★★ Directed by: Adrian Konstant Starring: Adrian Konstant, Bob Cook, Derek Lackenbauer Indie Film Review by: Richard Tanner In a 2016 interview with the Toronto International Film Festival, Tatiana Maslany spoke candidly about Canada as nation and how it affords people a breathing space that enables creativity. Going largely unnoticed, the country and its cinema has been somewhat overshadowed by its loud eye catching neighbour to the south. And it’s all the better for it. While the US has caught the rest of the world yawning and fed it until its full, then fed it some more, Canada has been explore and do brilliant things. From the fearless documentaries of Alanis Obomsawin, to the striking cinematic worlds of Xavier Dolan, Canada breathes cinema. Bubbling under the surface for some time and with the recent breakout of directors such as Dolan, Molly McGlynn and Kathleen Hepburn, Canadian cinema looks set to erupt. “There's something about the space in Canada. There's a lot of breathing room and that breeds creativity...always creating work because there’s so much space to create, and not a lot to do.” – Tatiana Maslany It’s this lack of a better idea that chimes so well with Bickermans Grove and the forces that were in play in getting this film made. A light hearted Canadian comedy, Bickermans Grove is set within a small and close knit rural town, trudging its way through winter. Here the snow filled landscape and lack of any worldly context creates a comedic absurdity, both in the characters and their actions, but also in the films objectives. The films loosely bound premise centres on two brothers and their stereotyped families, who vie against each other in the hope of turning on the towns Christmas lights. The family who succeed will inherit their father's fortune, which in this instance turns out to be a house identical to the ones they currently live in. So, the stakes couldn’t be higher. “In Norway and in Sweden they have the same brutal winters we have, and they come up with death metal...In Canada we come up with comedy.” – Being Canadian (2015) If there’s one thing you can’t take away from Bickermans Grove is its sense of fun. It’s lack of ego and utterly ridiculous plot make the 86 minute run time all the more bearable. With the occasional punch of witty dialogue, scene matches and a duck taped structure, Konstant shows himself to be a relatively competent director whose main pursuit is a good laugh. But with so much fun comes a lack of form. The characters are quickly fleshed out preventing any sense of empathy or understanding for the audience. They have nothing to lose. So when they do trip up, we don’t really care. The shot choices also seem rushed, lacking the considered angles and tools that have been vital to so many great comedic characters of the past. Take for instance Konstant’s framing of a fight. Along the snowy bank of an empty road, he opts for a close up of this scuffle, forcing the actors to provide the laugh. Whereas the wide angle and distance used so well by the likes of Buster Keaton, would have allowed the environment and surroundings to heighten the laugh, with two men fighting in an absurdly barren landscape. Despite the rather lacklustre end product, especially in the wider context of the new and emerging Canadian cinema, Konstant finds this “breathing room”. Surrounded by a freezing Canadian winter, he refuses to let the environment contain his ambitions. Having recently spent my own long winter in rural Canada, I’m all too familiar with this landscape and its ability to do just that. In the barrenness and quiet that comes with the season, people can idle away the hours waiting for some semblance of greenery and warmth to return. But it’s this idling, this lack of a better idea that sprouted creativity, a creativity that has become so rooted across Canadian culture. Where I packed my bags seeking the slightly more familiar climbs of a grey Edinburgh afternoon, a Canadian found humour and the will to create. #IndieFilmreviews #IndieFilms #RichardTanner #AdrianKonstant #BobCook #DerekLackenbauer

★★★★ Directed by: Björn Runge Starring: Glenn Close, Jonathan Pryce, Annie Starke, Harry Lloyd, Christian Slater, Max Irons Film Review by: Hope Madden You guys, Glenn Close has never won an Oscar. That’s insane, right? She’s been nominated 6 times—Albert Nobbs, Dangerous Liaisons, Fatal Attraction, The Natural, The Big Chill, The World According to Garp—but never won. I get the feeling she’s looking to change that. Björn Runge’s big screen adaptation of Meg Wolitzer’s novel The Wife sees Close as Joan Castleman. Joan’s husband Joe (Jonathan Pryce) has just won the Nobel Prize for Literature. The film shadows the Castlemans as they receive the news, celebrate the win and head to Stockholm to receive the award. Through flashbacks we’re privy to the relationship between young Joe (Harry Lloyd) and Joan (Annie Starke—Close’s daughter) as it develops. Close is perfect—steely brilliance, her character a wily manipulator of situations whose growing intolerance of her life threatens to crack the polished surface that has adorned this marriage for decades. The entire film—and every sacrifice, struggle and misery of Joan’s life—plays out on Glenn Close’s face. Close ups reveal not only the resignation and resilience of Joan’s life, but the depths of Close’s talent for communicating her character’s essence. Everything you need to know—about Joe, about marriage, about being a woman, and about Joan’s particular misery—is etched on Close’s countenance. The rest of the film just verifies what you’ve learned. Nearly equal to Close is Starke, who not only looks the part but whose characterization easily communicates the same studied behaviors Joan will eventually develop into a masterful façade. Jane Anderson’s screenplay tends to overstate, which is unfortunate. The simple interplay between Close and Price—jubilantly nailing the narcissist whose selfishness cannot be contained—more potently unveils and reveals than any clear-cut narrative scene ever could. Not that you’ll remember the needless extras: flashbacks illustrating an early pattern of sacrifice; parties and ceremonies depicting Joe as an attention whore incapable of recognizing his wife’s anguish; the slippery biographer (Christian Slater) or mopey son (Max Irons) clamoring for attention. What you’ll remember is Close, delivering, as is her way, a tour de force performance that may finally land Close her own glittering acknowledgment. #BjörnRunge #GlennClose #JonathanPryce #AnnieStarke #HarryLloyd #ChristianSlater #MaxIrons #movies #film #entertainment #moviereviews #filmreviews #HopeMadden #FilmReviews #TheatricalReleases

★★★ Directed by: Morgan Dameron Starring: Alixzandra Dove, Graham Beckett, Connor McGee, Deanna Russo Short Film Review by: Darren Tilby Feeling almost theatrical in its performances and modest in its direction, Crossing comes across as a bit of a mixed bag; a film perhaps unsure of how exactly it wants to convey its message: should it tell its story through humour or should it use sentimentality? In the end, the film attempts and dilutes both. However, under its jumbled and often inconsistent facade lies an overtly profound and beautiful essence. Beginning with a series of long-shots to introduce us to our characters, who stood either side of a quiet desert road, seem to have a predicament: Finn (Graham Beckett) is afraid to cross, conjuring an assortment of excuses not to, each more ridiculous than the last. The set-up alone appears absurd, almost laughable. But this isn’t a film to be taken with any literal intent. Viewed metaphorically, the lonely road becomes a representation of Finn’s fear of the future — and the film suddenly makes much more sense. The dialogue between our two main characters makes clear the film’s true intention, serving its purpose admirably: as Betty (Alixzandra Dove) urges, “Come on, our future awaits!” Finn replies, “...who knows what the future holds. Anything is possible.”. There’s no doubt the film does a very good job of getting its message across in a way which is coherent, without feeling the need to spoon-feed the viewer information. Nevertheless, the film does feel slightly muddled in places. The theatricality of the performances, the overly dramatic movements, and deliverance of lines works to a point, but does feel forced and clumsy in places: and this (at least for me) made the humorous elements of the film feel a little immature, which grated on me at times. The second act of the film – a flashback sequence of a young Finn (Connor McGee) being bullied and later confiding in his mother (Deanna Russo) – is where the true heart of the story lies. The importance of childhood experience – good and bad – is felt very strongly here, as is the significance of Finn’s relationship with his mother: the wisdom imparted to Finn at this young age by a trusted and much-loved figure is shown to have shadowed him through life; affecting the way he overcomes fear, even many years on. In this way, our loved ones never truly leave us; something I think we can all appreciate and relate to. Underneath its absurdist and sometimes confused exterior belies a warm, loving and profoundly beautiful tribute to the people and experiences of our youth and the lessons they teach us. Crossing may have failed to resonate with me on a comedic level, but emotionally it really hit the spot: towards the end of the film, as Finn crossed the road, I couldn’t help but smile and feel immensely proud. Crossing, in spite of its flaws, is a wonderfully uplifting movie. #ShortFilmReviews #ShortFilms #DarrenTilby #MorganDameron #AlixzandraDove #GrahamBeckett #ConnorMcGee #DeannaRusso

★★★ Directed by: Sunny Dhillon Written by: Sunny Dhillon Starring: Sunny Dhillon, John Hutch, Laila Phillips and Darren Swain Short Film Review by: Hannah Sayer Sunny Dhillon’s short film Only God Knows has played across the festival circuit and sees him take on the roles of writer, director and actor. He plays a once top ranked boxer Dominic Corella who lost his wife and is dangerously close to losing his daughter too. The short film explores many themes, but its handling of religion makes it one to watch. Only God Knows opens on the aftermath of a fight where Dominic Corella has been defeated. Blurry and shaky camera movements show the disorientated state he is in and the voiceover informs that he is not living up to his past successes as a boxer. The story cuts to his daughter Lucy, played by Laila Phillips, ill in a hospital bed. There is nothing the hospital is able to do to save her and their only option is to seek and pay for treatment in America. He is unable to pay for this treatment and the surmounting pressure coupled with the traumatic events of his past have ended up shaping him and his performance as a boxer has suffered. He still remains determined to fight in the tournament coming up, even though everyone around him believes it is time for him to hang up the gloves. This all leads Dominic to the church where his late wife used to visit, where he talks to Father John, played by John Hutch, all about religion, his past and why his faith has been tested. Dhillon’s performance as Dominic Corella is extremely layered. Only God Knows becomes a thoughtful and contemplative character study within the scene set in the church between Dominic and Father John, as the discussion between the two characters captures a nuanced portrait of trauma and overcoming adversity. As the short film slowly unravels more and more layers to the character, Dominic becomes more complex and there is more to the role than what is first hinted at from the beginning. The pacing of the short film is well thought out, as not revealing all of Dominic’s past traumas straight away means that this intriguing character study develops intricately over time. Only God Knows unravels slowly and it is in the quiet moments which the performances really shine, particularly in the aforementioned church scene between Dominic and Father John. The short film manages to explore overarching themes of overcoming trauma, grief and adversity, while also contemplating how religion has an effect, regardless of whether you believe or disbelieve in God. #OnlyGodKnows #ShortFilmReviews #SunnyDhillon #JohnHutch #LailaPhillips #DarrenSwain #HannahSayer #Boxing #Religion #FilmFestivals

★★★★ Directed by: Michael Matthews Starring: Vuyo Dabula, Hamilton Dhlamini Film Review by: Rachel Willis How does one make a film that's uniquely South African yet still feels like an American western? Director Michael Matthews and writer Sean Drummond answer that question with the stunning Five Fingers for Marseilles. From the beginning, Matthews evokes Sergio Leone's A Fistful of Dollars trilogy. Four boys stand facing each other, hands at the ready, waiting for a sign to fire their slingshots. When it comes, Tau, The Lion, stands victorious. It's a scene that sets the tone for a film that not only calls up classics like Leone's, but also Yojimbo. Tau is described as ruthless and mean, but he's also filled with an anger that makes him reckless. In apartheid-era South Africa, small enclaves such as Railway – a district within the city of Marseilles – are at the mercy of their oppressors. As Tau and his friends argue about how to resist the police that fleece them, he insists on using more than sticks. His brother, Zulu, demands he exercise caution. However, when a friend is threatened with brutality, Tau's anger leads to a careless decision. When he flees the scene of his crime, he not only leaves behind his friends but his responsibility. Those left behind suffer because of "The Lion"'s heedless anger. Decades pass before Tau returns to Railway. The town seems the same though apartheid has ended. Police still shake down the citizens, but another sinister element has also descended on the town, a gang led by a fearsome man known as The Ghost. Though Tau seeks to return untroubled, he is inevitably called to his former role as protector. It's a familiar story, and the political backdrop of a South Africa trying to find its way after apartheid lends itself well to the retelling. As Tau, Vuyo Dabula is a perfect representation of the man with no name. Though he is The Lion, a man with a past full of brutality, he seeks to start anew as Nobody. It's the sinister nature of the world around him that draws him back into a world of ferocity and lawlessness. There are few villains as perfect as Sepoko, also known as The Ghost. Every moment Hamilton Dhlamini is on screen, the tension escalates. The masterful score only magnifies this malevolent figure. With desolate landscapes, brutal violence and characters with questionable moral compasses, Five Fingers for Marseilles is not only a magnificent Western, but an exquisite film. #VuyoDabula #HamiltonDhlamini #RachelWillis #movies #film #entertainment #moviereviews #filmreviews #FiveFingersforMarseilles #SouthAfricanfilms #Westerns #SeanDrummond #FilmReviews #TheatricalReleases

★★★★★ Directed by: Christiano Dias Starring: Corey Page, Lisa Roumain and David Jay Short Film Review by: Annie Vincent An eerie peep into post-Cold War paranoia, Hurricane, is gripping yet thoroughly uncomfortable viewing. Intelligently scripted and beautifully produced, it is a high-quality short that will draw audiences in, though they may wish it hadn’t. One night in 1950s America, Eva is serving her husband dinner, row upon row of canned goods stacked up on the shelves behind her. She’s worked hard with shoddy ingredients, but as she approaches the table, she has to set her perfect-housewife face. The mood is tense and it becomes clear that her husband, Oslo, can be a difficult man to please. He seems cold; he stares her down; he criticises her cooking, only to over-dramatise his love for the meal once she’s delivered her insipid response to his put-downs. He seems to be a man intent on winding up his wife and oddly, she seems to like it, her smile betraying an odd attraction to him. Mid-way through dinner, their radio cuts out and Oslo recalls a conversation with his neighbour John, last week: his radio had also cut out. When he’d taken it apart, he’d found a microphone the size of his fingernail. Since that conversation, Oslo hasn’t seen John and he’s convinced it has something to do with the microphone – clearly a listening device placed there by the Communists. Eva teases that he’s been taken in by them, incredulous at her husband’s paranoia, but Oslo doesn’t see the funny side. Then suddenly, there is a knock at the door and plucky young Ben is admitted, looking to sell a newspaper subscription though Oslo thinks otherwise and decides he must get a handle on this situation quickly. The performances from all three actors are excellent, but Corey Page is a marvel. Immediately, he strikes viewers as slightly dark, antagonistic, mean, but as the film continues his paranoia is perfectly pitched and increases until he does his very worst, completely confident that he is doing the right thing and is catching a ‘Commy’. He manages to take the character from 5 to 500 in minutes, but carries you with him and you don’t for a second doubt him. Part of his believability rests with Roumain (Eva) and Jay (Ben) whose reactions help hold the film just on the right side of believable. Roumain smoulders from the beginning, but controls it and pares it back as Corey’s characterisation dominates and Jay puts in a confident performance as the frightened boy, taunted by his captor. The little touches in the production really bring Hurricane to life, from the old radio transmissions to the set design and low lighting, but the script really shines as the audience is held on the cusp of a laugh, only to shy away from it again when it becomes a slight or a maniacal rant. Viewing is uncomfortable, but that is the beauty of this piece: its madness is captivating because it hovers on the edge of reality. #hurricane #darkcomedy #lisaroumain #ChristianoDias #CoreyPage #LisaRoumain #DavidJay #AnnieVincent #ShortFilmReviews #ShortFilms

★★★ Directed by: Shane Black Starring: Boyd Holbrooke, Olivia Munn, Jacob Tremblay, Sterling K. Brown, Trevante Rhodes, Keegan-Michael Key, Thomas Jane Film Review by: Hope Madden Shane Black loves him some Eighties, doesn’t he? The over-the-top machismo, the sentimentality, the tasteless and insensitive one-liners—the writer/director revels in every opportunity to splash those (and some blood and entrails) on the screen as he reboots The Predator. This is the sixth installment, if you count the Alien vs. Predator films, so Black has his hands full finding a fresh perspective. First things first: a damaged, hyper-masculine male lead who uses humor to mask his pain. Enter Quinn McKenna (Boyd Holbrook, Logan). A US Army sniper, McKenna and his men are in Mexico after some baddies and some hostages when a predator ship crashes. McKenna faces off with the nasty before making off with some of his gear. Then he’s in a bar/post office in Mexico. Then he’s in custody. How did he go from A to B to C? Nevermind that! There are predator dogs this time! There are a lot of those odd gaps in action logic, but since when is narrative clarity the point of a Predator movie (or a Shane Black movie, for that matter)? In many ways, Black is the ideal candidate to reawaken the sport-hunting franchise. He clearly loves it, and he should, having played the small role of Hawkins in the 1987 original. Black takes pointed but affectionate shots at the source material and celebrates much of what made it (and most of Schwarzenegger’s 80s output) so fun. Holbrook is a serviceable lead that Black quickly surrounds with a team of soldiers (Trevante Rhodes, Keegan-Michael Key, Thomas Jane). What kind of bunch are they? Rag and tag! Olivia Munn jumps in as a scientist who drops f-bombs, Jacob Tremblay is inarguably cute, and Sterling K. Brown (characteristically mesmerizing) plays the villainous military dude. The story touches on humanity’s path to extinction, as well as our own evolution. That last part leads to some questionably respectful commentary on folks on the Autism spectrum. (Folks with Tourette’s can expect the same level of respect you might find in an Eighties action film. Or a Norm MacDonald interview.) The FX are good. Not War for the Planet of the Apes good, but way better than the Aquaman trailer that rolled pre-film. The action is fun and sometimes imaginative, but the rest of the film is largely lacking in imagination. There’s a lot of coasting going on in The Predator. A lot of boxes being checked—sometimes checked with flair, but they’re still the same old boxes. #HopeMadden #ShaneBlack #VoydHolbrooke #OliviaMunn #JacobTremblay #SterlingKBrown #TrevanteRhodes #KeeganMichaelKey #ThomasJane #film #movies #filmreviews #moviereviws #revoots #actionmovies #ThePredator #sequels #FilmReviews #TheatricalReleases

★★ Directed by: Isabel Coixet Starring: Emily Mortimer, Patricia Clarkson, Bill Nighy, Honor Kneafsey Film Review by: Rachel Willis The Bookshop is not what you might imagine. Adapted from the novel of the same name by Penelope Fitzgerald, one might expect a sentimental, feel-good film about the power of books to open-up closed minds. That’s not what we get in writer/director Isabel Coixet’s latest film. At the heart of the story is Florence Green (Emily Mortimer). Having recently purchased a building known colloquially as “the Old House”, she decides to open a bookshop in the space. It’s a way for her to find a level of independence, as well as rekindle a connection with her late, much beloved, husband. However, she is unprepared for the level of opposition she faces in the small seaside town of Hardborough. The opposition is spearheaded by Mrs. Violet Gamart (Patricia Clarkson), a woman who is used to getting what she wants, and what she wants is to turn the Old House into an arts center. On her side are several Hardborough residents who seem to oppose the bookshop only because she does. The film starts strong. We watch as Florence overcomes the stall tactics of her solicitor, squashes rumors that she plans to buy another property for her bookshop, and successfully launches the shop of her dreams. However, before the first act concludes, the film begins to meander. As Florence contends with obstacles she didn’t foresee, she becomes friendly with her first customer, the local eccentric, Edmund Brundish (Bill Nighy), and their relationship blossoms with an exchange of letters. In a scene reminiscent of The Age of Innocence, Brundish reads his first letter into the camera. It’s an unusual technique, but it helps to humanize the reclusive man. Unfortunately, not enough time or importance is given to this correspondence. Florence’s only other ally in this world is her young assistant, Christine (Honor Kneafsey). It’s touching to watch Florence try to instill a love of books into Christine, but the connection between the two is never earned. There is little chemistry between the actors; their interactions are awkward when they should be affectionate. For a movie with only a few characters, it still ends up feeling like too many. Minor characters are given more importance than they deserve. Major characters aren’t given time to develop meaningful relationships. Most of the characters are one-dimensional. The lovely cinematography captures the theme of the film better than any other aspect. Hardborough appears both enchanting and foreboding. If this had been better explored through character dynamics,The Bookshop may have made a lasting impression. As it is, it’s a beautiful, but empty film. #RachelWillis #movies #film #entertainment #moviereviews #filmreviews #TheBookshop #EmilyMortimer #PatriciaClarkson #BillNighy #HonorKneafsey #IsabelCoixet

★★★★★ Directed by: Michael Beddoes Starring: Lydia King, Richard Soames Short Film Review by: Darren Tilby Reaching the age of 30 is considered a milestone of adulthood and can be daunting at the best of times: throw in the fact most people have a socially pre-conceived notion of where in life they should be or a self-imposed idea of what they should have achieved, and it can be downright torturous. This is where Lydia King’s character (known only as ‘She’) comes in: just turned 30, single, and full of self-pity and regret. Fortunately, ‘She’, has ‘He’: a housemate and close friend played to sublime perfection by the awkward, charismatic charm of Richard Soames. Bungee – a tender and affectionate tale of love and friendship which tugs on the heart-strings – details Soames’, ‘Hes’’ attempts at helping his friend tick activities off her bucket list: swim with dolphins, marry Daniel Craig, see the northern lights, all of these and more are ‘ticked off’ in ways which are as funny as they are adorable. King and Soames – who also wrote and co-produced the film – have created a script and characters that, not only complement them as performers, but which are funny and good-natured and thoroughly likeable, but perhaps more importantly, wholly relatable: we’ve all known someone, or perhaps even been the person, who has had a mini-crisis after evaluating one’s life. The camerawork on display in short film Bungee is more than proficient; working beautifully with the soundtrack and screenplay to create the warmth and humour the film exudes by the bucket-load and so effortlessly. And whilst the camera quality or sharpness isn’t quite on par with other productions, this oddly works in its favour; entwining the film’s amiable nature with a down-to-earth quality; preventing sections of the film feeling mawkish. The dialogue is adroitly written by King and Soames, and is snappy and succinct and delivered with impeccable comic timing: more importantly, it feels organic and heartfelt. The product of humble beginnings – having been funded on Kickstarter and shot on location in Ealing, London – Bungee is the kind of film which begs stark cross-examination of the inner workings of Hollywood and its custom of throwing massive amounts of money at productions to solve problems. Lydia King and Richard Soames are a writing force to be reckoned with and Michael Beddoes’ direction, Riccardo Servini’s editing, and Richard Osborne’s cinematography is nothing short of exquisite. The amalgamation of everything working perfectly, and in harmony with one another results in a production that’s practically flawless and terribly easy to fall in love with; a film which really is greater than the sum of all its parts and had me smiling from beginning to end. #ShortFilmReviews #ShortFilms #5StarFilm #DarrenTilby #MichaelBeddoes #LydiaKing #RichardSoames

★★ Written and Directed by: Ross Aitken and James Browning Starring: Daniel Curshen, Genna Foden, Ross F Sutherland, Ray Whelan, Tom Bonington Indie Film Review by: Hannah Sayer With a tagline describing the film as “A Black Comedy about Sex, Lies and Gaffer Tape”, Ross Aitken and James Browning’s Kidnap Me follows a couple trying to keep the spark alive in their relationship through experimenting with their sex life. From swinging to dogging, this couple try it all and along the way things get awry. Kidnap Me opens with a couple in a predicament, which at first seems to be completely of their own doing. Ben, played by Daniel Curshen, has booked a ‘Luxury Kidnap Experience’ for his girlfriend Charlie’s birthday, played by Genna Foden. However, what at first seemed like a planned encounter soon reveals itself to have more sinister implications. While they are tied up in the present day, flashbacks are interspersed throughout the narrative, which explore the bizarre sexual undertakings the couple have taken part in during the week. These interactions escalate until the couple find themselves in the situation they are now in. The majority of the film takes place within the house they are tied up in, as the couple consider what is happening and then eventually try to escape. The film highlights how these characters are unable to separate real life from fantasy as even when they are in danger it is still fulfilling their fantasy and they are unsure whether to take what is happening as real or imagined. The alarming situation they find themselves in predictably causes the couple to make a decision about how they feel about one another and decide whether they need to change the way they have been living their lives. Relationship problems are highlighted which further reinforces that this masquerade is one way in which this couple are both hiding from the truth about what they really want from one another. The comedic timing feels off throughout the film and the novelty begins to wear off quite quickly. Its raunchy and daring exploration of sexuality and desire is one of the more intriguing aspects of the film, yet many of the bizarre events and interactions between the couple which take place result in the comedic elements often bordering on becoming parody. Overall, Daniel Curshen and Genna Foden have good chemistry in their roles as this couple attempting to reignite the passion in their relationship, but the film is lacking in substance. #KidnapMe #RossAitken #JamesBrowning #DanielCurshen #GennaFoden #RossFSutherland #RayWhelan #TomBonington #HannahSayer #IndieFilmReviews

★★★★ Directed by: Maxime Beauchamp Starring: Johmar Suyom, Andrew Nadanyi, Lara Amelie Abadir LGBT Film Review by: Evie Brudenall "Iridescence" – the phenomenon of certain surfaces that appear to gradually change colour as the angle of view or the angle of illumination changes. This definition of the term is laterally and metaphorically explored by Maxime Beauchamp and her visually stimulating film of the same name. Logan (Johmar Suyom) endures a miserable and abusive existence as he suffers at the hands of Vince (Andrew Nadanyi) who is intent of quashing Logan’s individuality and his true self. As a result, Logan retreats into his psyche that is rife with complication, pain from past trauma and fractions of happiness that he takes comfort and solace in. Our protagonist Logan has a slew of derogatory and pejorative words cruelly tattooed and etched into his skin, such as “disgusting” and “disgrace”. These tattoos are inflicted upon Logan by Vince who uses this intimate act of aggression to shame him for being different to who Vince sees himself as. It’s during these moments that the themes in Iridescence really present themselves, themes that include but are not limited to; toxic masculinity and the discrimination faced by members of the LGBTQ community as it is heavily implied that Logan is homosexual. The depth and layers contained within the story of Iridescence are supported by the style of filmmaking opted by Beauchamp. Iridescence feels like an amalgamation of an experimental film/art installation/expressive dance short. Everything about the film is tightly and impressively choreographed from the dancing itself to the lighting design that externalises Logan’s internal conflict to the fluid movement of the camera as it elegantly captures the emotions that are expressed through the medium of dance and exaggerated body language. It’s evident that every technical and creative department have worked closely together to produce a tonally cohesive short under Beauchamp’s stylistic direction. A lot of the images in Iridescence are psychedelic and fragmented which gives us a glimpse into the states of mind of the small collection of characters as they relive warped flashbacks that all take place in an inescapable cuboid web of string. It’s within this structure where the characters feel truly expressive but it’s also where they experience the most pain as they cannot avoid confronting their demons. Vince, Logan’s oppressor throughout the film, is revealed to also suffer from oppression as he too bares an etching on his skin, his being a vile homophobic slur. Logan and Vince eventually confront one another and the two engage in a balletic style fight that is both beautiful and brutal in equal measure due to Danielle Gardner’s wonderful choreography. As aforementioned, Iridescence is brimming with many themes but perhaps the one that leaves the biggest impression is this; that love, kindness, empathy and acceptance of what makes us and others unique will always usurp and overpower hate. #ShortFilmReviews #ShortFilms #LGBTFilmReviews #LGBTQmovies #LGBTQ #LGBT #EvieBrudenall #MaximeBeauchamp #JohmarSuyom #AndrewNadanyi #LaraAmelieAbadir

★★★★★ Directed by: Eli Steele Documentary Film Review by: Jack Bottomley Race is an issue that has persisted through human history and one that America is built upon in many ways. Many films, books and other artforms have addressed the violent, tragic and controversial conflicts stemming from racial tensions, prejudices and uneven positions of power over the generations. However, in filmmaker Eli Steele’s most refreshing documentary How Jack Became Black, we see the identity politics of race compellingly debated. At the film’s core is Eli himself, a proud multi-racial individual, with a family history that is filled with the stories of the past injustices of racism and bigotry in human history, from his relatives who experienced the Jewish extermination camps of Nazi Germany, to parental figures that lived through the persecution of black people in the 1960s. This wide and interesting heritage makes up the fabric of his film, which touches on the hardship his family have faced in the past to highlight the need for change in the future. Steele constructs his gripping debate around his children Jack and June and how he had to fill out a form to get his son into education but found that his mixed race heritage was smoothened out, to aid a system that opts to define people in the broadest ways, ignoring entirely who they are as a person. This is the crux of a story that tackles how things change and yet stay the same. Whether you agree or disagree with Steele’s individual stance on his subject, his film is passionately argued and compassionate at heart. Taking no side in recent political tensions where racial prejudice continues to be a hot topic (this is, after all, Trump’s America), Steele opts instead to speak of us as human beings rather than designated racial definitions and his film is illuminating, stimulating and a constantly thought provoking watch, which shatters the dogmatic system of turning race into box ticking. Above: the official movie trailer for How Jack Became Black. Steele interviews a wide range of people across America from a plethora of different backgrounds and never confronts or lectures, he only listens to their opinions. As he takes us on a journey that dissects racial history and modern American identity, we hear varied thoughts on a multitude of debates, including issues of white privilege, media construction and the perceptions of the political system and how race is used within it. How Jack Became Black is a paradigm shift in how such important and heated issues are handled in documentary film, I can safely say that I was transfixed throughout by this fresh, understanding and heartfelt approach. There is no hate, no anger, only questions as Steele fully explores his subject. From fun well-animated sequences by J.M. Bartelt to the undercover cameras capturing a raw sense of America today, this documentary showcases a wide sense of human emotion and experience. The film reminded me of the work of Mark Cousins, in how analytical and poetically minded it was in its looks at race in the past, present and future. The gentle narration by Justin Gordon, alongside Steele’s distinctive voice makes for an illuminating watch that is not too long or too short and which gives no easy answers just the viewpoints of people who are at the very heart of this subject and of a gentleman who has witnessed prejudice first hand and through the eyes of his family. How Jack Became Black leaves one with many questions and many thoughts on humanity and the films closing statement of a world where people cease asking, “What are you” and start inquiring ”Who are you” is one that lingers most strongly. Whatever your thoughts on may be, we can all agree that – in spite of the constantly changing rules of this often confusing world – things can and must get better. An enlightening documentary from a truly powerful voice. #EliSteele #Race #DocumentaryFilmreviews #Documentaries #JackBottomley