited Olivia could open up a brand new world for her. The LGBTQ story is set in #urban Argentina and should be a delightful rom-com for audiences to enjoy. Shorts: The Draggery And The Ecstasy On Friday November 16th audiences can throw themselves into an array of #shortfilms at Hackney House for FREE. One of a number of short film selections at the Fringe! film festival, this particular set includes director #RobEagle's short #documentary Sixty Nine Club (trailer above) which pays tribute to Britain's oldest gay leather club. The event should also have a Q&A so make sure you stick around for that. The Wiz - Singalong Like your movies interactive? Be part of the audience at this singalong event at the Rio Cinema on Friday 16th November. The 1978 film directed by Dir Sidney Lumet, starring Diana Ross, Michael Jackson, Richard Pryor, and Lena Horne is sure to bring in a big and enthusiastic crowd. Viewers are advised that dress-up is encouraged (pretty much mandatory). Wild Nights With Emily And of course, the closing film, Wild Nights With Emily directed by Madeleine Olnek. Starring Molly Shannon and Amy Seimetz, this American production is sure to see the Fringe! Queer Film Fest off in style. A film about the secret life of Emily Dickinson, the film has already scooped up numerous awards and festival nominations across the globe. Playing at the Genesis Cinema on Sunday 18th November at 8:30 PM. And there you have it, a small selection of the fantastic films being shown at the 2018 #Fringe! Queer Film Fest. For more details of their event this year as well as links to where you can buy tickets, head over to http://www.fringefilmfest.com/fringe-2018/ If you are planning on attending the movie and would like to review the films you see, check out the video below...