★Directed by: #JulieRobinson Starring: #ZarahHillHenderson, #RossSheldon Short Film Review by: #DanGunderman One might think a hooded reaper-type already has enough "Me Time", lurking in the shadows, but a #shortfilm from writer and director Julie Robinson suggests otherwise. The movie pivots from a younger woman bathing to a Ghostface-reminiscent intruder quickly leaving his bloody mark – for his haunting is quite “heartfelt.” The plot boils down to the young protagonist enjoying a bath but quickly tiptoeing to the halls to see what’s pursuing her. Me Time is a bizarre project which boasts workable visuals and eerie ambience from cinematographer Allen McLaughlin. Jenn Ruxton offers up compatible music, but Robinson’s motivation is too unclear, for the work has gratuitous violence as it strives to be a sort of blend between the overt gore of Scream with the lure of the occult from something like Hereditary. The film is essentially composed of three scenes: one showing a curious bather, another showing her investigation of the creaky floorboards and finally, the strange final images back in the tub alongside an iPod Classic. The naked victim is played by Zarah Hill-Henderson, and her work is passable as she exits the tub amid her morbid curiosity. Ross Sheldon’s portrayal of the hooded Grim Reaper-type – who illuminates the hall with his red eyes – is largely immeasurable, but he fits somewhere in just an offbeat attempt at horror. The short film carries perhaps one “jump scare,” but also a few inconsistencies – namely the Reaper’s weakness as he stalks his victim (Hill-Henderson) in the hall, and then the protagonist’s decision to turn her back on a hellish villain in order to cover up with a fallen towel. The sequence seems uneven, as does the ensuing bloodletting and the Reaper’s Hannibal Lecter moment in the tub (and, there was no Chianti!). One can certainly see the #filmmakers had the right intentions – staging the eerie scene with proper set pieces, quality lighting and passable editing. Horror fans might be apt to view longer-form or feature-length projects from Robinson, as the aforementioned production values were certainly in place for Me Time. But on its own merits, the 2018 project falls flat – with a bizarre slasher sequence and some gratuitous violence accompanied by unanswered questions. If one element is clear, it’s that both the living and the undead – or whatever our “Reaper” friend is – enjoy Apple products and a good tune. It’s a shame, however, that they couldn’t do so together. That may have made for a better outcome. Me Time is a quick, two-minute watch, but you’ll no doubt leave with eyebrows raised in mild disapproval. #ShortFilmReviews #ShortFilms #Horror #DanGunderman #JulieRobinson #ZarahHillHenderson #RossSheldon #1Star

★★★★ Directed by: Emmanuel Finkiel Starring: Mélanie Thierry Film Review by: Matt Weiner So a screenwriter, the president of France and a spy walk into a café… have you heard this one? If so, you might have read the book La Douleur (War: A Memoir for the English translation), an autobiography by Marguerite Duras based on diaries she allegedly wrote during World War II. Duras rose to fame as a writer, garnering a screenplay nomination for the Alain Resnais-directed Hiroshima mon amour. That film’s novel treatment of memory and chronology echoes throughout Memoir of War, adapted from Duras’s book and directed by Emmanuel Finkiel. Mélanie Thierry plays the film version of Marguerite, whose recollections span the waning days of Vichy France through the Liberation of Paris, the end of the war and the immediate aftermath of Europe reckoning with news of the Holocaust. If this sounds like a lot of history to cover for one movie, it would be—except Marguerite’s reflections are unconcerned with straightforward chronology. Her diaries and narration compress time and memory into one long, all-consuming reverie for her captured husband, Robert (Emmanuel Bourdieu). It makes for a deliberately disorienting experience, one that Finkiel pulls out a few tricks to heighten: there’s the nauseatingly atonal strings of the soundtrack, as oppressive as a horror score. But most effective is the way Marguerite’s memories of these monumental years unfold so frequently in claustrophobic interiors. We get the entire moral arc of world war by way of smoky Parisian rooms. As the war winds down and Robert’s fate seems more and more dire, Marguerite retreats both mentally and physically. And we experience the two most triumphant moments—the Liberation of Paris and what should be another happy occasion after the war—through Marguerite’s furtive glances out the window, like gossamer filters keeping the reality of the world at large a step removed from ever being something she can attain herself. It’s a demanding role, and it rests almost entirely on Thierry to hold everything together even as her character seems to slip in and out of time. She pulls off resolve with gusto, and even tempers it with a haunted uncertainty that feels completely natural as the enormity of the Holocaust becomes clear. Memoir of War is a difficult film to get a handle on. The Resistance intrigue is discarded as quickly as it starts to take shape. The historical romance is mostly MacGuffin. And the war barely leaves the cafés, let alone the city. The slipperiness is apt though. Marguerite’s memories are their own fog of war, and the author’s real-life diaries play coy with authenticity vs. artistic liberty. Finkiel pieces together a fitting adaptation, and if the parts never hold together long enough to say some cohesive whole, at least he can say he makes us feel something Marguerite would recognize. #EmmanuelFinkiel #MélanieThierry #MattWeiner #movies #film #moviereviews #filmreviews #worldcinema #warmovies #memoir #MemoirofWar

Interview by Chris Olson Due to kick off on Friday 13th of April, the London Independent Film Festival (LIFF) will play host to a fantastic selection of indie cinema, including short films from newcomer filmmakers. I had the chance to catch up with Natasha Marburger from the festival to speak about this year's event. Who are you and what do you do for London Independent Film Festival? My name is Natasha Marburger and I am the Festival Director for the London Independent Film Festival. I am also a Producer – I have made shorts, features, music videos, branded content and TV, and I'm now raising finance for my second feature which is a supernatural thriller. I also teach film courses and run networking events throughout London. This year sees the festival turn 15! What makes the festival so popular with movie fans and filmmakers? I think it's popular because it's so relaxed and you can meet the filmmakers and have a drink with people from the industry in an informal environment. LIFF showcases mostly films by first- and second-time directors and films shot on a micro-budget, so we are the industry event for newcomers and their fans who have supported them to get this far. What can attendees expect this year? We have a fantastic line-up of shorts, features, documentaries, animation, etc. We are also doing some additional events as well as one hosted by Film London who is our newest supporter. Are there any special events or workshops alongside the screenings? There will be an Opening Night Networking Party at 6pm on 13th April. There will be a Film Quiz hosted by the Film Festival Doctor on 15th April. There will be a Film London workshop on 21st. Finally we will close LIFF 2018 with an Awards Ceremony and Closing Night Party on Sunday 22nd April. Everything will take place at Kino Bermondsey in Borough. Will any noteworthy filmmakers be in attendance? A selection of the filmmakers from the festival will be there, as well as some exciting industry guests. You'll have to come to find out for yourself who is in attendance! Can you tell us anything about the venues you will be using? We will be holding all events and screenings at Kino Bermondsey, which is an independent cinema in Borough and is therefore perfect for LIFF. Where can people get tickets? The full schedule of films and events as well as tickets can be found at http://www.liff.org/tix/ What would you say if you were a dolphin? Enjoy life and live it to its fullest. Remember to have fun and enjoy the ride! #FilmFestivals2018 #Interviews #UKFilmFestivals #FilmFestivals #ChrisOlson #LondonIndependentFilmFestival #LIFF #NatashaMarburger #London

★★ Directed by: Dom Lenoir Starring: Matt Hookings, Justin McDonald, Michael McKell, Alan Ford, Hannah Waddingham, Ian Pirie, Olwen Catherine Kelly Indie Film Review by: Jack Gibbs Winter Ridge centres on detective Ryan Barnes (Matt Hookings), a once idealistic upholder of the law now eking his way through an oppressively numb existence after a fateful car accident threw his wife into a coma, with only his colleagues Tom Harris (Justin McDonald) and John Faulkner (Michael McKell) providing the motivation and moral support he needs to go on – atop doses of medication. Focusing on his duties as best as he is able, Barnes is called to the site of a sudden and suspicious death. At first, it merely seems coincidental, but as shady doings become unveiled, as the body count starts mounting, and as the man responsible for his wife’s state appears to become increasingly involved, the situation swiftly turns dark as what looks to be a simple hunt for an inveterate killer is gradually revealed to be something far more sinister. Despite how intriguing all of that sounds on a surface level, however, Winter Ridge unfortunately has almost nothing to offer that hasn’t already been featured in this particular genre of film. You have your grizzled veterans, your red herrings, your shady set-ups, your characters who act too calm and composed or too pleasant for their own good and a through-line that can be guessed at almost every beat, and although the film makes an honest effort at trying to provide a rationale for the eventual antagonist that does stray from the established norm, the resolution comes across as ham-fisted, excessively symbolic and even rather silly. It does, however, offer up a kernel of uniqueness – that is, in its focus on both the nature of coping with creeping dementia and how its sufferers experience it, and the matter of coping with loss and moving into the future. To Winter Ridge’s credit, these subjects have not been too well-explored within the field of crime dramas, I feel, and for that, at least, it is to be commended. The earnest nature of the performances on display, on top of a light smattering of decent cinematography courtesy of some sweeping vistas and rolling plains that conjure up an image of solitude and desolation, are just about the only other thing keeping Winter Ridge from falling under the average benchmark that it sets. Matt Rookings plays Barnes with genuine conviction, providing audiences with a compelling if short-lived portrait of a man equally devoted to his duty and struggling with his personal demons. Alan Ford, though sadly not quite playing a role like his iconic turn at Brick Top in Guy Ritchie’s Snatch, shines in his brief scenes as Dale Jacobs, a painter and family friend of Ryan’s who is struggling with his dementia and, consequently, debating whether or not his life is truly worth living. Ian Pirie also delivers a remarkable performance as Mike Evans, a troubled man propelled onward by a resolute desire to protect his daughter, as his past wrongdoings prove to be a point of conflict between Ryan and himself. The rest of the cast, however, are hit and miss, plain at best and outright forgettable at worst, and a few noteworthy characters cannot save a film from mediocrity. It may well provide a passable amount of suspense and thrills for its incredibly fleeting running time, and it is a film that tries to carve out its own niche in a genre where so many of the old paths have been well-trod, as small as that particular niche might be. Respectable technical prowess, decent performances and a handful of eye-catching shots, however, cannot save the overall plainness of the narrative, nor can they remedy a script almost entirely lacking in meaningful substance or stand-out moments. It is worth a viewing on its own, but it is far from as chilling as the name may suggest. #LIFF #LondonIndependentFilmFestival #IndieFilmReview #JackGibbs #DomLenoir #MattHookings #JustinMcDonald #MichaelMcKell #AlanFord #HannahWaddingham #IanPirie #OlwenCatherineKelly

Written and Directed by Nicholas Connor Starring Leanne Best, Katie Quinn, Max Vento, Gemma North, Crissy Rock Short Film Review by Chris Olson Inspired by the thousands of carers in the UK, in particular young carers, Nicholas Connor's short film Cotton Wool is a deeply emotive and humbling watch that manages to combine crippling tragedy with life affirming tenderness. Turmoil hits this unassuming family when single mother Rachel (Leanne Best) suffers from a debilitating stroke. With only her teenage daughter Jennifer (Katie Quinn) and young son Sam (Max Vento) to look after her, Cotton Wool is a short film that explores the shift in dynamics which occurs when parents stop being protectors and require their children to fill those boots. Told with sincerity and care, Connor immerses his characters in the central conflict of Jennifer. How she evolves and adapts to the new role she has unwillingly inherited becomes the major plot point for the audience. Quinn handles this with a strong turn that improves markedly in the final third. Donning the stroppy teen guise initially did not really work, coming across flat, in particular during a scrappy scene with her chums. However, later sequences where she faces up to her new responsibilities by being there for her family are well performed. The highlight of Cotton Wool, though, is Leanne Best. Her showstopper performance as a stroke victim is superb, as is her character's anguished struggle to embrace the nightmarish realisation that she can no longer fend for her kids in the same way. Moments of disturbing psychological torment are well captured, and there is a particular scene of Rachel out of focus on a sofa which was utterly enrapturing. Gemma North, who plays care worker Liz, is also great. Contributing a great deal of pathos and empathy into her dialogue. The emotion of the characters and storyline is wonderfully enhanced by a fantastic score by Benjamin Squires. Piano is used particularly well to elicit immense tragedy alongside moving moments of human kindness. The music and use of slow motion was another great example of where Connor balances his elements brilliantly. Affecting and heartbreaking, Cotton Wool serves as a worthy tribute to the amazing work of carers up and down the UK. The themes of love, tenderness and culpability are expertly judged to accompany a moving story with excellent performances. #ShortFilmReviews #ChrisOlson #ShortFilms #Drama #NicholasConnor #KatieQuinn #LeanneBest #GemmaNorth #CrissyRock #LittleWingFilmFestival

★★★★ Directed by: Katja Benrath Written by: Brix Vinzent Koethe Starring: Marian Meder, Bendix Thuenke, Friederike Linke, Sebastian Kaufman Little Wing Film Festival Review by: Chris Olson Magic and child abuse have never been coupled so well than in Katja Benrath's short film (written by Brix Vinzent Koethe) Where Have You Been (AKA Wo Warst Du). An enriched cinematic experience that pulls many things out of the hat, including a bunny rabbit. Marian Meder plays Pit, an unenthusiastic magician for hire who plays children's parties and other venues. Whilst his routine fails to elicit much of a response from the bored looking audience, one child in particular (Bendix Thuenke) is particularly intrigued when Pit manages to make something disappear, a magic trick that could solve his harrowing home life. Cleverly paced and achieving an increasingly darker tone as the narrative advances, Where Have You Been is a textured film that relies on the audience's growing sense of peril. The execution of this is intelligently done and Benrath directs the cast with precision and consistency, which is not always easy when you have child actors. Fortunately, Benrath benefits from some great casting, in particular Thuenke, who proves himself capable of carrying a weighty role without undermining the drama with inexperience. Instead, he is engaging and captures a lot of his character's hidden secret using physical performance. Meder is also excellent as the unwitting anti hero, bringing in the film's small moments of humour excellently. There was a slight impotence to the final third of the movie. The act started to come together but the reveal (or prestige if you will) lacked any larger sense of gusto. Instead the threads were tied together in a predictable manner and the audience leaves with a tidy narrative. That being said, the combination of themes in Where Have You Been is excellent. Innocence, heroism, childhood, abuse and more are thrown into the show and although there is not a huge amount of time to explore them all the mixture is cinematically intoxicating. #LittleWingFilmFestival #LWFF2018 #FilmFestivals2018 #FilmFestivals #ChrisOlson #WorldCinema #Drama #ChildAbuse #KatjaBenrath #BrixVinzentKoethe #MarianMeder #BendixThuenke #FriederikeLinke #SebastianKaufman

★★★★ Directed by: Jacopo Manzari Written by: Jacopo Manzari Starring: Paolo Graziosi, Ahmed Hafiene, Jacopo Manzari Little Wing Film Festival Review by: Chris Olson With a brilliantly sculpted central character, Jacopo Manzari’s short film Shalim Goodbye is full of incredible nuances and character development. The lead performer, Paolo Graziosi, delivers an eccentric and hilarious portrayal of an older gentleman who decides to become a paternal figure to his hired helper (Ahmed Hafiene) as a way of showing his feeling of betrayal at the hands of his surfboard salesman son (Manzari). Littered with fabulous set pieces and a curmudgeonly spirit, Shalim Goodbye blends a lovely sense of comedy, drama, and intrigue into its story that is as entertaining as it is compelling. Whilst audiences are chortling at Graziosi’s portrayal of his character’s urination routines, they will be met shortly after with a heartfelt narrative of Hafiene’s character’s troubled backstory. This is done smoothly, without jolting the viewer out of the atmosphere, and has a remarkably lasting effect. It was a shame that the plot unravelled slightly in the final third, with a few plot points which seemed to skip too fast. The investment in the characters had been built so well that the ending felt slightly underwhelming. The script is intelligently written, giving the film a sharper edge than most of the genre, and this is then pounded on by Graziosi, who goes to town with his performance. From mispronouncing Shalim’s name to confronting diners who seem abhorred by his public urination, his turn should be celebrated, under the clever direction of Manzari. Hafiene is brilliant as the humble worker who wants to support his family and not offend his employer in equal measure. Some of the short film’s best moments involve this character being tempted by different vices and his reaction to these was believable and gracefully performed. Manzari as the black sheep is well rendered, completing the dynamic of the ensemble. Had more attention been given to the ending, this could have been one of the best shorts of the years. The dialogue is wonderful, the performances are excellent and the themes of loneliness, regret, and love are beautifully sculpted without being overly preachy. As it is, Shalim Goodbye is a compelling if chaotic watch that is still definitely worth your time! Even if it does make you need to pee a bit. #ShortFilmReviews #ShortFilms #ChrisOlson #WorldCinema #LittleWingFilmFestival #FilmFestivals #JacopoManzari #PaoloGraziosi #AhmedHafiene

★★★★★ Directed by: Charlotte Wells Written by: Charlotte Wells Starring: Jamie Robson, Michelle Duncan, Lewis McGowan, Thoren Ferguson, Ruth McGhie Little Wing Film Festival Review by: Chris Olson Affecting and terrifically layered, Charlotte Wells’s short film Blue Christmas is a stark reminder that Christmas films can still be hugely poignant. Her kitchen sink drama approach to her movie is perfectly crafted, with a phenomenal central performance from Jamie Robson. Robson plays a debt collector who decides to use his Christmas Eve as the perfect opportunity to come knocking on the doors of those who owe the bank. Whilst his methodology is seen as scandalous by the local community, few know that the real reason this character wishes to be chasing cash on a cold winter's day is to avoid being at home with his wife (Michelle Duncan), who suffers from mental illness. Set in the late sixties in a blustery Scottish coastal town, Blue Christmas creates a formidable atmosphere from the start, one which becomes increasingly dramatic as the story progresses. There is copious amounts of drama on offer, but also superb moments of comedic relief and compelling tenderness. The mise en scéne is brilliant presented, from the poorer living rooms of our protagonist’s prey to the breathtaking climax of the short film which will strike a chord with even the hardiest of audience members. As a big fan of Christmas movies, it was incredibly refreshing to see a short film tackle the season in a way which paid homage to the genre’s trappings whilst delivering a story which was immensely relevant and hard-hitting. The darker undertones of the piece are not done to starkly contrast the festive season, instead, they are superbly combined to reflect a moving (and often forgotten) notion: Christmas is a time where family gets a very central focus whether we want it to or not, and can often unearth raw scars we pretend not to see the rest of the year. #ShortFilmReviews #ShortFilms #ChrisOlson #LittleWingFilmFestival #LWFF2018 #5StarFilm #FilmFestivals #CharlotteWells #JamieRobson #MichelleDuncan #LewisMcGowan #ThorenFerguson #RuthMcGhie

★★★★★ Directed by: Nikita Trocki Written by: Nikita Trocki Starring: Alexandre Trocki, Mara Taquin, Thomas Beelen Little Wing Film Festival Review by: Chris Olson Offbeat French comedy Dispersion is a wonderful combination of the road trip movie (think a downsized Captain Fantastic) with the poignant drama of a family in the process of grieving the loss of their mother. The result is a wickedly funny short that resonates long after it finishes. Written and directed by Nikita Trocki, Dispersion stars Alexandre Trocki as a father planning to embark on a journey with his kids in their little yellow family car. Also strapped in is the mother, whose ashes reside in an urn. Oh and there's a giant sausage strapped to the roof. Sounding barmy? We are just getting started. What ensues is a zany variety of haphazard encounters, misunderstandings, and physical comedy that is ultimately hugely affecting. Comedy writing is often quoted as being the most difficult, and whilst the validity of that statement is certainly up for debate, it cannot be doubted that Trocki's screenplay is masterfully crafted. Combining excellent dialogue, characterisation, and plot points, Dispersion rolls out sublimely for audience who get just enough of the multiple genres to immerse them into the narrative without becoming overwhelmed by the chaos or having them miss out on the poignancy of the storyline. A delicate balance that the filmmakers maintain spectacularly. Alexandre Trocki is fierce in the leading role, coping brilliantly with the physical demands of the character as well as the emotional heft. Mara Taquin, who plays the daughter is also excellent, riffing on the troubled teenage girl trope with a refreshing approach. Thomas Beelen as the younger son is also great, in particular a thread involving a blindfold that is one of the best moments of dry humour I have seen this year. Shout out to the editing in the film too, a demanding task given the film's tone and atmosphere. The speedy execution of the sequences was perfectly aligned with the nature of the storyline and complemented the characters well. Fans of quirky comedies that also have a strong grounding and message will be in their element with Dispersion, a film that captures an innate sense of human reaction to tragedy and takes it for a spin in a yellow bug. #ShortFilmReviews #ShortFilms #ChrisOlson #LittleWingFilmFestival #LWFF2018 #FilmFestivals #WorldCinema #NikitaTrocki #AlexandreTrocki #MaraTaquin #ThomasBeelen

★★★★ Directed by: Charlotte Rolfes Written by: Fentje Hanke Starring: Lucas Prisor, Dejan Bucin, Little Wing Film Festival Review by: Chris Olson Told with a degree of sterility, Charlotte Rolfes’s short film Samira, written by Fentje Hanke, is also a very human watch. The tale, which explores numerous themes and politics issues, is at heart a story about love and kindness in the modern age. Lucas Prisor plays a translator working at the Hamburg port. He is called to a freight ship one night to assist the authorities with removing a stowaway who plans to kill herself if she is not allowed to continue her journey. After promising to aid her, the refugee is swiftly arrested and our protagonist plans move on with his night. However,the consequences of his betrayal are a lot more than he bargained for. Brilliantly plotted and engaging throughout, Samira benefits from a tidy screenplay that is not afraid to be brutal with it's narrative or characters. The cold, clinical approach to the filmmaking is essential to capturing the tone of the story and allows the audience to sink into the journey, being completely immersed by the plot without any unnecessary trappings of emotional melodrama. The dialogue is sharp yet effortless, creating a brilliant sense of everyday misery and tragedy in what is in fact such a nightmarish situation. The political themes that are served up feel all the more villainous given the effect they have had on the general public, who seem to have had to adopt a completely uncaring demeanor in order to survive the current climate of exclusion for the sake of self-preservation. On top of this, Samira explores the role of the individual in society's troubles, and how sacrifice can mean such different things to different people depending on their circumstances. Prisor is wonderful in the lead role, coping well with the emotional weight of the story whilst delivering a character who is in a crisis of conscience. His interaction with roommate and partner (Dejan Bucin) is excellent, if underdeveloped. Should a feature length version of Samira ever appear, and I for one really hope it does, I would love to see the relationship between them further explored, in particular their opinions on the situation they find themselves in and how this could affect their connection. Rolfes proves hugely capable of delivering a short that is teeming with intelligent, thought-provoking material in a way that is engaging and compelling. The filmmaking is precise and inventive, utilising numerous locations well and the story is delivered with an increasing sense of intrigue. The only let down was the avoidance to fully connect the audience with the characters, which, whilst having a potent political point, ultimately left the short film powerless to fully enlist the support of the viewer. #ShortFilmReviews #ShortFilms #ChrisOlson #LittleWingFilmFestival #LWFF2018 #FilmFestivals #UKFilmFestivals #CharlotteRolfes #FentjeHanke #LucasPrisor #DejanBucin

★★★ Directed by: #SeatonLin Written by: Seaton Lin Starring: #LexiMoeller, #ChaseMcGuire, #MeganLee Indie Film Review by: #HannahSayer In Seaton Lin’s directorial debut Rumour from Ground Control, Lexi Moeller plays Erika Graesen, an investigative reporter with a troubled past. In this neo-noir #thriller, Erika is researching a classified mission which resulted in a crew of astronauts being killed. The film begins with Erika meeting a secret source who provides her with footage that proves there is more to this disaster than first appears, and he suggests that corruption is at the heart of it all. Erika’s editor warns her good reporting isn’t shaping up to her metrics. She is a talented researcher yet gets the lowest traffic on her articles. The partners will let her go as they aren’t just interested in her talent for a good story; she needs to deliver on her metrics. Rumour from Ground Control follows Erika and her cameraman Jeffrey, played by Chase Mcguire, as they chase leads and find themselves getting closer to the truth. Erika’s determination to uncover what has been going on comes down to the fact that this story is the same as the one which her father reported on before he was murdered. The strong acting from the lead and the rest of the cast means it becomes easy to be drawn into the story from the get go and the story they are investigating seems believable. Lexi Moeller’s performance in particular is effective in portraying Erika’s determination and her detachment, as she seems to be completely focused on the job at hand yet the viewer isn’t given access to her inferiority. It is hard not to admire the character of Erica; a woman who is determined to get to the heart of a story, and inform the public of what is really going on. The #cinematography is engaging and the use of shadow in certain scenes reinforces the neo-noir influence. There are some haunting sequences of images involving memories of Erika’s father and her imagining his death involving fire which are evocative and fully capture how her past and pain are interlinked, and how her past fuels her determination and her drive to uncover the truth about what is really going on. However, the complex plot can feel quite convoluted and difficult to piece together. There are lots of characters involved, some still being introduced over an hour into the film’s running time, and the film requires some deciphering to fully grasp the intricacies of the mission and the corrupting forces involved. Rumor from Ground Control is a well-acted and detailed debut feature film which is both hard to pin down and hard to forget. ABOVE: the official #movietrailer - Rumor from Ground Control is now playing on Prime Video.

★★★★ Directed by: #ReeceBeckett Written by: Reece Beckett Starring: Reece Beckett and #LukeBeckett Short Film Review by: #RachelPullen Doing lots of things, lalalalalalal, I do lots of things lalalalalala, I’m Reece Beckett lalalalalala, I made a movie, and wrote a movie, and edited a movie, and starred in a movie....lalalalalalala, I’m Reece Beckett. Oh I’m sorry, have you not been paying attention? I like triple threats, and once again I have been blessed with another one to write about, the lovely Reece Beckett, and not only do I get to talk about him, but I also have the pleasure of discussing his new short film Gone. Now I could harp on about my triple threat fetish, which is normally they way my film reviews go, or I could actually be good at my job and talk about the movie, so hold onto your seats as I avoid my usual ramblings to write...well normally. Gone is a #shortfilm which is a silent study of grief, and in this case the loss of a family member, this mood is entirely set by the opening shots; shots of street lamps, snow and photographs around the home with 2 sons, thematic shots to remind us of memories and the absence of someone in the home, and of course the single photograph of a young son, staring directly at the camera, breaking the fourth wall. We are almost taken on a tour of the family home, following what can be assumed to be the older brother as he gets ready for school, we are made to feel welcome as a member of the audience and a member of the family, there is no script so these collective shots of the homestead build up a sense of connection for us, they allow us to be invested and care about the boy on screen, about the loss and grief he is facing. Beckett slices in hope and comfort through this desert of despair and grief, with a simple display of affection from the little brother’s ghost (I assume he is a ghost as when the older brother turns to see who touched him no one is there, so he is either a ghost or an Olympic track runner). A simple hand on the shoulder, a sign of human contact and connection as the older brother clearly is in despair about the loss he is going though. Beckett has been brave with his almost silent film, as well as subject matter, it speaks to his skill set that he has been able to convey such strong emotions on screen with no dialogue and very little human interaction in the frame, and this short is a credit to his ability to use themed shots and metaphorical representations. In conclusion: Beckett is a busy bee, Gone is a short film is an interesting exploration into the isolation felt after the loss of a loved one, I can be serious and not crack jokes every couple of paragraphs (which took all my strength and will to achieve)...and jokes will resume next week.