It's Never Too Late (To Say You're Sorry) film review by UK film critic Joe Beck. Starring Liam Pennington directed by Craig Hamilton. HOME | FILMS | REVIEWS It's Never Too Late (To Say You're Sorry) Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Aug 21, 2022 Directed by: Craig Hamilton Written by: Liam Pennington Starring: Liam Pennington ‘It’s Never Too Late (To Say You’re Sorry)’, has that distinct feel of an indie, debut short film, which all great short films possess. It demonstrates the talents of the writer, director, and actors, potentially providing them with a footing to further their careers in the world of film, whilst also telling an interesting, coherent story. Of course, the downside, though in the long run it often turns out to be the upside, of such films, is that they are inherently flawed, with the unpolished edges of a fledgling filmmaker such as Craig Hamilton. This is one of the finest recent examples of such a film - a handheld, nine-minute short, shot as though the filmmaker has something to prove, but also something to say. ‘It’s Never Too Late (To Say You’re Sorry)’ follows Ste (Liam Pennington), as he seeks to find peace with a childhood friend with whom he has long since grown distant towards. Now middle-aged, Ste hasn’t spoken to his friend in 22 years, when they had one of those familiar fallouts over a girl. The film is filled with wonderfully nostalgic anecdotes about the things the two got up to in their childhood - the fun, the games, the bending of the rules. There’s talk of pubs and plimsolls and terrifying next-door neighbours - the sorts of things which all seemed like major events when we were young, but now we’ve all grown and experienced the world they seem rather inconsequential, and a safe space to cast our minds too. Ste’s Gran once said to him “don’t hold grudges because you only end up hurting yourself”. It’s a lesson we could all do with learning, or else we are left with a void of despair and hatred. That void is only explored when emotions are unlocked, as ‘It’s Never Too Late (To Say You’re Sorry) shows with a truly emotional gut punch. Though that would have been an apt place to conclude, the film then runs a little past its stay, as a song kicks in which doesn’t quite match the sombre tone of the rest of the film - it’s one of those slight missteps. 
 Whilst, the film is tender in its portrayal of this broken friendship, you do wish that it would dwell a little longer on the event in question which split the friends up, though you wonder whether this was intentional - the past is merely a memory, after all, and we shouldn’t let it affect our future too such a great degree. That is, however, a relatively minor quibble with ‘It’s Never Too Late (To Say You’re Sorry), which is, for the most part, a caring story of how important it is for us to treasure our friendships, and cling onto them should they bring us joy. This is a short film with so much heart, that it’s impossible not to feel emotional at times, as it strikes a chord with every human being on the planet. We all know that feeling of losing a friend, whether it be abruptly disagreeing, or a slow drift apart, it is a familiar course for all of us. The film tells us not to let go, and right now, as we live in dark times, that’s a message more important than ever. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Another Day film review by UK film critic Alasdair MacRae. Starring Gráinne Good, Alan Hall directed by Daniel Topic. HOME | FILMS | REVIEWS Another Day Film Review average rating is 4 out of 5 Critic: Alasdair MacRae | Posted on: Jan 13, 2022 Directed by: Daniel Topic Written by: Alan Hall & Gráinne Good Starring: Gráinne Good, Alan Hall After a spontaneous hook up, Sam (Alan Hall) and Sinéad (Gráinne Good) rekindle the lost romance of their youth. Is this a chance for them to start anew or are their other commitments too big a hurdle to overcome? Guitar strings reverberate. A bittersweet melody forms over a sequence of shots of the couple looking at one another. Their eyes meet, their hands’ press against each other. As they touch, the memory of their love surfaces. The tempo of the music picks up, it verges on excitement. Their hands move together, dancing. They push through the centre of the screen into focus as everything around them fades into a soft blur. A beautiful cinematic opening. Then comes the rude awakening. The couple are forced to confront reality and the serious discussions of ‘what next?’ begin. Even though much of the dialogue is hard to swallow, Good and Hall truly sell the feeling of the narrative with their performances. The tenderness in their longing glances. The gentleness of their voices. The intimacy of their relationship feels believable. They make the everyday tragedy of an opportunity for a new beginning feel like the only thing that matters in the world. Together they give nuanced, filmic performances that justify the minimalistic style. The sparse bedroom set works mostly as a blank canvas allowing some variety in movement, but the visuals are largely structured around punctuating close-ups. The sound design works to distil the actors’ voices and is manipulated at times to isolate the couple’s memories to great dramatic effect. The film is bookended by a second montage. During the finale, there is a heart-fluttering visual expression that is a little clunky in execution but expresses the sentiment of the short as succinctly as the opening. This kind of experimentation is what makes watching short films exciting. The kind of risks that pay off. Ultimately, Another Day is a very accomplished short in which every member of the crew seems to contribute to more than one core aspect of the film. It is visually and audibly emotive thanks to DoP-editor Alba Skottowe and sound designer-musician Michael Smith. Producer-writer-performers Alan Hall and Gráinne Good are compelling and engaging on-screen. Altogether this comprises an impressive fully-formed directorial debut for director-editor Daniel Topic. It is a joy to see the convergence of such talent to craft what is undeniably a moving experience. Buy UKFR Banner Space About the Film Critic Alasdair MacRae Short Film < All Reviews Next Film Review >

Watch The Night Out at the 2022 UK Film Review Festival. See the UKFRF 2022 lineup and buy your festival pass. The Night Out Listen to our review on the film podcast What our film review said: READ FULL REVIEW Fun and yet foreboding, The Night Out is a true example of excellent filmmaking within the short film genre. With the importance of young women being made to confront the dangers of the real world as they reach adulthood, this directorial debut by Jordan Burbank is sure to strike a chord with anyone who watches it. Proudly supporting MediCinema for our 2022 film festival.

One of the Good Ones film review by UK film critic Jason Knight. Starring Tom Paolino, Roderick Garr, Amy Zubieta, Jacob A. Ware directed by Julie O'Hara. HOME | FILMS | REVIEWS One of the Good Ones Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Mar 6, 2026 Directed by: Julie O'Hara Written by: Vincent L. Scarsella, Julie O'Hara Starring: Tom Paolino, Roderick Garr, Amy Zubieta, Jacob A. Ware An indie crime comedy legal drama directed by Julie O'Hara, written by O'Hara and Vincent L. Scarsella (based on his novel Lawyers Gone Bad ) and starring Tom Paolino, Roderick Garr, Amy Zubieta and Jacob A. Ware. Dean (Paolino) is an honest prosecutor in Buffalo who works at the Lawyer Disciplinary Office. He is dedicated to his profession, however his personal life is going through challenging times. When he finds out that an attorney ostensibly committed suicide, he and his investigator, Stu (Garr) set out to uncover the truth that they suspect is related to the deceased's partner, Susie (Rosanna Pfeifer) and the District Attorney, Sam (Ware). The narrative begins as a comedy about the legal industry, before entering more dramatic territories. The main concept is Dean and Stu playing detective, trying to solve the mystery of the dead lawyer. Simultaneously, Dean is struggling with the loss of his child, does his best to support his troubled wife and attends meetings for alcoholics. Oh, and he is also trying to start a relationship with one of his colleagues, Kat (Zubieta). Overall, the story is intriguing and the screenplay can be humorous one moment and the next it can turn serious and Ludek Drizhal's light-hearted music contributes well to the atmosphere. The amusement reaches high points when Dean breaks the fourth wall and says some rather unflattering comments and with the appearances of an awkward man named Perry (Bill Kennedy), who hangs around at a bar frequented by Dean and Stu. As the main protagonist, Dean is a determined, clever and wisecracking guy who is willing to fight for justice. In his working life he is a prosecutor and in his personal life he is torn apart. Sam could be described as the antagonist, a corrupted D.A. who is cheating on his wife. Kat is a very nice woman, who serves as Dean's love interest. Although his on-screen time is brief, Kennedy manages to make his character a memorable one, wearing a camo jacket and saying outrageous theories. With a plot that concentrates mainly on murder and suspense, this film explores the legal industry, including corruption and justice. From a different perspective, it is also a story about loss, alcoholism, self-reflection and romance. This feature succeeds in being humorous, however, it would be more accurate to describe it as a crime thriller and a drama about personal struggles. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Hatred film review by UK film critic Holly Baker. Starring Brian Patrick Butler, John Shaughnessy directed by Brian Patrick Butler. HOME | FILMS | REVIEWS Hatred Film Review average rating is 3 out of 5 Critic: Holly Baker | Posted on: Oct 6, 2025 Directed by: Brian Patrick Butler Written by: Brian Patrick Butler, Alvin Schwartz Starring: Brian Patrick Butler, John Shaughnessy Hatred (2015), directed by Brian Patrick Butler, is a short horror film set on a desolate farm. In this hostile environment, something sinister seems to lurk as two brothers gradually lose their grip on reality. This film effectively creates a sense of terror using its menacing setting. Similar to Ti West’s Pearl (2022), the characters’ pastoral environment is conveyed as uninviting and harsh. The isolated nature of the farm, combined with the scorching heat and exposure, contributes to the film’s sense of despair. The story is ambiguous, which works for the most part; however, it feels a shame that little is explored into who the characters are. The viewer is given very little information about the two brothers; their presence on the farm is unexplained, and not much is given away about their personalities. This unfortunately means in the film’s moments of climax, audiences lack engagement, as we do not know who we are rooting for or why certain moments are depicted the way they are. One of the brothers’ mental breakdowns is the main plotline of the film. He appears to suffer with severe anger issues and has prejudices which contribute to his suffering. Through a series of nightmare sequences containing ghoulish images, we witness his struggle to identify reality from dreams. This culminates in a disturbing, tragic ending where he cannot begin to process what is in front of him due to his mental instability, namely his inability to identify reality as such. The film’s initial shot is striking, enhanced with the eerie sound design and jumpy editing. Viewers feel immediately unsettled, then quickly intrigued by the contrasting bright summer skies which fill the screen immediately afterwards. This initial opening, however, poses questions which the film does not exploit to their potential. The clip is played repetitively, although it is never expanded upon. This editing method is effective in the sense that the film maintains its sense of ambiguity but, unfortunately, means the film lacks the element of buildup, which is vital in the horror genre. Robert Eggers’ The Lighthouse (2019) has a similar structure and narrative to Hatred, using a single location and combining deadpan comedy with disorienting images to create a sense of nonsensical horror. The Lighthouse also incorporates developing plot points and characterisation to create a meaningful story, making it able to be scary and uncomfortable whilst also being consistently endearing to watch. By lacking structure and characterisation, Hatred fails to engage its viewer in the same way as The Lighthouse. There are too many aspects left unexplained for the moments of horror to have the impact they need to. Hatred , whilst falling short in its horror elements, poses interesting ideas about masculinity and identity. There is no indication of when this film is set, and in this timeless world, politics hold no logic. The film depicts the consequences of a warped idea of traditional masculinity. Through surrealist imagery surrounding identity and the patriarchy, the film depicts how key societal concepts, such as religion, hierarchies, and what it means to be a man, or even a person, completely lose their significance when people are completely isolated. One of Hatred ’s characters is a scarecrow who, by breaking very basic boundaries, demonstrates a major difference between a functioning society and one ruled by insanity. The idea of identity losing all meaning is an interesting point of discussion, as the fear of losing one's individuality is a fascinating topic within the horror genre. Here, the basic concept of the self is abandoned, and the accepted laws of the world are twisted. Hatred depicts this gruesomely, but unfortunately, without the alluring captivation that the horror genre often charms us with. Buy UKFR Banner Space About the Film Critic Holly Baker Short Film < All Reviews Next Film Review >

The Mirror Game film review by UK film critic Joe Beck. Starring Teya Patt, Michael Tennant, Kenny Ridwan directed by William J. Stribling. HOME | FILMS | REVIEWS The Mirror Game Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Jul 30, 2023 Directed by: William J. Stribling Written by: Marissa Flaxbart Starring: Teya Patt, Michael Tennant, Kenny Ridwan Las Vegas is a city known for its wild nights. All the casinos, the post modernist hotels, the clubs. Elvis, Adele, Lady Gaga have all had lucrative residencies in the city. It’s the city where people go for bachelor and bachelorette parties, for wild holidays and one night stands. Ross and Rachel were married there (again), Brad Pitt, George Clooney and co. pulled off a series of impressive heists, and Nic Cage got stuck there. William J. Stribling’s ‘The Mirror Game’ is another wild night in Sin City, though the success of this wild night is less clear than the aforementioned films and tv. The neon lights of the strip shine brightest on those who dare, and in ‘The Mirror Game’ that is Rose (Teya Patt), a frustrated single woman in her late thirties in Vegas for a friends bachelorette party. She’s checked into one of the numerous hotels to meet her old childhood friend Abe (Michael Tennant), a man whose hyperactivity is only countered by his own cynicism, for a catchup, with the latter in Vegas for a bachelor party himself. Rose would rather chill in the hotel room, which incidentally has been accidentally to have a king sized bed, than spend the night catching up at some casino, and so the two reminisce on old school days and bring each other up to date with their lives until Rose asks for a life altering favour from Abe. ‘The Mirror Game’ follows in the vein of films such as Richard Linklater’s seminal ‘Before’ Trilogy, and the filmography of Wong Kar Wai in its questioning of love, desire, friendship, and a whole host of other issues in the modern world. Its failure to reach a level of profundity, or to achieve the serenity offered by such films, is frustrating, but not a fault unto itself. Rather the issue is that it tries to cover such a broad range of themes and issues, many of which without the depth necessary, and that the writing by Marissa Flaxbart is so intent on being punchy that it goes to hard, becoming incredibly irritating rather than philosophically emotional. This is not for a lack of trying, and there are moments, particularly surrounding ideas of love, marriage and desire, and what those things mean that are genuinely well-thought out and contain a well-constructed argument. However, around other themes - i.e. modernity, feminism, and technology - the ideas fall flat, and are generally less interesting, with more stuffy dialogue that doesn’t zing in the same way certain other lines do. Although both Teya Patt and Michael Tennant are more than competent actors whose chemistry is believable and sometimes charming, with Tennant’s delivery of ‘what like do sex?’ Incredibly funny, they nonetheless fail to hold the film together in these less interesting moments, with Tennant’s Abe particularly coming across as an overacted caricature. There’s a lot going on with ‘The Mirror Game’, and whilst not all of it works, when it does, it is a sumptuously refreshing meditation on twenty first century values and life for people in their late thirties. Buy UKFR Banner Space About the Film Critic Joe Beck Indie Feature Film < All Reviews Next Film Review >

Hip-Hop Hears You film review by UK film critic Jason Knight. Starring Sofia Falade (aka IAMSTARZ), Ikenna Ekwonna, Bardya Rezaei directed by Kieran Retief. HOME | FILMS | REVIEWS Hip-Hop Hears You Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 26, 2022 Directed by: Kieran Retief Written by: Kieran Retief Starring: Sofia Falade (aka IAMSTARZ), Ikenna Ekwonna, Bardya Rezaei As the title suggests, the main subject here is hip-hop music. In this interesting documentary, three individuals are interviewed regarding the hip-hop industry. These three people are: hip-hop singer and songwriter IAMSTARZ and hip-hop fans Ikenna Ekwonna and Bardya Rezaei. From start to finish, they provide their opinions about the world of hip hop. They answer questions about how hard it is to make it into this industry, what has been the best time for this kind of music so far, how it has changed throughout the years, who its icons are and so forth. Their answers create an informative picture of hip-hop and reference various famous hip-hop artists. With a running time of approximately ten minutes, this documentary manages to be an educational and amusing viewing. Apart from promoting hip-hop, it introduces the audience to three great individuals, who come across as friendly and intelligent and it is a joy listening to them as they enthusiastically share their knowledge, opinions and experience. The interviews were shot in black-and-white and the film frequently cuts to footage and pictures that are in colour. The footage contains hip-hop concerts and scenes from music videos with singers including Biggie Smalls and Missy Elliott. The photographs show various hip-hop artists such as Tupac Shakur and Soulja Boy. The beat that is used as background music was a very good choice, as it provides a kind of hip-hop feeling. This short documentary is an intriguing achievement that pays homage to hip-hop music, provides an insight into its popularity and reveals some of its icons. Fans of this music genre should definitely check this one out. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film, Documentary < All Reviews Next Film Review >

The House That Stood film review by UK film critic Jason Knight. Starring Matteo Accardi, Claudia Cara, Simona Lamorgese, Giovanni Garone directed by Antonella Spirito. HOME | FILMS | REVIEWS The House That Stood Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Sep 10, 2024 Directed by: Antonella Spirito Written by: Antonella Spirito Starring: Matteo Accardi, Claudia Cara, Simona Lamorgese, Giovanni Garone In Italy, during the Second World War, a young couple's blissfulness is destroyed by the arrival of Nazis. Set in San Pietro Avellana in 1943, this one-hour-long feature tells a war story primarily through the eyes of simple people. The storyline centers at a struggling inn that is run by members of a family that include a youth named Camillo (Accardi), his mother, Giovanna (Cara) and her sister. Soon German soldiers arrive and occupy their village and decide to utilise the inn as their base. The owners reluctantly comply and regardless of the situation, Camillo carries on with his life and attempts to begin a romance with his long-time friend, Bianca (Lamorgese). However, even this will come to an abrupt end when the Nazis bomb the village. The film is separated into three chapters, each with its own title. The first two are in black-and-white and take place during the war years, while the third one is set in 1959 and is in colour. The decision to use colour in the postwar part was probably done to highlight the presence of a more peaceful time. The main concept is people's lives being affected by war and that is explored through the family at the inn who unwillingly gets caught in the conflict. Giovanna is deeply upset that the Nazis take over the inn and Camillo loses touch with Bianca. These facts represent some of the things that are lost by armed conflict, such as relationships and possessions and people's control over their own lives in general. As dark and hopeless things get, hope arrives in the form of the Allies. The film has its heartbreaking moments, nevertheless, it also points out that with inner strength and support, love and strong bonds can survive even the most devastating events. Looking at the characters, the screenplay does a decent job in exploring them. Camillo is the main character, a shy young man with a good heart who wants to survive and be with Bianca, a nice girl with a family who keeps a close eye on her. Camillo's mother is clearly proud of the inn as is devastated when she loses control over it. The only Nazi member who is characterised is Otto (David Paryla), an officer who appears to have respect and principles. Interestingly, the fimmakers included archive footage of WWII in several parts of the feature. The decision to include these creates an even bigger atmosphere of that period. Costume designer Eliza Douglas deserves recognition for the realistic period clothing and so does composer Lorenzo Ceci for the dramatic score. Commendations also go to Spirito for the wonderful directing that includes many great shots. On the surface, this is a World War II drama. Digging deeper, it is also a love story, a story about survival and to some degree, a coming-of-age film. It is a story about desperation and massive struggles and also about courage, support and love. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Alice (2022) film review by UK film critic Alice. Starring Keke Palmer, Common, Johnny Lee Miller directed by Krystin Ver Linden. HOME | FILMS | REVIEWS Alice (2022) Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Mar 17, 2022 Directed by: Krystin Ver Linden Written by: Krystin Ver Linden Starring: Keke Palmer, Common, Johnny Lee Miller Long after slavery was abolished, Black families were still held against their will in the rural American south, and through lies and isolation were convinced that they belonged — like slaves — to the white families whose land they worked for free. It was incredibly uncommon, but it was Mae Louise Wall Miller’s life until 1960. 1960! Miller’s story inspired first-time writer/director Krystin Ver Linden to make Alice , a testament to knowledge, representation, and the power of Pam Grier. Alice (Keke Palmer, who also produces) has lived her entire life on an isolated Georgia plantation as a “domestic” (code for slave) to Paul Bennett (Johnny Lee Miller). Cruelty, rage and fear finally spur her to run, and she winds up on a highway with no context for the world of 1973. 1973 has very little context to understand Alice, either. There’s no avoiding comparisons to Gerard Bush and Christopher Renz’s 2020 film Antebellum . Where that uneven Janelle Monáe-led vehicle raged with modern horror, Ver Linden’s film takes a decidedly blaxploitation direction. Bennet had taught Alice to read, but only so she could read to him for his enjoyment. This one gift is enough to fuel a passion for knowledge. Pair that with the inspiration of Pam Grier in Coffy , plus the encouragement of truck driver and one-time activist Frank (Common) – who nearly ran her down as she escaped to the highway – and Alice is ready to return for her family and some tasty revenge. Palmer finds a true north for her character, and she never leaves that course. Alice’s grief, pain, confusion, fear, and finally righteous rage are never showy, always authentic. Frank’s arc is a little more superficially drawn, but Common gives the character tenderness that brightens the film. No psychotic plantation owner will ever live up to the unfathomable evil of Michael Fassbender’s Edwin Epps in 12 Years a Slave . Still, Miller’s brand of cowardly, narcissistic villainy is chilling. Period detail and visual storytelling are both strengths for Ver Linden and her cinematographer, Alex Disenhof. But the film — this year’s Sundance winner for dramatic feature — has some pacing problems it can’t entirely overcome. Alice falls into three very distinct acts, none of which move. The story itself is very deliberately built, but the way scenes are stacked offers no sense of momentum or urgency. This meandering quality robs the film’s climax of some of its power. But Alice mainly overcomes this weakness by telling the truth about the power in knowing who you are. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

What We Share film review by UK film critic Joe Beck. Starring Hannah Steele, James Graeme directed by Maya Avidov. HOME | FILMS | REVIEWS What We Share Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Oct 23, 2023 Directed by: Maya Avidov Written by: Joseph Andrews, Maya Avidov Starring: Hannah Steele, James Graeme We share a lot in common with our parents, after all, we carry on their genes and have their DNA in our bodies. Our parents shape the basis of our appearance, whether that be sharing a hair colour or eye colour, or the frame of body, or even a disfigured toe. But there’s more that we share with our parents than just appearance - we more than likely share interests, with parents passing down many of their interests to their children, as well as personality traits. If someone’s father is prone to fits of anger, there’s a good chance that his daughter may share that same trait. We can also share more nuanced things that stem from the shared experience of living in the same house, that could be anything from little rituals to the same quirks in the morning routine, and these are some of the bonds which strengthen our connection to our parents. ‘What We Share’ focuses on the shared trauma between a father and a daughter, and how although that trauma stems from the same place, it has ultimately driven them apart to a place of irreconcilable resentment. Maya Avidov’s film depicts the tension between Deborah (Hannah Steele) and Brian (James Graeme) in an engaging manner, inviting the audience not to take a side, but rather wait for all the cards to be played before making a judgement on whether such tension and bitter hatred, largely on Deborah’s behalf, is justified. This creates an atmosphere in which you’re constantly waiting for the next turn of hands, which though at times predictable - indeed, the major plot point driving the division is blatantly obvious - nonetheless keeps you on edge waiting to see which one of them is going to twist the metaphorical knife and really dig into the other. The script, written by Avidov and Joseph Andrews, excellently builds this tension between the two, which, aided by the eerie silence when Brian first opens the door, is a constant throughout. Brian walks into an eerily empty house, reacquainting himself with his old home having just returned from a stint in prison, and looking around all the rooms remorsefully at the lack of furniture or ornaments. He sleeps on the mattress on the floor, not ready to return to his old bed, and we feel pity for the old man because he is clearly a man who has lost the spark of joy in his life. Brian is as surprised to see Deborah as she is to see him - and they amble around tense opening exchanges full of awkward silences until Deborah instigates the conflict between them, vocalising the divide which before had been made obvious by their silence. James Graeme and Hannah Steele both give excellent performances, inviting the viewers support for each of them, and handling the combative exchanges between them in a manner which could have easily come across as overacted. Instead, the dynamic between the pair feels natural, and the resentment Deborah has towards Brian feels natural and built in. Although certain elements of the plot are painstakingly obvious and predictable, ‘What We Share’ is nonetheless a fine example of tension between two characters who play off each other remarkably well, and how that tension can translate to a finely crafted film. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Country of Blind film review by UK film critic Jason Knight. Starring Shoib Nikash Shah, Hina Khan, Pradhuman Singh, Inaamulhaq, Namita Lal directed by Rahhat Shah Kazmi. HOME | FILMS | REVIEWS Country of Blind Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 22, 2023 Directed by: Rahhat Shah Kazmi Written by: Rahhat Shah Kazmi Starring: Shoib Nikash Shah, Hina Khan, Pradhuman Singh, Inaamulhaq, Namita Lal A man stumbles upon a lost village inhabited by blind people. In the 18th century, during a mountaineering expedition in the Himalayas, a young man (Shah) is separated from his group when he falls down a mountain. After wondering through uncharted nature, he eventually discovers a small village in a valley where all the residents are blind. The villagers capture the man and name him India after he tells them that is where he is from. The villagers are actually good and accept the new stranger into their community. Although initially India longs to leave the village, he begins to embrace their way of life and becomes romantically involved with a young woman named Gosha (Khan). However, India's behaviour will bring trouble. Based on H.G. Wells' short story The Country of the Blind , one thing this feature from India has going for it is the intriguing plot: a small community isolated and unknown to the rest of the world, where everyone has been born blind for centuries and have created a peaceful way of living that allows them to enjoy life to the fullest and without the need to see. The villagers can hunt for food, do farming work and utilise ropes and footpaths made out of stones in order to get around. They are organised, with their own celebrations and the one with the highest authority is called The King. They believe that the place they are living in is the entire world and are unaware that there is such a thing as seeing. They are happy with what they have and only want what they need. They are a community that has been forgotten by time, with houses made out of materials provided by nature and clothing that consists of hides. The story focuses on India as he becomes familiar with this extraordinary place and romances Gosha. Although he finds happiness with her, he tries to tell everyone, including The King (Singh) about the world beyond theirs, however they do not believe him. His frustration with their stubbornness creates a lot of waves, especially with Paras (Inaamulhaq), an unfriendly man and one of the village's protectors. Shah's character is a protagonist who means well, yet whose presence only appears to be polluting the villagers' way of life, bringing conflict and fear, as he is torn between his love for Gosha and his desire to return to his world. Gosha is a gentle woman whose character represents the good and blissfulness that governs her peace-loving village. The opening montage deserves a lot of praise due to its creativity and the mise-en-scene mentioned above is impressive, with costumes by Zeba Sajid. Kazmi directs very well, creating some wonderful shots of landsapes that are supported by the cinematography of Luxmi Chand (Pinku). Regarding the audio, Saptrishi Ghosh provides the narration and the music is dynamic, entertaining and romantic and there are some beautiful songs that add value, especially during the romantic scenes between India and Gosha. This is an interesting period adventure film that is also a romance, a fish-out-of-water story and a journey of self-discovery. It centres around a place hidden from the world, where life is happy and simple. The main messages appear to be that it is the simple things in life that matter and that some things should remain unchanged. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film, World Cinema < All Reviews Next Film Review >

Chimera film review by UK film critic James Learoyd. Starring Dibyendu Chakroborty, Kunal Chakroborty, Swadhina Chakroborty directed by Seemonta Halder. HOME | FILMS | REVIEWS Chimera Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Aug 7, 2024 Directed by: Seemonta Halder Written by: Seemonta Halder Starring: Dibyendu Chakroborty, Kunal Chakroborty, Swadhina Chakroborty Chimera is a hard-hitting, immersive drama told from a very specific and challenging perspective. It’s incredibly inventive on numerous levels, but there’s a deeply serious topic of discussion at the heart of the film for Alzheimer's will always be the most sensitive of subjects for a lot of people. One which – when depicted in art – you hope is represented respectfully. The story is based around a family’s domestic life but with a focus on the older man who experiences the disease and takes us on an excruciating journey. Coming away from this new short, it’s difficult to reckon with what it’s trying to be in relation to the degenerative disease. Since it impacts so many people and loved ones, it’s important it be depicted and discussed in fiction; however, when the piece of fiction in question chooses to simply represent the experience – not offering emotional context or resolution – should we admire its raw qualities or disapprove of its being turned into artistic spectacle? Only the individual viewer can truly answer that question, and I presume that the filmmakers either had first-hand experience with what’s being portrayed or conducted the appropriate research, thus I don’t doubt its core intentions. Having established the movie’s tricky territory, let’s explore the formal qualities of Chimera to see what we can extrapolate from its making as opposed to its content... The absolute best thing about this particular work is the amount of vivid and interesting visual ideas at play – attributed both to the cinematography / direction as well as the set design. This film uses elemental, textural attributes in ways very few modern short films do: the fascinating incorporation of reflection, shape, shadow and artificial blurring is unique and evocative. There’s a pleasingly cyclical nature to the movie – starting and ending with the hypnotic but slightly chilling image of a ceiling fan. Mirrors are frequently composed beautifully within the frame, and terror is evoked through the isolation of a subject. You have to admire these innovative techniques -- uncommon since they’re not so much filmic techniques as they are ideas related to staging, blocking, and design. The overall sound design is quite stunning, but there’s a perplexing use of ADR which is jarring at first; however, it arguably suits the tone and premise of the film for being vaguely disjointed and unnerving, similar to some early scenes in David Lynch’s Mulholland Drive. What this displays is a wonderful sense of ambition and deep thought about cinematic construction. But this doesn’t negate the fact that the viewer may feel uncomfortable for potentially the wrong reasons (or not, depending on said viewer) – there’s a viscera to some moments which I’d normally admire, but we pull back because we don’t know what the greater meaning is besides being in the character’s pained headspace. This is the conflict we have as the spectator. Many will not wish to watch Chimera due to its content, yet those who do I’m sure will admire some of its technical aspects. Undeniably immersive and unusually structured, the film is a most valiant, fascinating effort. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film, World Cinema < All Reviews Next Film Review >