★★★ Directed by: Chad Meisenheimer Starring: Tommie Vegas and Brady Bond Short Film Review by: Rachel Pullen Now for all of you who have been loyal readers of my film reviews, you should all be aware of my thoughts on the current trend of 80’s throwbacks in film and T.V right now, and for all of those who have not...shame on you, my writing is on par with Shakespeare. Out of the goodness of my heart I shall spare you the shame of not knowing what I think about this desire to relive this terrible decade now...it’s rubbish. So you are gonna be able to guess that Nite Nite has the styling’s of the 80’s slathered all over it, but to my surprise it was done in a manner that was easy to digest and even more surprisingly was actually appropriate, no one worn clothes that were reminiscent of Bill Cosby jumpers, people didn’t pull crisp dollar bills from bum bags...I was relieved, this time it was used to benefit this short film, for Nite Nite is the tale of a babysitter showing the child she is caring for that monsters don’t exist... wasn’t that what the 80’s was all about? Now babysitters and the 80’s go together like lemon curd and toast [amazing combo if you have not tried it] and so director Chad Meisenheimer’s choice to employ this decade to style his work has meaning, rather than just being an opportunity to follow a trend, we are taken back to a vulnerable time in our youth that we have all experienced, alone in bed when the parents are away, with only a pubescent bigger child in charge... This short follows a young boy as he nervously gets in to bed and with OCD like intensity, makes his babysitter check the room for monsters before she hits the lights. Yet despite her reassurance, it’s not long before the shadows in the dark begin to terrify him and she has to come back and start the whole process over to appeal to this imaginative boy, he clearly does not care she has teenage girl things to do, like paint her nails and call the captain of the football team whose name is something like Brad or Chip, how selfish of him, Chip sounds like a real hunk. Of course peril ensures and monsters are not just a figment of his imagination, which if our babysitter falls victim to, who will date Chip now? This short is a professional looking piece, stylish and competent with its delivery, the audience are able to comfortably fall into the fantasy being played out before them. Each of the actors provided an enjoyable performance, making for a richer immersion into the storyline, both Tommie Vegas and Brady Bond are able to work well together on screen, creating a good sense of tension as this short builds to the climatic ending. Nite Nite as a story reminds me of the Goosebumps books from our youth, but is that not what Chad is going for here? This is a throwback to our youth and the things that would scare us then, and although it does not pack a punch in regards to any real terror, it certainly is an enjoyable trip down memory lane. #ShortFilmReviews #ShortFilms #RachelPullen #Horror #Retro #80s #ChadMeisenheimer #TommieVegas #BradyBond

★★★★ Directed by: Joseph Seuferling Written by: Joseph Seuferling, Nima Forghani Screenplay by: Byron C. Miller Starring: Tiffany Astrid, Douglas Mckenney, Nima Forghani Short Film Review by: Chris Olson Dramatic short film (In Here) I Am God takes a classical film structure approach to tell its story which is rooted in archaic, yet regrettably relevant, themes of patriarchy and male-dominated oppression. The result is a chaotic and transfixing piece of cinema that fuels up with shocking visuals but never gets the motor fully running with the narrative or characters. Set in a bunker where a megalomaniacal general (Nima Forghani) dictates a number of harsh orders to his dedicated staff, know as The Woman (Tiffany Astrid) and The Soldier (Douglas Mckenney), we see a series of disturbing sequences and images which coalesce into a depiction of male-led aggression and tyranny. Symbolism is everywhere in (In Here) I Am God and rightfully so. The filmmakers choose to utilise a silent film approach, using title cards for the minimal dialogue, which is an automatically telling device. By opting for a foundation level cinematic structure, the short film makes a poignant and tragic connection between this outdated format and the ridiculously outdated notions of male superiority. Further this with systematic sexual references, such as a burka or topless shots of Astrid, and a sombre picture starts to form for the audience that lets them know this is more than a piece of abstract or thoughtless filmmaking. Upon further reading, the background of Forghani renders the film particularly interesting, coming from a traumatic childhood in Iran where the establishment divided society and kept its people in a nightmarish environment, something which Forghani wished to recreate in the film. Director and co-writer Joseph Seuferling does an admirable job of keeping the performances from reaching melodramatic heights, which would have undermined the heavy themes, and the frenetic editing from Byron C. Miller does well to contribute to the confusing atmosphere, a state in which the audience is placed in order to find some semblance of association with the experience of the storytellers. Often the why of a film is lost unless the viewer takes it upon themselves to go the extra mile and find out more about the story, the filmmakers, and the cultural context behind everything. This is most definitely a fear for anyone approaching (In Here) I Am God without any prior knowledge. The shocking visuals and monster-like central villain (who looks a little bit like a cross between Lord Voldemort and the baddies from I Am Number Four) could feel slightly silly if you are not equipped to understand the heritage. On the other hand, though, this is a short film that uses cinematic language to tell its tragic tale in a way that is memorable and harrowing. Watch the official movie trailer below... #ShortFilmReviews #ShortFilms #ChrisOlson #silentfilm #WarFilms #JosephSeuferling #NimaForghani #ByronCMiller #TiffanyAstrid #DouglasMckenney

★★★ Directed by: George Popov Starring: Daniel Oldroyd, William Young, Suzie Francis Garton, Tony Broadbent Indie Film Review by: Alexandra James Hex is set around the English Civil War during the 1600’s, two soldiers with a hell of a lot of beef must set aside their differences and produce harmony, in order to defeat the evil presence that lurks around the dreaded woods. Writing and directing team George Popov and Jonathan Russell immerse both actors and audience into an ethereal world through magnificent locations, evoking an eerie yet profound viewing experience. Throughout the entire film I was asking the same question to myself, “where has this been filmed?!” as I believed it to be a beautiful stage and perfectly fitting for a story which involves witches, mystery, fear and turmoil. It just goes to show that budget does not necessarily control the entirety of the film, mere research and scouting is all that is truly important and Hex certainly is an advocate for this! The plot is very simple but still left me wondering what is to happen next, which to me, is always ideal as I cannot stand predictable storylines in which the audience can almost mouth the dialogue along with the actors themselves. With thrillers, it’s always best to keep the audience wondering and on their toes by arousing a dark uncertainty, otherwise, viewers can become underwhelmed in a lot of cases. I did feel that there were some elements to the story which began to drag or can be considered very slow moving. There was no real sense of urgency, especially during sword fighting scenes which you can only assume to be the most action filled moments to the story. Unfortunately, there was no real excitement within the fighting scenes and it did not help that one could find it possible to make a cuppa, come back and still manage to catch the end of their battle. Perhaps an improvement would be to either cut these scenes shorter or even to portray a stronger sense of passion and fear between the actors. A few cuts or slashes never goes amiss in a fight that’s for sure and would certainly make the combat that much more realistic. I did enjoy Hex and felt that the performances were very convincing, however, I do feel that the film may have benefitted more if there was a heavier sense of dread or peril. A witch is lurking around the forest with the power to infiltrate soldier’s minds, I don’t know about you, but I’d be out of there like a shot! Therefore, as a viewer, I would have felt more nervous for the two men if they themselves highlighted their fear in order to depict the danger of the situation. On the other hand, I cannot fault the film's idyllic scenery, this honestly made the film for me and captured my attention completely. #IndieFilmReviews #IndieFilms #AlexandraJames #Drama #GeorgePopov #WilliamYoung #SuzieFrancisGarton #TonyBroadbent

★★★★ Directed by: Louise Marie Cooke Written by: Louise Marie Cooke Starring: Ashleigh Cordery, Miranda Horn LGBT Film Review by: Chris Olson Coming of age in the current millennium is a troublesome topic. The rise of childhood-influencing technology (internet, smartphones, robot vacuum cleaners) and its detrimental effects is yet to be fully understood, which is why filmmaker Louise Marie Cooke’s short film Pillow Talk is a particularly interesting piece. By setting her story in the 90’s, she offers characters who are experiencing a way of life no longer available yet whose identities still battle the same, enduring issues. Ashleigh Cordery plays Cara, a rock n’ roll girl who prefers Nirvana over Take That and hard liquor over “girly drinks”. It is Cara’s orientational preferences that interests her BFF Lucy (Miranda Horn), though, who wants to unearth the mystery surrounding her friend's sexual predilection even if it means jeopardizing their relationship. Astutely intimate and containing wonderful, believable characters, Cooke's short film is a timeless journey of self discovery and friendship. Whilst the window may be brief, we witness a beautiful moment of connection that transcends the shallow concepts of social media and the like, and harks back to a time where the clarity of one’s identity could only be found by challenging yourself and those you cared about. By risking the bond they have, Lucy is able to form and even stronger, almost tangible one. LGBT stories can often be laden with an element of confused frustration, in particular surrounding one character, in this case Cara. Cordery plays this spectacularly. She rides the changing landscape of her character's emotions with deft aplomb, assuming the highs of her friendship with Lucy right next to coping with the depths of her uncertainty as to who she is and what she wants. Horn is similarly excellent in the role of catalyst and provocateur, which is delivered with tenderness rather than stark brutality. The chemistry is generously gentle between the two performers who benefit from a script which avoids clunky dialogue or baffling cliches. A lot of attention to detail has gone into Pillow Talk and the mise en scéne is utterly superb if you grew up during the 90’s. A copy of Smash Hits and a retro Polaroid camera will be enough to melt the heart of any grunge rocker or britpop enthusiast. Coupled with the brilliant sets, lighting and costume design, Cooke utilises some impressive cinematography to immerse the viewer into her narrative. Whilst there is only one location, the soft and delicate editing by Neil Fergusson keeps the piece from feeling static but rather fluid and intimate, perfectly complementing the tone of the story. A tale for the ages, then, or perhaps a cautionary one for individuals seeking for a more genuine human experience to help them explore their own identity. Pillow Talk, whilst covering familiar ground, is friendship at its most fierce and a compelling piece of cinema. #LGBTQmovies #LGBT #LGBTQ #ShortFilmReviews #ShortFilms #ChrisOlson #LouiseMarieCooke #AshleighCordery #MirandaHorn

★★ Directed by: Marc Coleman Starring: Jonathan Cobb, Paul Aitchison, Reis Daniel and John Campling Short Film Review by: Annie Vincent What happens when filmmakers review the issue of fly-tipping and sit about concocting ideas about what would stop fly-tippers in their tracks? The Flytipper happens! And what starts well with the promise of some decent gags, quickly becomes the queerest slasher plot you’ve ever imagined. The plot starts organically enough with Greg’s first day in a new job not going particularly well. He’s had a row with his girlfriend and his new colleagues are unsettling to say the least: Nelson seems obsessed with genitalia, including his own which has a new adornment, and whilst Dale outwardly seems fairly straight-forward, he is recovering from a divorce, cited because of an interesting stag-do liaison. Greg doesn’t feel entirely comfortable with his new colleagues, or the fly-tipping they’re engaging in, but when Old Bill arrives with a warning about ‘it’ coming after them if they fly-tip, his nerves kick up a notch. Bill encourages them to leave immediately and especially before dark, but true to form, the van won’t start and their phones are dead. What fills the remaining ten minutes of film is each character’s encounter with a monster, constructed from fly-tipped white goods, on a mission to destroy each one of them. At this point, many a viewer may question the creative process and what exactly brought about the light-bulb moment of a fly-tipping-inspired-villain; because The Flytipper started so well. The gags and one-liners were genuinely amusing and the characterisation was good. Nelson, played by Reis Daniel, absolutely captured the caricature numpty-work colleague and even Old Bill, the mad Grandad in his yellow overcoat and shorts, was likeable in that familiar stock-character way. So it seems sad that it developed into the not-so-funny robot horror of the end. Though the film stuck to type in many ways and, as such, a few viewers might find the oddity of the film’s premise amusing, it seems that wit was sacrificed for farce which is a great shame. #comedyhorror #comedyslasher #ShortFilmreviews #ShortFilms #AnnieVincent #MarcColeman #JonathanCobb #PaulAitchison #ReisDaniel #JohnCampling

★★★★ Directed by: John Clark Starring: John Clark Documentary Film Review by: Darren Tilby I Have Asperger’s: So What Now? Is the sequel to the well-received documentary, I Have Asperger’s: So What? And where the first film introduced John Clark and explored his childhood – specifically, the problems he faced from his peers and elders, as well as his condition – the sequel can be seen more as a cry for the understanding of the wider Asperger’s and autistic community, as well as those suffering from mental illness. To this end, Clark’s first undertaking is to explore the regularity and manner in which people who could be considered on the autistic spectrum are portrayed in the media. After considering a broad range of films and TV shows (including Rain Man and The Big Bang Theory), Clark concludes that whilst there is indeed a more significant portrayal of autistic characters in popular tv-shows and movies now, yet more work needs to be done; lamenting that society's perception of hidden illnesses, in general, is still well off. During the movie’s 40-minute runtime, Clark tackles many thorny issues, including bullying, depression, suicide and the benefits system. As usual, Clark voices his opinions on all these subjects in an eloquent and easy to follow way, often revisiting his own experiences as a child in an attempt to garner advice for others: and what is the best piece of advice Clark can give? Acceptance. Acceptance is the key to Asperger’s; you need to accept that you’re different; you need to accept that people will treat you differently, you need to accept and love who you are before you can really start to live — something we could all learn a little from. It’s always nice to see a filmmaker address these sorts of things, and in this day and age, with mental health awareness and anti-bullying campaigns everywhere, it’s hard to see how it could have come at a better time. I particularly enjoyed Clark’s discussion on anxiety issues. Being someone who suffers quite badly with anxiety problems myself, I could relate to much of what was being said; I too have had people tell me to “man up” or been told, “well you look fine.” The importance of having people like Clark, who are willing to openly talk about their own experiences with depression and anxiety cannot be underestimated and serve as inspiration for us all. From a filmmaking perspective, the first thing you notice as the film starts is both the music and editing have vastly improved over the prequel; feeling far less amateurish: the editing is smoother and less clunky and the music now compliments the atmosphere of the scene, rather than feeling like an afterthought. All of this speaks of a more confident and proficient filmmaker. My only issue with this aspect of the movie is the occasional overuse and reuse of certain clips; some clips are used several times and others are taken directly from the prequel. This is merely a niggling complaint however and rarely ruined my enjoyment of the film. The latter part of I Have Asperger's: So What Now? acts as an update to Clark’s current situation and details his struggles with holding down a job, having to move away from home and his support system, and dealing with the benefits system (something else I’ve also had the misfortune of having to deal with) and how – for people with learning disabilities and social problems – it isn’t fit for purpose. But there’s some exceptionally good news too: Clark has identified various ways to aid him to address such issues; crediting writing, filmmaking, and exercise as great ways to keep his mind active, and, of course, his girlfriend, with whom he now lives serves as his support system. By the end of the movie, you get the feeling that, while things might not be going quite how he’d like, Clark is in a better place and looking toward the future. #DocumentaryFilmreviews #Documentaries #DarrenTilby #Asperger39s #JohnClark

★★★★ Directed by: Matti Leinikka, Eddie Smucygz Written by: Matti Leinikka, Eddie Smucygz Starring: Tatiana Ronderos, Matti Leinikka, Bryan Hamilton, Eddie Smucygz Short Film Review by: Chris Olson An unconventional drama with lashings of psychological edginess, short film Scrying, from filmmakers Matti Leinikka and Eddie Smucygz, is a window into the experience of two characters whose identities and personalities make them an awkward fit with “normal” society. Tatiana Ronderos plays Harper, a troubled young woman with multiple personalities, whose journey through life seems marred by an internal divide. Her ability to assimilate with those around her is relatively impressive, aside from the obvious facial distress she experiences when her internal dialogues are clashing. Equally as troubled is Frederick (Matti Leinikka), whose menacing, even brutal tendencies and capacity for cruelty make him a startling character, made all the more intriguing by the fact that he attends the same therapist (Eddie Smucygz) as Harper. Told using a myriad of obscured visuals and unorthodox framing, Scrying is a film that challenges its viewer. The narrative is kept relatively elusive whilst the two characters are built using a coalescing form of storytelling. There is an uneasy tension running throughout the movie that keeps the viewer glued, waiting to see if these obviously maladjusted characters spiral into a more threatening path, or each other. Whilst the storyline has a lot in common with a psychological thriller like Split, there are also romantic and dramatic elements being drawn in that create a cacophony of life, which I believe is the intention of the filmmakers. There are moments in the film where a strong sense of empathy is demanded from the audience, such as witnessing the aforementioned sequence where Harper's voices collide in her head, or when Frederick turns up at someone's door and attempts to convince them to let him in. Even though he turns aggressive, the viewer cannot help but connect the link between his personality disorders and his antisocial behaviour. These themes are explored excellently in the short and are definitely one of the highlights. As with any movie that strays from the conventional cinema path, there is always going to be a limitation to the audience that can be found and some viewers may become frustrated with the lack of clarity being offered by Leinikka and Smucygz. However, for those looking for a cinematic experience that reflects the chaos of life and challenges you to embrace the unstructured mess of it all, Scrying is a glimpse into an imperfect yet compelling world. #ShortFilmReviews #ShortFilms #ChrisOlson #PsychologicalThriller #MattiLeinikka #SianBreckin #EddieSmucygz #TatianaRonderos #BryanHamilton

★★ Directed by: Charles Alexander Starring: Sophia Brydie, Liam Callahan, and Jo Lloyd-Welcome Indie Film Review by: Owen Herman A Thin Place, directed by Charles Alexander, takes a dark look at guilt and addiction through the eyes of a young woman, Grace (Sophia Brydie). In the hope of finding answers in her traumatic past to help cure her addictions, Grace undergoes treatment that forces her to confront dark memories. Told in several distinct parts the film moves forwards and backwards in time as it looks at different moments in Grace’s life. The film also moves between reality and dream like scenarios. Both the viewer and the characters often don’t know whether what they’re seeing is real life or a drug induced nightmare. This structure provides the film’s major downfall. The constant and erratic switching means it is often extremely hard to get a decent grasp on the story. The messages and themes are lost in a mess of flashbacks and dream sequences that stop the drama gaining any momentum. The lack of a coherent narrative results in a film that is hard to engage with, and it leaves the characters lacking real development. The way the characters suffer because of the structure is a real shame as there are some really good performances that go to waste. Both Sophia Brydie and Liam Callahan could’ve done a lot more with their respective characters if they had been given the chance. The dialogue is well written and certain moments of confrontation stand out, but these characters just aren’t emotionally engaging as the plot is so confusingly put together. A Thin Place is well shot and there are some really startling images and clever horror moments. However, like the characters, these moments go to waste as they are little more than self-contained moments of shock, as opposed to moments that really impact the story. Every scene is technically well made, with strong performances and backed by a powerful score. However, it is how all the scenes fit together that is the problem for A Thin Place. At the most basic level the film struggles to tell a coherent and gripping story. There is a lot of promise here, and perhaps a simpler approach would’ve actually benefited the film. A Thin Place is just not as good as it deserved to be. #IndieFilmreviews #IndieFilms #OwenHerman #CharlesAlexander #SophiaBrydie #LiamCallahan #JoLloydWelcome

★★★ Directed by: Earl Clive Dacal, Gio Karlo Birondo Written by: Gio Karlo Birondo, Earl Clive Dacal Starring: Kimberly Mar Barcena, Earl Clive Dacal, Marienne Uyangurin Short Film Review by: Evie Brudenall On My Shoes follows two stories of two teenagers who are experiencing two very different types of issues. Britney (Marienne Uyangurin) is left puzzled after receiving a very odd and disturbing package and sets out to find who is responsible. Meanwhile, Luther (Earl Clive Dacal) struggles with an inner turmoil after an incident that leaves him questioning his will to live. The film begins with a young woman – who we later identify as Britney – frantically running through the streets. She constantly glances back over her shoulder as she is being pursued by an unknown assailant. Britney cries out for help but her pleas are met with a resounding silence. The shaky cam style that cinematographer Alvin John Panuayan adopts emphasises the sense of urgency and the atmospheric lighting scheme enhances the danger Britney faces. These visual choices successfully immerse the audience in the story’s verisimilitude. This sequence is frequently intercut with images of a young man (who we’ll learn to be Luther) walking despondently over a bridge. He watches as the cars zip past and he tentatively climbs over the railings and seemingly prepares to jump. We then flashback to the incidents that led these characters to their respective moments and On My Shoes has our attention gripped. Britney, a stereotypical popular girl, is gifted a box. She automatically assumes that it’s a gift from one of her admirers. However, her curiosity and excitement soon turns to distress when she opens the box to find cutout pictures of her face. Her teacher begins to interrogate her classmates to unearth who is the culprit behind the cruel prank – but all of them deny the accusations, insisting they are completely blameless. Amidst the drama, Luther’s storyline gets lost in translation. The two narratives don’t interweave and are separately distinct, and whilst the director attempts to balance them and give them equal weight, both end up suffering under the strain. Neither are explored to their full potential and the themes and messages that I’m sure lie within each strand of the narrative never hit home. Arguably, this is due to the editing which is often jarring and creates for an even more confusing and uneven switch between storylines as we follow Britney’s unfolding mystery and Luther’s teenage trauma. The actors portraying the two protagonists try and muster as much emotion as they can into their performances, but the sparse script partnered with clunky dialogue never allows them to reach the emotional depths required to make On My Shoes a truly compelling short. Although On My Shoes boasts an ambitious attempt at non-linear narrative and multi-character story arcs, these ideas unfortunately never come to cohesion and the end result is a stilted but well-intentioned short. #ShortFilmReviews #ShortFilms #EvieBrudenall #EarlCliveDacal #GioKarloBirondo #KimberlyMarBarcena #MarienneUyangurin

★★★ Directed by: Dominique Roche Starring: Anders Danielsen Lie Film Review by: Hope Madden People like to make lists. For some people, it’s a bucket list. Some like to keep track of the celebrities they are allowed to sleep with if the opportunity arises. Not me. Years ago I put together my zombie survival team. And though I know plenty of people with varied and worthy skills, making my team mainly came down to two things. Are you smart? Are you quiet? Because it is the introverts of the world who will survive the zombie apocalypse. Director Dominique Rocher’s unusually titled The Night Eats the World understands this. Sam (Anders Danielsen Lie) reluctantly stops by his ex’s party to collect his things. It is a loud, raucous event and Sam is in no mood. He stands moping alone until finally he wanders into a quiet back office, locks the door to the partygoers and waits. By morning, Sam may be the only living human left in Paris. The majority of the film quietly follows Sam through the apartment building as he fortifies his position, spends his time, survives. It’s a pleasantly pragmatic approach to the zombie film, although it asks many of the same questions Romero asked in Dawn of the Dead. Several of the twists in the storyline are a bit stale. In fact, TNETW sometimes bears an amazing resemblance to the underseen German zombie flick Rammbock: Berlin Undead. (It’s great. You should see it.) There’s a lot going on here that’s fresh, though. Rarely is a zombie film this introspective or a horror hero this thoughtful. More than that, though, Rocher’s horror is a meditation on loneliness. Not only is that an unusual topic for horror, it’s delivered with the kind of touching restraint that’s almost inconceivable in this genre. Danielsen Lie, in what nearly amounts to a one-man-show, never lets you down and never feels showy. Sam is a man who is maybe too at home with the situation in a film that quietly asks, just what has to happen before a true introvert longs for human companionship? That’s why they’ll outlast us. It’ll just be a few dozen socially uncomfortable loners skilled at closing themselves off from the chaos around them. Plus Keith Richards. #DominiqueRoche #AndersDanielsenLie #HopeMadden #TheNightEatstheWorld #movies #film #entertainment #moviereviews #filmreviews #horror #zombiemovies #FilmReviews

★★★★★ Directed by: Maxime-Claude L’écuyer Starring: Georges Molnar Short Film Review by: Darren Tilby Zsofika begins with the muffled and haunting sound of a gramophone playing somewhere in the background. The camera – which is peering into a seemingly vacant bedroom – begins to pan slowly through the door and around the corner, and, as we enter the room proper, we’re introduced to the film’s solitary character; an older gent, standing alone. What follows is a 14-minute long, contemplative internal monologue; filled with regret and loneliness and remorse. Zsofika is swathed in a relentless melancholic ambience, and is, at heart, a deeply affecting anti-war movie which studies the cost of a lifetime dedicated to war. The cinematography and soundtrack come together to exude an atmosphere that’s murky and dour; totally in keeping with the narrative, never faltering. The camera work here is remarkable: the framing and lighting consistently produce shots which are stunning, beautiful, and full of symbolism: Cracks in the walls represent not only the physical damage wrought by war, but also the devastating, yet subtle, psychological effects war has had on this man and his relationships. The home’s lack of modernisation speaks of a prolonged absence; a life spent elsewhere; a lifetime of decisions the man now has to confront. Even the arrangement of the furniture – which is all placed around the edges of the rooms, leaving large empty spaces towards the centre – adds to the feeling of emptiness; within the house and the man. Nothing on camera is wasted, and the use of slow panning movements and long, unbroken shots, allow the unnamed man to guide us and tell his story, without it ever becoming a distraction or a disturbance. Georges Molnar delivers a wonderfully understated performance as the unnamed man; a role which relies upon the actor’s ability to “speak” solely through body language and facial expression. Thankfully, Molnar not only succeeds but indeed excels in this medium. Director, Maxime-Claude L’écuyer, makes excellent use of this unique talent with several lingering close-up shots; showing a face full of remorse and self-loathing. The score consists entirely of music played through an old gramophone; a design choice that works magnificently with this film; lending a haunted house quality as it rolls sporadically in and out of tune. It’s perfect: perhaps more impressive though is the film’s use of silence: sound designer, Olivier Calvert – who may just be a genius – never misses the mark, and is able to conjure these captivating moments of long contemplation with one of the most perceptive, and effective uses of silence I think I’ve ever seen. Whilst there’s no real script to talk of – with the movie having no spoken dialogue – Jean Barbe has written an incredibly thought-provoking, and poignant monologue which is delivered to perfection. Zsofika is a work of art; a masterclass in short film-making. Everything just seems to come together so perfectly, and everyone involved should be hugely proud of the film they have made. A film which is, particularly by the end, sobering and poignant. Zsofika couldn’t have worked as a feature-length movie, and is proof, if proof were needed, that short films are a classification of their own; much more than the low budget, amateur effort that some people presume: feature-length films aren’t better than short films, they’re a completely different form of creative expression, and Zsofika is a prime example of a director using that particular medium and achieving something that most directors could learn a thing or two from. It’s been an enormous privilege to have been asked to watch and review this film, and I hope that others will seek it out too. #ShortFilmReviews #ShortFilms #DarrenTilby #5StarFilm #MaximeClaudeLÉcuyer #GeorgesMolnar

★★★★ Directed by: Aneesh Chaganty Starring: John Cho, Debra Messing, Joseph Lee, Michelle La, and Sara Sohn Film Review by: Niall Maggs The unique and interesting thing about Searching is that it's told completely by the perspective of David's (John Cho) computer and iPhone via FaceTime and webcam. This idea has been done before in Unfriended but never to this quality or effect. It's really quite immersive. David's daughter, Margot (Michelle La), hasn't replied to the constant calls or texts sent by her father. She's left her laptop at home, and her friends don't know where she is either. David begins to search through her social media and previous text messages via their computer, to try and find where Margot has gone, and what has happened to her. This is the basic setup for Searching, and what follows is a riveting and thought-provoking tale of a father's desperate attempts to locate his daughter, while also subliminally providing a powerful commentary on the possible dangers of social media, and how you should take caution while talking to someone online, as they may not be who they really say they are... John Cho in this film is great. He gives a realistic and emotional performance as Margot's father, and the fact he made this difficult role look easy says a lot. He's also a very likeable character, and someone the audience can root for due to his determination, while also being quite an inspiration as well. He never gives up. But I wouldn't be surprised if the Academy snub him of an Oscar nod, but he most definitely deserves recognition. Michelle La is very good in this as well. She isn't in the movie much, but when she is, her acting is tremendously solid. Her character is quite deep, and the performance La gives is very profound. Searching is filled with great twists, and creates a desire to watch it again just to notice the small details that you missed the first time around. It provides you with clues and hints throughout, but Chaganty's exceptional writing only highlights the importance of these clues in the third act. They were there right in front of our eyes, but we just dismissed them because they didn't seem significant or important, but boy we were wrong! This is a very cleverly written film. The story of Searching borrows from many other movies such as Taken and Gone Girl, so there is a lack of originality. But Chaganty's direction and the way he decides to tell this gripping story gives it a unique and impressive twist. This is Chaganty's first feature film and I'm quite excited to see what he does next; this is a very solid debut, which deals with significant themes in a non-conventional way, and Is definitely worth your money and your time. #FilmReviews #TheatricalReleases #NiallMaggs #Thriller #AneeshChaganty #JohnCho #DebraMessing #JosephLee #MichelleLa #SaraSohn