★★★★ Directed by: Oliver Simonsen Written by: Oliver Simonsen, Dave Sim (based on comics by) Starring: John Di Crosta, Yuell Newsome, Stephen Mendel Film Review by: Darren Tilby Making a film on a small budget is never easy. Still, the difficulty is increased exponentially when it comes to animation. Animation is incredibly labour intensive and expensive to produce, with many bigger animated movies costing more than $50 million to produce. The Absurd, Surreal, Metaphysical and Fractured Destiny of Cerebus the Aardvark (which will from now on just be referred to as ‘Cerebus the Aardvark’) didn’t have anywhere near that kind of budget—and it shows. But in a world of animation dominated by corporate giants such as Disney, Pixar and Dreamworks, Cerebus the Aardvark stands out from the crowd with its unique style and personality. Writer-director Oliver Simonsen’s film is based on the Cerebus the Aardvark comic series by Dave Sim, which ran from 1977 until 2004. Being unfamiliar with the comic book series, I can’t speak to whether this film follows that story or not. But here, we see Cerebus the Aardvark hired by G’ar and T’ar (a dual role for Yuell Newsome) to steal a jewel from the powerful wizard Maki (Stephen Mendel). From his tower, Maki uses his magic to spy on Cerebus, as he fractures his destiny by trading his barbarian helmet (an instrument crucial to Cerebus fulfilling his destiny of bringing the pig god to life) for a vest to disguise himself as a merchant. With his destiny now fractured, the very fabric of reality is fragmented. We’re soon introduced to an array of strange and unusual characters. They range from the comical tweedle dee and tweedle dum like brothers, G’ar and T’ar and the Princes Mick and Keef (Jim Johnson) to the villainous Necross the Mad (Michael Petranech). John Di Crosta voices our aardvark hero Cerebus and Lord Julius and does a fine job in both roles. The rest of the voice cast is a bit of a mixed bag, ranging from the superb to the amateurish. Of course, It doesn’t help that the dialogue writing is itself generally lacking in flair and nuance. It’s not a big problem, though; it just means that, at times, the discourse between characters can feel forced, and jokes occasionally fall flat. The main problems for me, though, were the clumsy editing and the lag in the animation, which sees character dialogue overlapping, some odd transitions between cuts and stuttering scenes of animation. These issues occur sporadically throughout the film and so aren’t a constant problem. Still, they are enough to take you out of the experience, which is a big deal for a film that relies so heavily on immersion. Immersion is an area that Cerebus the Aardvark gets so, so right. The animation style is incredibly distinct. While it’s rough around the edges and very obviously made on a tight budget, it’s full of character, allowing it to stand out from the crowd. There are some great visuals here, too: close, intimate shots and sweeping scenic shots that give us the feeling of being transported to another time and place; Simonsen is a master of worldbuilding. The black and white scenes, in particular, are absolutely stunning to behold and also serve to hide the animation’s imperfections. Overall, I really enjoyed my time in the world of Cerebus the Aardvark. It’s not perfect by any means, and it’s significantly held back by budgetary constraints. But Simonsen has shown himself to be a talented director. I’d love to see him do a sequel. I’d especially like to see him given a bigger budget to work with; I can only imagine what such a visionary could achieve.

★★ Directed by: #LucaParis Written by: #LucaParis Starring: #ManuelMelluso, #AlbaBarbullushi Film Review by: Emily Davison Programme hacker Alex works in a room full of monitors which reveal the ins and outs of many lives. His partner, Alice, has recently left him and, to distract from his depression, he turns his focus to the design of a social network which helps people confront fears and dream-nightmares: the Denkraum. This Italian thriller went on to win four awards at the 2020 Creation International Film Festival, earning praise for director and writer Luca Paris, visual FX by Matteo Accurso and sound design by Michele Flori. One of the first noticeable elements which immediately strikes you as the viewer is certainly the impressive sound design of the film, featuring a pumped up exciting electronic score which fuels the adrenalin of snappy edits. Flori also grounds the movie in the sinister science fiction/dystopia tone by consistently incorporating effective use of distortion in dialogue and the glitch sound effect of technology. Luca Paris makes the inspiring choice to utilise on screen text messaging to explore the relationship, or lack there of, between characters and the advancements of the social network system. Less reliance is made on dialogue driven conversations shot in static motions, making for a less conventional approach and leaning towards a heavily stylised indie flick. For example, the death of a character early on in the film is handled quietly, with the focus remaining on our protagonist as he observes the blood dripping from her mouth and around the glass of milk she was drinking, presented through a distorted lens. The film definitely experiments with an inventive visual aesthetic, making use of a green colour grading, disorientating camera angles and plenty of sequences shot with hand held. Everything always feels quite surreal and dreamlike due to the unpredictable nature of its loose narrative, combined with eerie ambience which features heavily throughout the running time, making for some unsettling viewing. These elements, to an extent, do distract from an otherwise low budget appearance to the movie. However, the lack of any clear focus and straightforward momentum to the narrative is also its downfall. The experimental style eventually becomes repetitive and tiring, suggesting the film needed cutting down, as at only an hour and twenty minutes, lethargy is unfortunately present by the time the credits roll around. The film does become more interesting during the final ten minutes where a sinister religious cult becomes a significant focus of the story, which we are briefly shown flashes of throughout for good foreshadowing. The overall tone can be unpleasant and vulgar at times due to to derogatory comments made towards woman, even by those of the same sex, which does seem intentional in favour of the dark plot, but can become too crude to tolerate after a while. Overall, Denkraum offers visual flair and an enticing sound design which both deserve praise, but a clunky screenplay with a stimulating ending that appears too late to redeem, ultimately hinders the final product. #EmilyDavison

★★★ Directed by: #ChinHsiangChang Written by: #ChinHsiangChang Starring: #LeaCatania, #JacksonMillhollan Short Film Review by: Emily Davison In the distant future, a female synthetic android wakes in a cabin deep in the woods, having no memory of finding herself there and tries to discover her past alongside an enigmatic male synthetic. 3000 (2022) is an experimental short, with the students at American college Chapman University collaborating to present this seventeen minute sci-fi/fantasy short to silver screens. The film has also been submitted for Best Short Film at FilmFreeway. Director and writer Chin Chang makes the bold choice to present a narrative purely driven by the stunning visuals and silent performances from its two leads. The entire film looks incredible, with a pristine, visceral image quality which makes great use of the wide aspect ratio. The narrative is quite ambiguous with many questions raised, although the clear focus is on the complex, deep relationship between the two androids. There is a dreamlike quality due to the experimental take with a slow pace, compiled together with montages which raise many questions regarding the nature of the androids and a compelling mystery is set up surrounding the good or bad intentions of the male. The central focus of the synthetic androids and the flashing blue beacons on the backs of their necks make for a creative sci-fi concept and a suitably futuristic sound design with the electronic pulsing adds to the immersive style. As the female android tries to understand her current situation, we briefly see a glimpse at their past where scientists are assessing the physical qualities of both androids. An alarm suddenly blares and the two hide in a cupboard, beginning something new together. Stars Lea Catania and Jackson Millhollan share good chemistry, their relationship formed on a deep emotional connection which is spurred on by tender physical intimacy. They perform wonders without a word spoken, relying on the intensity of their gazes and the almost childlike manner in which they touch and explore one another’s bodies. This strong connection between the pair is especially prevalent during a beautiful montage at the end of the short. The two are seen sharing a bed and shower together, whilst gazing in to each other’s eyes and clearly experiencing a strong romantic desire for one another. This montage is scored by a simple, yet profound piano piece which heightens the complex, yet passionate relationship between them. Although 3000 does not present anything wholly original and its story can be a little difficult to fully understand, its endearing qualities can be found in the reliable appliance of the classic ‘show, don’t tell’ rule and two captivating performances from its leads. #EmilyDavison

★★★★ Directed by: #MykeaPerry Written by: #MykeaPerry Starring: #HopiGrace, #AfiyaGrace Short Film Review by: Emily Davison The relationship between a mother and young daughter is explored through their proximity to one another, set against the backdrop of a shared custody. Sharing (2022) is an intimate, absorbing drama seeped in realism and a deeply personal short film for talented director and writer Mykea Perry. Exploring shared custody and the complicated effects this can have on parents and children is a topic rarely examined in movies and this short admirably raises awareness regarding this common issue which faces many families across the country. Perry has expressed in a director statement that his passion lies in telling “personal, real stories” through his films and this short fits perfectly into his artistic expression. What immediately draws intrigue is the hiring of an actress and her actual daughter to play the leads. The structure of the film was reportedly found through improvisation rehearsal, resulting in a truly authentic experience of watching a close mother and daughter bond as the mother (Hopi Grace) takes Jade (Aifya Grace) to her dad’s for Boxing Day. This short works wonders at highlighting the huge perks of having a real life parent and child starring together, as we are subjected to charming scenes of the duo playing eye spy on a bus, Aifya’s playful mischief shining through, and naming fruits by the alphabet as they walk to the father’s house. Nothing ever feels scripted and the realistic tone almost makes the short come across as a documentary. Perry directs with confidence and skill, his intimate camera work through slow takes encouraging viewers to become closely aligned with the leads on their emotional journey. Some shots are framed as though audiences are being granted permission to peek behind the curtain of this social issue, demonstrated literally through a revealing shot through a light curtain at a window as we see the mother and father discuss a differing of opinion. Along with the improvisation of dialogue and the many close ups of both leads as they travel, the realism of the film becomes ever more tangible. The performances from mother and daughter are impeccable. Hopi Grace communicates much with few words and it is touching to watch the sweet bond she shares with her daughter and the devastation her character feels when she has to part with her on Boxing Day, of all days. Afiya certainly holds her own alongside her mum and is completely convincing during her more challenging, emotional moment on a second bus ride where she admits feeling anxious and unsure about staying with her dad. If Afiya wishes to pursue acting like her mother, she certainly has a bright future ahead of her! Sharing explores the relationship between mother and daughter and the complications which arise from shared custody with a tender, thoughtful direction to immerse spectators in its authentic narrative and themes. The short is bound to resonate with many over its relatable, personal motifs and grounded performances from both leads. #EmilyDavison Sharing (2022) trailer:

★★★★ Directed by: #HarveyPuttock Written by: #HarveyPuttock Starring: #JonTarcy, #DusanMrden, #LucyHiltonJones Film Review by: Patrick Foley If you ever worry that your life lacks direction, it might be worth checking out Life’s a Show – a quirky short from director/writer Harvey Puttock – which demonstrates that too much direction can be enough to drive someone a bit mad. Matt (Jon Tarcy) is left rudderless when his upcoming play is cancelled due to lockdown. Realising he misses his work; he pays a director (Dusan Mrden) to literally direct his everyday life. From timing exactly how long he gets to read, to criticising his coffee-making technique, the director runs Matt’s life for him. But this power starts to go to the director’s head, right around the same time Matt realises all this performing is useless without an adoring audience… Life’s a Show is an inventive short film offering an amusing commentary on the loss of direction felt by so many people as workplaces across the world shut down, as well as how far some are willing to push their need for attention and adoration. Its ideas are interesting, and the mix of traditional filming mixed with Zoom to present its unusual story make it an original and subversive watch. Matt’s Audience is a key element, and it is their introduction that marks a key shift in the story. The film however fails to really establish why they are introduced. It is never made clear whether it was Matt’s idea or The Director’s. As their presence is key to how Matt’s character develops, it seems an important omission that the filmmakers perhaps should have addressed. Matt’s egomania coming to the fore as he hires a Second Director (Lucy Hilton-Jones) to instruct the audience in how they respond to him is a little mind-boggling initially, but adds to the layers which make the film really stand out. The film is built around 3 great performances. Viewers live in Matt’s world, and Jon Tarcy’s fantastic performance demonstrates how he quietly becomes more and more desperate for praise and reliant on the approval of others. Dusan Mrden and Lucy Hilton-Jones meanwhile have the difficult task of portraying their characters in a video-conference format. Mrden’s Director is a perfectionist who revels in the chance to run Matt’s life, and nitpick through the slightest of mistakes. Hilton-Jones on the other hand is employed solely to serve Matt’s ego, and passively whips the audience to worship his ‘performance’, regardless of the quality. The excellent character work by both in strange, covid-enforced circumstances is admirable. The themes of isolation and how this collides with the desire for recognition are well-presented. Harvey Puttock smartly allows us to see Matt’s vulnerable side throughout the film, as he struggles with his play’s cancellation and his growing frustration with the First Director. However, we as viewers are as isolated and surprised as Matt’s audience upon reveal of the Second Director, as his power-play is made off-screen. Omitting certain elements and actions is a clever way to show that as Matt’s reliance on adulation becomes aggravated by his isolation An imaginative and original short, Life’s a Show overcomes some imperfections to present a thoughtful and funny film that will have real-life audiences pondering its themes long after the show is over. Watch the entire film below:

★★★★ Directed by: #RichardFysh Written by: #RichardFysh Starring: #MariaTauber, #RichardFysh Film Review by: Emily Davison When a mysterious woman turns up unexpectedly at an old country house, the new owner soon becomes uneasy in her presence, but also begins to find her strangely beguiling. British indie filmmaker Richard Fysh directs and stars in this enigmatic, elusive feature film, which clocks in at just about an hour of screen time. Fysh prides himself on making quality films on a pre-owned shoestring budget, with What You Can’t Promise (2021) being his first feature, made in just a couple of days with no budget. It made its world premier in Buffalo, New York in November 2021 and became a semi-finalist at MonsterFlix Awards. The film defies classification as one genre in particular, confining itself to a single location setting and featuring a combination of romance and supernatural horror elements. When a strangely forward, open-spoken woman, Ursula (Tauber), turns up at a reserved man’s house, claiming she had rented a room in the property, things already become suspicious as Gareth (Fysh) cannot recall his recently deceased father renting out rooms. From here, we are presented with a dialogue heavy film of the two leads exchanging casual conversations after Gareth reluctantly allows Ursula to stay the night. Fysh delivers a strong script, with carefully written dialogue which gradually reveals more about each character as these conversations continue. The movie certainly succeeds with building an intriguing mystery surrounding the true identity of Ursula and what other intentions she may have for the bewildered Gareth, who cannot help but be drawn to her. Later revelations are subtly set up early on in the narrative, with Fysh demonstrating thoughtful, engaging direction throughout. Despite the fact that two performers are confined to one location and the film is mostly shot with a static camera, direction still remains diverse in the different camera angles used for each scene, offering various perspectives and investing our attention with the characters. Both performances are spot on for the context of the screenplay, with Fysh embodying the confused everyman of Gereth convincingly. Maria Tauber as Ursula is the big star here, enacting small gestures and lines of dialogue with much flair and heightening the intrigue surrounding her character even more. Being an independent, no budget film does result in some noticeable issues, such as the inconsistencies in sound editing. This can become distracting as the script is so reliant on its dialogue and this heavy saturation in speech does have its benefits, but pacing can often become slow and some scenes do drag as a result. Nevertheless, this small scale production deserves much admiration for its achievements in delivering a film with well conceived dialogue and two superb lead performances, distracting from other less praiseworthy technical elements and pacing problems. #EmilyDavison

★★★★ Directed by: #SamuelCarlCohen Written by: #SamuelCarlCohen Starring: #KrisSalvi, #StevieBurstein Short Film Review by: Emily Davison In this debut experimental short film, a simplified plot concerns a wheelchair bound old man attempting to get his and his son’s life back on the track, but the stubborn son is uninterested in accepting his help. Lactown (2022) is an American comedy/drama, with a dark inventive twist and running at about twenty three minutes. First time director and writer Samuel Carl Cohen is a self taught film maker from Massachusetts and his short is currently being shown at several film festivals across the world. The short presents a series of odd circumstances and surreal moments of dreamlike scenarios, which revolve around a father and son who barely have a relationship. The father clearly expresses an interest in helping his sloth-like son find a decent job, instead of lazing about all day, but the son is too set in his ways. The narrative is set in two parts, with the first setting up a context of sorts by introducing us to its leads and the second part focuses more on the son, as he reminisces about specific faces and events from his past in an almost talking head documentary format. As the film is quite flexible with its experimental style, there is a bizarre overtone throughout in regards to the visuals and unconventional, unpredictable plot. Cohen utilises black and white cinematography and there are certainly a couple of shots which spring to mind when reflecting on the short, such as milk being poured into a large glass in a close-up on a black background. The short certainly excels with its comedy, displaying a playful self-awareness to its humorous moments which leads to hilarious results. One example comes with the old man being served the large glass of milk with some Cookie Crisp by a younger foreign lady, who is apparently dating him. Quirky classical music which scores the film throughout definitely enhances the experimental visuals, elevating the humour, which can be quite vulgar at times. One odd sequence takes place in a forest involving two women, an encounter with a future version of the son and a gorilla costume and later on, breast milk becomes the punch line of a visual gag. The short will not land for many as a result, but it is hard to not be charmed by it all. The film-makers demonstrate much creative flair through direction, editing and performances. The small cast all play their roles straight, despite the often strange and eyebrow raising circumstances their characters find themselves in. As with many films of this style, much is presented and offers many opportunities for interpretation. Although there is no conventional plot as such, the film remains fascinating and enduring due to this play with imagery and the on point performances from the cast. An ironic ending draws the story full circle by raising the idea of the son attempting to flee from his lazy lifestyle and his overbearing father, only to remain trapped in an endless cycle. Lactown will likely confuse many audience members with its inventive, non mainstream film making style, however much of the short’s most endearing qualities can be found here and is worth the watch for any film fan. #EmilyDavison

★★★ Directed by: Damiano Damiani Written by: Tommy Lee Wallace, Hans Holzer, Dardano Sacchetti Starring: Jack Magner, Diane Franklin, Burt Young and Rutanya Alda Throwback Film Review by: Rachel Pullen Amityville II: The Possession (1982) Film Review Remember the other week when for some unknown reason I thought it would be a good idea to watch all the Amityville horror films in order, and no one seemed to think it wasn’t a good idea? Yeah well you’re wrong, it is and I’m only on the second one, also I looked up some of the other titles and now fear I have made a grave error in judgment…there is one called The Dollhouse….what! Anyway, I settled in for the second instalment, what could the house bring to the table this week? Shape shifting, self-decorating, self-effacing and crying from its windows? Who knew? Well, I didn’t know that this film was to be a prequel to the first, so let’s guess mid-70s…but wait is that an 80s car being used? Oh, we have only just begun! Amityville II: The Possession tells the story of the home before the Lutz family moves in, we have the typical family dynamic going on already, dad beats wife, wife cries, son and daughter try and sleep together…its all going on. The house is like, well I don’t want this wife beating, sister loving family living inside me, better start making the walls bleed a bit, so they leave. The house has been built on an Indian burial ground, which from the first film we already knew, but the director politely reminds us of it, so that we the audience are not too confused when the son, taking a break from trying to hump his sister, becomes possessed and decides to kill all his family with a shotgun. Shortly after he is arrested, the priest clocks onto what is happening, because yes, they called a priest in, people confess sins, he flicks water, the usual, and he, using all his catholic power, helps the police realise that there is a demon in him, and he needs it out! Now Amityville II: The Possession seems to be split down the middle when it comes to public and critical perception, people seem to love it or hate it, the marmite of evil homes if you will, and after some research, I have come to realise what the Amityville 2 was trying to achieve. The tales of the incestuous brother and sister, and the violent father, are taken right from the real lives of the Dafoes, the family who were really killed in the home, Damiani takes straight from the source material and builds from there, a bold and interesting move to cover such topics at such a time, but one that is needed. For we are uncomfortable in the home, before the home itself even starts its evil party, we all want out, out of the house, out of the family, and is that not the mark of a good horror film, even in the moments of calm, we feel on edge? I think so. Sure, this movie flexes some horror cliches, sure it's cheesy and some plot holes are glaring us in the face, but overall, it takes an interesting approach when it comes to a sequel, playing on a mixture of fact and fiction, Amityville II: The Possession has, for all its flaws, the best intentions. So, what have learnt this week? In the ’70s, they drove cars from the future. If your brothers are friendly, they are possessed. And once again, if I could buy a house this cheap, I wouldn’t care about all the evil. #RachelPullen

★★★★ Directed by: #LukasDhont Written by: #LukasDhont, #AngeloTijssens Starring: #EdenDambrine, #GustavDeWaele Film Review by: Alex Matraxia Warning: Spoilers Lukas Dhont's Close stands out as a remarkably powerful film; charged by an incredibly subtle touch, the film is poignant without being overdramatic, and this is partly due to the brilliant performances that lie at its core. The first half of Close focuses on the friendship between Léo and Rémi (Eden Dambrine and Gustav De Waele) two thirteen-year-old boys whose friendship borders on brotherly, a platonic infatuation. But the friendship is easily strained when kids at school start asking if they're a 'couple'. While Rémi takes no major offence, this is clearly an issue for Léo who tries to phase his best friend out of his new life. When tragedy strikes in the film's second half, Léo develops a friendship with Rémi's mum (played by Émilie Dequenne) and the film shifts from a tale of friendship to forgiveness. Though formally quite simple, it is cleverly filmed, especially in the way the film offers so much space for the two young actors; they have freedom in the frame to play around, to wrestle and run. One notes how the framing tightens as the film progresses, as relations fray. Eden Dambrine delivered one of the most exceptional child performances in recent cinema; he's a little deadpan, and yet his face is rich with emotion. Children are often like this I suppose, their emotions exceeding their ability to express. But Dambrine showed immense control and precision with his talent, never indulging in excessive grief. His friendship with Gustav De Waele's character was not only believable, but felt through every silent glance, every corner-of-the-mouth smile, and credit goes to both these young actors. Close walks its emotional tightrope with care and never risks falling. Admittedly, the half-way tragedy felt contrived, especially with the history of 'Bury Your Gays', where queer characters are historically handed death-sentences on screen (The Children's Hour, Rebel Without a Cause etc etc). The only thing that rescued the film from this mis-step was the way Eden Dambrine's gravity absorbed us, and the well-handled, mature conclusion that he may never get over the tragedy, but learns to accommodate it within his progressing adolescence. The film is solid storytelling; it’s restrained, introspective, but totally moving. Lukas Dhont respects the humility, humanity, and flaws of children, and without making grand statements, he offers insights into their damaged worlds. Without the need for novelty, Close proved itself a very special film.

★★ Directed by: #ClaireDenis Written by: #ClaireDenis, #AndrewLitvack Starring: #MargaretQualley, #JoeAlwyn, #BennySafdie Film Review by: Alex Matraxia Set in Nicaragua where humidity and storm-clouds linger over its leads, Claire Denis’ new film Stars at Noon tries to be a sultry romantic thriller; but rather than a languorous unfolding of mysteries, we have a film which seems indecisive, without direction, and a looseness that often feels laborious. The film is based on Denis Johnson’s 1986 novel, and Denis has updated its 80s setting for the present day (COVID playing a part in the film’s political backdrop). Trish (Margaret Qualley) tries to prove herself a journalist in Managua, though her journalistic abilities are questioned by the audience and her ex-boss, a cameo by John C Reilly (Reilly is a supremely talented actor and comedian, but his style of comedy feels a little misplaced within the tone of the film and its surrounding cast). While in Managua, Trish meets the aloof Daniel (played by Joe Alwyn) who, despite his early claims to work in energy, seems to have the CIA on his tail. In a manner that’s almost Hitchcockian in sentiment, their political and personal affairs commingle as they try to escape the heat that’s closing in. As much as Qualley tries to bring a free-spirited quirkiness to Trish, her eccentric independence often feels forced, a performance that borders on pulp (which is fine if the film’s sensibility can support it). Benny Safdie appears as an undercover cop and his Safdie charm is well cast as the duplicitous investigator, whose seemingly good intentions will later tear Trish and Daniel apart. Safdie's appearance is a saving grace; his presence lends some unity to the drama, and his scenes are the few which feel multilayered. I’d like to give Alwyn the benefit of the doubt, that his cardboard-British persona is a daring acting decision, like some nod to Clive Owen; but the sincerity of Trish and Daniel’s romance makes us think otherwise, and thus his British aloofness falls flat, sucking the energy out of the movie. The film is designed efficiently, in synch with the material but by no means elevating it. While Stars at Noon was not the film we anticipated from Claire Denis, there’s potential lurking in this humid thriller, though its half-formed characters and congested pace prevent the film from taking off.

★★★★ Directed by: #OskarRoehler Written by: #KlauswRichter Starring: #OliverMasucci, #HaryPrinz Film Review by: Alex Matraxia ‘Every man kills the thing he loves’. Oscar Wilde’s quote seems so apt for the life of Rainer Werner Fassbinder, it’s as if Wilde wrote the words especially for the director; not only did the German maverick make use of Wilde’s words in his film Querelle (1982) but the phrase acts as an epigraph at the start of Oskar Roehler’s new film Enfant Terrible. The biopic does more than simply recollect the prolific career of Fassbinder, it also resuscitates the director’s style, attitude, and crazy sensibility. Much like a Fassbinder movie, Roehler’s film plays out like events filtered through memory, through fantasy - reality transformed into a dream of neon colour and fluid space. Bringing the director’s masochism to the forefront, Roehler’s film is no rose-coloured insight, rather it pays tribute to Fassbinder by being true to him in his entirety - a man whose monstrosity and creativity went hand in hand. Fassbinder is no easy part to play, but Oliver Masucci makes for a brilliant Fassbinder - proud, obsessive, ambitious, with a touch of the pathetic. At times he slips into the role seamlessly, and at other times, one can’t help but feel aware that he’s an actor playing Fassbinder. This is part of Masucci’s beauty in the role. Fassbinder himself was so playful with his self-image, so willing to sometimes push himself into caricature, that noting Masucci as an impersonator as well as an actor makes the performance all the stronger. When Fassbinder has a photoshoot with Andy Warhol (played by Alexander Scheer, one of the most convincing Warhols to date), Scheer’s performance is so parodic that it frames Masucci’s Fassbinder as equally, deliciously performative. And Roehler has moulded each performance to fit into the self-contained world of Rainer Fassbinder. Extras stand around like dummies or mannequins, stiff and wooden reproductions of people uncanny to those in Fassbinder’s films. Even shopfronts and restaurants are built out of cardboard, flagrantly fake and stage-like. More than just a reflection of Fassbinder’s life, Roehler and the talented actors involved here have reproduced it ingeniously. Enfant Terrible is somewhat reminiscent of John Maybury's Love is the Devil (1998), a biopic on the painter Francis Bacon. Like Bacon, Fassbinder is monstrous without being turned into a monster. Love and cruelty and art become inseparable for these manipulative men who hate being codependent yet relish making others dependent on them. Shifting between director and dictator (noteworthy that Roehler picked a leading man who has also played Adolf Hitler on screen), Fassbinder is depicted as callous, masochistic and spiteful. And at the same time, mopey, needy, relying on work to foster relationships he’s unwilling to nourish. Roehler’s film highlights the vanity of the director as well as his commitment to the craft. Some of Fassbinder’s great characters become interchangeable with Fassbinder himself, drawing attention to the elements of emotional autobiography in the director’s canon: Masucci sometimes becomes Petra Von Kant, sometimes Emmi, sometimes Lou Castel’s Jeff. What better way to represent and refract such a multifarious personality? But given the vastness of Fassbinder’s career (despite only living until thirty-seven), Roehler’s film may have been more evocative had he focused on a portion of the director’s life, rather than try and contain all of it in just over two hours. Fassbinder’s romances feel especially rushed and unsubtle; taking one romance to pick apart may have revealed more about the inner workings of Fassbinder than trying to chart his erratic relation to all the men in his life. Nonetheless, Enfant Terrible is a treat of a tribute, screening in the BFI Flare Film Festival. It’s especially poignant when you no longer watch it as a biopic, but a tender film about young, dreaming artists, living in the shadow of a fatal destiny.

Filmmaker Interview by Chris Olson Hi Mark, thanks for chatting with us. How have the last couple of years been for you? The last couple of years have been quite productive even though lockdowns have made things difficult with actual filming, but I’ve managed to use the time to write many screenplays, and pre-production prep for an up and coming film I’m working on. A personal loss recently has made me much more focused and determined to succeed. Sorry to hear that. You are working on a new film in which you are co-writer/co-director/star called Caught In-Between. What can you tell us about it? The film I’m working on, Caught In-between is a crime, drama. It was first written as a typical gangster type film, but when I began to work with an awesome director, Daniel Pacquette, we looked at the script and decided we didn’t want a typical gangster film. We decided to create more drama that many can relate to. The story is about a man, Kevin, who is a petty criminal, but his wife wants him to leave the criminal life behind and go straight, which he tries, but due to his daughter becoming ill he turns to crime to afford the surgery to save her, but things go completely wrong. The film shows that crime does not pay. There’s romance, action, drama and crime all rolled into one. We begin filming on 20th June 2022. Why did you want to tell this story? I wanted to tell this story to show that crime doesn’t pay. It’s a three-part film which eventually will show Kevin becomes successful once he goes straight and crime just brings him pain and problems. Too many youngsters are going into crime thinking it will gain wealth, which isn’t true, it just destroys lives. What's the latest with the film's production? We are currently rehearsing and planning the stunts and fight scenes, as the fight scenes will be like the fight scenes in the Bourne Ultimatum. We are also looking for investors and crowdfunding. We’re also in talks to have a famous singer involved, but as nothing has been confirmed yet, I can’t say who this is. I’m really excited about this film and looking forward to filming. You were also recently in a short film called Lonely with Elin-Margareta Nordin, how did you come to be involved with that? I become involved with the short film Lonely because my friend, Elin-Margareta Nordin, who’s like a sister to me wrote it and asked me to act in it with her, and I’m always happy to collaborate with her, well, I’ll collaborate with anyone, but anytime she needs help, I’m always there and I know she’s always there to help me. Why do you make movies? I make movies because I love to tell stories and entertain people. Help people forget about the stress of daily life and lose themselves in the world I’m showing them. I couldn’t imagine doing anything else. I am really passionate about telling great stories. Who are your favourite filmmakers and why? I have a few favourite filmmakers, including James Wan because I am a horror fanatic and James Wan has created many great horror movies, Conjuring has me on the edge of my seat, and the jump scares are amazing. Quentin Tarantino is an amazing director, he’s similar to what I like to do, write, direct and act. Tim Kirkby, I worked with him on The Pentaverate and saw him work first-hand. I have many more for various different reasons and could spend a lot of time talking about them. What's next for you? I have a few things in the works, I’m currently writing a gangster script called Mafia is Calling, with an up and coming actor, who’s worked with A-listers, Jamie Humphrey and am honoured that he has asked me to work with him. I’ve also written a comedy series, I just need to find the contacts to help me get it in front of Netflix because I know they would love this. #ChrisOlson