Directed by Josza Anjembe Starring Grace Seri, Augustin Ruhabura, Mata Gabin Short Film Review by Hannah Sayer The short film French, also known as ‘Le bleu blanc rouge de mes cheveux’, is an intriguing and impressive short film debut from documentary filmmaker and journalist Josza Anjembe. In the short twenty minute running time, the film successfully manages to tackle themes of family, identity politics, culture and immigration. Seyna, played by Grace Seri, is a seventeen year old who has the ambition of wanting to study politics after doing well in her exams. During a family dinner after finding out her results, the topic of identity comes up as Seyna has to make the decision to choose between her Cameroonian roots and her French identity. She is torn and faces the difficult decision of her father wanting her to do one thing and her wanting to do the other; she is torn between the future she wants for herself and not wanting to disappoint him. The title translates from French to English as ‘the red white blue of my hair’. The importance of natural hair as symbolic of identity and culture becomes significant towards the end of the short film as Anjembe hones in on the emotional trauma of Seyna not fully knowing or understanding her identity as she finds herself stuck in the middle. Grace Seri is brilliant in this role and manages to portray Seyna’s conflict of self expertly. Noé Bach’s cinematography is particularly impressive in capturing Seyna’s feelings of isolation and conflict as she is torn between her loyalty to her family and the future career she wants for herself in politics. The obstacles she faces as she attempts to become a French citizen also allows for an important discussion to develop about the ways in which ethnic minorities are treated unfairly by the state. French has done well on the film festival circuit, for example winning best short film at the Vienna International Film Festival in 2017 and the HP Bridging the Borders Award at the Palm Springs International ShortFest in 2016. This is an accomplished first step into the short film medium for Josza Anjembe and this story of identity and culture feels particularly relevant and important to bring into the frame. #ShortFilmReviews #ShortFilms #WorldCinema #FilmFestivals #HannahSayer #JoszaAnjembe #GraceSeri #AugustinRuhabura #MataGabin

Directed by Bugsy Riverbank Steel Written by Guy Bolton Starring Tommy Jessop, Simon Kunz, Laura Morgan, Robbie O’Neill, Delroy Atkinson Short Film Review by Chris Olson Intense and markedly compelling, short film Fighter, written by Guy Bolton and directed by Bugsy Riverbank Steel, is one of the short movies appearing at this year’s BFI London Film Festival. The story revolves around the unnamed Fighter (Tommy Jessop) a would-be amateur boxer who faces numerous obstacles in his quest to get into the ring. Surrounded by his family and boxing officials, we are introduced to Fighter preparing for an upcoming match, with his Pop (Simon Kunz) aiding him by getting him physically and psychologically prepped. Fighter has Down’s Syndrome and there is an obvious, yet largely unspoken, air of unease about allowing him to compete in the violent sport amongst the organisers, as well as his sister Crissie (Laura Morgan) who is doing her utmost to get Fighter out of harm’s way. It then becomes a question as to whether our central protagonist will be able to overcome the various parties attempting to control him, and make his own choice. Boxing movies are a wonderful genre to explore certain themes and issues in. Movies like Raging Bull, Rocky, The Fighter, all have brilliant central characters to build their foundations on, and then use the theatrical brutality of the sport to add increasing drama and tension, whilst making potent comments about the human themes which arise, such as relationships, violence, and class. In Fighter, the theme of choice is a strong one which gets explored through the numerous characters and their agendas. Pop, for example, seems adamant that his son should step into the ring, regardless of what the officials say or who the opponent is. His tenacity in regards to his son’s fighting may seem commendable or dangerous depending on which side of the line you land on, but inevitably the audience realises that the choice must be Fighter’s. Something which becomes starkly apparent later in the short. The performances are all strong and there is a lovely chemistry between Jessop and his brother Joel (Robbie O’Neill) which is the most affecting part of the final section of the short. Jessop handles the intense close-ups and close-quarter sequences with ease whilst mounting an increasing intensity to his physical performance which works wonderfully with the building tension made in the filmmaking. As the sound design becomes more ferocious, so does Fighter, and the sharp editing and darkened scenes are visually arresting, resulting in a captivating atmosphere which is impossible to escape. It would have been nice to explore the family dynamic a little further and get more reason to understand the various viewpoints that are circling round Fighter trying to influence him, but that would then jeopardize the knockout punch that is his dilemma and perhaps distract from his storyline. I do want to mention the DoP Jann Doeppert, who artfully delivers some amazing spectacle when it comes to framing the scenes, in particular the opening shots of the boxing ring and the fighters. These were done with remarkable flair and were immediately striking. Aside from being a little too short, this is formidable movie making. A blistering visual aesthetic and a strong central performance mean that Fighter could easily stand toe-to-toe with the aforementioned greats of cinema without flinching. Watch the official Movie Trailer for Fighter below... Fighter will be playing in the London Calling series at this year's BFI London Film Festival. #ShortFilmReviews #ShortFilms #ChrisOlson #BFILFF #BFILondonFilmFestival #BFILFF2017 #FilmFestival #MovieTrailers #BugsyRiverbankSteel #GuyBolton #TommyJessop #SimonKunz #LauraMorgan #RobbieO39Neill #DelroyAtkinson #Sportsmovies

Directed by David Bradburn Starring Christian Litke and Kiea Houseton Short Film Review by Daniel Reason The torture scene has become a regular occurrence in modern action films, and in this short film, Before You Woke, director David Bradburn brings his own interpretation and style into something that, arguably, doesn’t have the same amount of impact today as it did 20 years ago, due to the modern audience becoming familiar with these types of scenes. The manner of how it begins is very discouraging through the way the opening credits are edited, which creates quite a bad first impression. It is unbelievably difficult to read the names of the cast and crew, consequently meaning that none of those aforementioned people get their moment of recognition. While the fast editing does suit the overall pacing, the way these credits were created could have been handled a lot better. Clocking in at around 4 minutes long, Bradburn throws you right into the action, which is both a strength and detriment. It is very well paced, so before you know it, the credits start to roll. The pacing is demonstrated through the soundtrack which accompanies each specific scene magnificently and truly adds some more excitement. Unfortunately, it is because of the pacing and eagerness to get the story going, that we are given no time to understand what is happening nor have the ability to relate to/learn about either character. After re-watching it several times, there really isn’t much more to get out of it – it tells a very simple story and does it rather conventionally. Despite this, Bradburn is able to generate some tension through the slow movement of shots and nervousness in Kiea Houseton’s un-named character. The dialogue is quite basic and leaves it unclear as to who is the “protagonist”. With our prior expectations, we would believe that Christian Litke’s character, also un-named, is the antagonist and that Houseton is the protagonist, but it is left unclear as to if this is really the case. It is suggested that the pair have had some previous experience with one another, but it isn’t determined nor does it explain the purpose for her character’s torture. As previously stated, due to the short run time, enough time isn’t given to develop either character and this is something that greatly affects specific moments. In those moments, it is intended that we should feel sympathetic for Houseton’s character, but without the full story and lack of knowledge about her, it feels a little un-natural to not care for someone who is being/has been in that situation. In many ways, this whole film feels like a single scene from another. If there was more information and these characters before and after the event, then it would most certainly benefit. Despite Bradburn’s best attempts to create tension and suspense through his long takes, and the excellent synth-soundtrack, the inability to care about the story and characters make this feel rather forgettable. #ShortFilmReviews #ShortFilms #DanielReason #Thriller #Kidnap #Torture #DavidBradburn #ChristianLitke #KieaHouseton

★★★ Directed by Simon Curtis Written by Frank Cottrell Boyce and Simon Vaughn Starring Domhnall Gleeson, Margot Robbie, and Will Tilston Film Review by Euan Franklin It’s deeply ingrained in the British psyche: the dreaded stiff upper-lip. During the two World Wars, it was considered essential to the preservation of character. You must never lose face, lest it result in a loss of reputation. The same rules apply to shell-shocked soldiers, as they were called. What does this have to do with Winnie-the-Pooh and Goodbye Christopher Robin? Everything. After returning from the Great War, author and playwright A. A. Milne (Domnhall Gleeson) sets about writing an anti-war book – but can’t concentrate. He and his fun-loving wife, Daphne (Margot Robbie), have a child and leave him to be tended to by a nanny while gallivanting with fellow aristocrats in fancy London parties. But Milne still struggles with trauma from the war, perturbed by noises that sound like gunshots and artillery fire. He moves his family to the country, much to Daphne’s chagrin. When the nanny, Olive (Kelly MacDonald), has to tend to a family emergency, Milne has to take care of the child himself – resulting in the conception of Winnie-the-Pooh. Goodbye Christopher Robin is much darker than the subject-matter suggests. Traumatised by the war, Milne can barely function after his experiences at the Somme. But the darkness burning within him is assuaged by his son, Christopher Robin (Will Tilston), during walks in Ashdown Forest. They learn how to communicate by playing in each other’s imaginations. The script by Frank Cottrell Boyce and Simon Vaughn is strongest during these scenes. The dialogue is beautiful to listen to and there’s a real, mythical poetry in their words. Beforehand, the first act has lines that feel rough and out-of-place but they’re promptly forgotten once the story gets going. The film nearly collapses because of Daphne, who irritates the movie as a cartoon sociopath. In real life, she was a woman who suffered some mental health issues, particularly after giving birth. But these are never explained or explored in the movie and, as a result, she appears as a one-dimensional disaster, with most scenes left wounded by her presence. Boyce and Vaughn have tried their hardest to cram the whole story into two hours, rushing the emotional moments between the characters. The scenes are too quick to get stuck in to. Saying that, there is a beating heart to this movie. Simon Curtis shines as a director in scenes where the stiff upper-lip must be adhered to, in spite of heart-rending emotions. The characters can’t let their feelings loose because it isn’t proper. And it’s these moments that are the warmest and most intelligent to behold. Goodbye Christopher Robin is flawed, but improves after they move to the countryside. If you’re able to ignore Daphne’s offensive speeches and annoying personality, you can cope with the rest of the film. The moments between father and son are where the movie excels, building to a tear-jerking finale. And you’ll need to read Winnie-the-Pooh again to cheer yourself up. #Biopic #FilmReviews #TheatricalReleases #PTSD #EuanFranklin #SimonCurtis #FrankCottrellBoyce #SimonVaughn #DomhnallGleeson #MargotRobbie #WillTilston

★★★ Directed Mark Garvey Starring Simon Cleary, Alice Phillipson, Jasmine Knight, Edd Gibson, Tom Gillson, Paul Woodcock Indie Film Review by Chris Olson Loaded with emotional depth and filmmaking prowess, filmmaker Mark Garvey's indie feature The Same Circles is a tumultuous story about loss, grief and revenge in the modern world. With its central character descending into a pit of obsession, this becomes a cautionary tale of action and consequences, and how easy it can be to lose one's morality in the face of utter tragedy. Rory (Simon Cleary) is introduced to the audience at the beginning of the story as a timid character, softly spoken and doesn't know how to change a flat tire (the marking of the anti-alpha-male). During a weekend break with his partner Saff (Alice Phillipson) they have an ugly run-in with a group of people out on a stag-do. The results of this violent and regrettable altercation then shape the direction which Rory life takes and his quest for justice. Revenge fantasies often fall into the trap of focusing on the euphoria one could find in taking violent retribution on someone who has wronged you. Cleary and Garvey as co-writers, to their credit, sidestep this and spend more time in their movie looking at how the central character struggles with the changes taking place. As he loses his grip on his former self, physical and psychological struggles take place that reflect the metamorphosis that is happening. Where the writing falls down sadly is the dialogue. Thriller tropes and cliches are ladled into certain scenes that the actors simply cannot handle, and my eyes were rolling at numerous points during the film when Cleary attempted to express the smorgasbord of emotions his character was supposed to be experiencing. Some of the physical blocking was also laughable. A particular scene where Rory confronts one of the suspects on a country lane is painfully amateurish. Cleary's pacing around and line delivery was so uneven it dropped any tension that had been built up previously, and the theatrical fisticuffs were cringeworthy. Where the performances are stronger are when there is no one speaking. A film with a dark story like this could easily have opted for minimal dialogue, and Cleary is at his best when he is raging alone in his car or pounding the streets looking for clues...although how much coffee-to-go can one bloke drink?! As it is, Cleary is not a strong enough lead for a film with such a demanding central role. All that being said, The Same Circles contains some absolutely stunning cinematography from Garvey. His use of a wonderful tracking shot across the beach where mud spurts up and splashes the lens was magnificent, as were the scenes of Rory looking out across empty estuaries at dusk (why he thought he would find anyone in that location at that time of night is beyond me though). The use of lens flare is also nicely done, capturing the fracturing nature of Rory's personality and his journey which is being blurred by his rage. There was a very interesting theme that did arise during the film which I think, with a stronger cast and better script, could have proved compelling. This idea that in the digital age we can become judge, jury and executioner because we feel we have the means to find out everything at our fingertips is a good one. And then the effect this has on us as people is a wonderful angle to explore. As far as The Same Circles goes, the judgement is nothing to get excited about. Watch the official Movie Trailer for The Same Circles below... #IndieFilmReviews #IndieFilms #ChrisOlson #Revenge #MovieTrailers #MarkGarvey #SimonCleary #AlicePhillipson #JasmineKnight #EddGibson #TomGillson #PaulWoodcock

Directed by Ryan Jamison Starring Trevor Adolf, Josh Goodman, Jonah Rook, Matt Hanzek and Conner Dwelly Short Film Review by Rachel Pullen Think back, or forward depending on your age, to when you were 16, what were you doing? If you were anything like me, you were a champagne billionaire, sipping on the gold juice of life and entertaining many loose ladies with your quips and quick wit, and while that may have been satisfying and very rewarding I didn’t do anything that could be considered skillful...like oh I don’t know, make movies, and not just dumb movies on your phone of you lighting farts on fire, but legit actual movies. So welcome to the stage Ryan Jamison who at 16 already has a catalogue of short films with his name on, and if that’s not enough he also writes and edits all of his work, it’s pretty easy to say that Jamison is a very driven young man. Short film Facade is the next addition to his ever-growing list of flicks and it follows the story of a group of high school students in Canada and the problems that they face in a day. We have the stereotypical groups that we as an audience have become so accustomed to seeing from any high school movie: the jocks, the bullies, the loners, the popular girls, we have seen it all before but Jamison chooses to take us deep into these student worlds, focusing on one from those cliques and seeing how they deal with daily high school life. The tales that each of these characters are involved in are highly believable, Jamison has made a very mature decision in allowing the reality of the students' lives to be entertainment enough, and that simply by having a good script behind these storylines is strong enough to carry the film. It’s clear from the start that Jamison has put a lot of thought in to locations, into camera angles and making the most of what he has at his disposal, we have to remember that at 16 years old Facade is clearly made on a budget, but his knowledge of filmmaking as well as his equipment has allowed him to produce a professional and aesthetically pleasing piece of cinema. This is an impressive piece and not just because of Jamison’s age, it’s enjoyable and true, a short that throws us head first into the anxiety, but also the romance that the world possesses during our teenage years, so watch out Hollywood, this teenage prodigy is working his way up the ladder. #ShortFilmReviews #ShortFilms #RachelPullen #ComingofAge #HighSchoolfilms #RyanJamison

Directed by Dom Lee Starring Kevin Johnson and George Bull Short Film Review by Annie Vincent An engaging, three-minute tummy-turner that leads you down the garden path to the most tragic of sheds. Dom Lee’s short film Rocketshed opens with Jack (George Bull) and Dad (Kevin Johnson) sat side by side in a dim, cramped room, boiler suits on, their names stitched in white. Around them fairy lights adorn the walls which are also covered in Jack’s drawings of space, with numerous planets labelled. Whizzy dials and countdown timers beam at them from their laptops and an old sound deck serves as the control pad – these two have really gone to town on the father and son bonding: how cute! But Dad doesn’t look as excited as Jack, in fact he looks nervous. As Jack pulls out his ‘conquerors’ flag, with ‘Dad and Jack landed here’ scrawled across it, we wonder what Dad has to say, what bad news he has to the break to Jack. He looks across at a picture of a young woman – has something happened to Jack’s Mum? Then the camera flicks off to Dad’s phone; an article about an asteroid on course to collide with earth and cause extinction is illuminated. A piano accompaniment kicks in and the audience’s curiosity turns to dread as we realise the awful truth. The dim lighting and close camerawork are well-chosen here. Filmmaker Dom Lee captures Jack’s excitement and Dad’s anxiety side-by-side creating a great contrast on screen that intrigues us. As the film progresses, the camera stays close to Dad, tracking his emotions, which are conveyed brilliantly by Kevin Johnson. His attempts to keep it together and to keep up the pretence that this is just a game, just some father-son time that ends with an imaginary moon-landing, only adds to the poignancy as the garden shed starts to rattle and Jack becomes frightened. A really engaging short, Rocketshed offers a rollercoaster of thoughts and emotions in just three-minutes and will appeal to audiences. If Rocketshed is anything to go by, Lee’s second short Fort Box will also be worth attention. #ShortFilmReviews #ShortFilms #AnnieVincent #DomLee #Familyfilm #KevinJohnson #GeorgeBull

★★★ Written and Directed by Oliver William Smith Starring Sean Mitchell, Ella Blackburn, Elliot Bevan, Owen Carter, Katherine Harding Indie Film Review by Chris Olson Charming and technically impressive indie film Verve, written and directed by Oliver William Smith, is a very British coming-of-age story played out across the summer before leaving for university for a group of young people. As the leavers prepare themselves for the next chapter of their lives and await the looming A-Level results day, the intricacies of their characters start to emerge and reveal a selection of buried angst, uncertainty and emotions. Think American Pie with less sordid anarchy but more awkward banter and nicer people. At the heart of Verve is Sophie (Ella Blackburn) and love interest Jim (Sean Mitchell). The two enjoy the surges of a blossoming relationship in the post-exam era, whereby life ahead looks positively picturesque compared to the gruelling studies now behind them. However, the reality soon dawns on both of them that life is a continuous series of choices and consequences and the ones they are about to make are quite important. Along with them are numerous friends such as Carl aka "Carlos" (Elliot Bevan) and his romantic interest Gwen (Catherine Harding) who also enjoy a new, if slightly geekier, relationship. And then there is Pierre (Owen Carter), an insufferable rich kid skating by on money and bravado. The ensemble is a smorgasbord of upper-middle-class white kids. In terms of plot and character, Verve offers very little in terms of originality. It smacks of a film studies project whereby the class decide to make a film about their own lives because it's the only shared experience they can think of. The themes are very plain and the journeys are predictable. Some of the performances were pretty wooden too, which didn't suggest they were bad actors but perhaps inexperienced. I did enjoy the offbeat timing of Elliot Bevan though. I want to get all of the nitpicking out of the way, because I want to get on to the more positive aspects of the filmmaking in Verve. There are numerous sequences in the movie that are genuinely excellent. A one-take tracking shot through a cinema and out into the night streets with all the various characters in tow was a particular highlight for me. It felt as if the fluid camera movement was representing the transformative stage these characters were in and as they chaotically moved around each other and entered the frames at different times, a sense of collaborative experience was being expressed that is so specific to this age group. The welcome moments of comedy injected throughout the film are cheeky, there were some nice moments of creative dialogue involving double entendres that, had the delivery been a little less wooden from the actors, would have been brilliant. Another fantastic aspect to the film was the soundtrack. Plenty of acoustic tracks are laid over montages and set pieces. This is most evident during one scene involving Jim, a river, and some origami which is well executed and had a lovely tone. A stronger cast (or the same one with a bit more experience under their belts), a better script and more peril in the plot and Verve could have been a quintessentially British coming-of-age classic. As it stands though, the film still has daring filmmaking and a lot of heart which is more than most can say. Watch the official Movie Trailer for Verve below... #IndieFilmReviews #IndieFilms #ChrisOlson #ComingofAge #BritishFilmmaking #OliverWilliamSmith #SeanMitchell #EllaBlackburn #ElliotBevan #OwenCarter #KatherineHarding

Directed by Michael Beddoes Starring Melissa Clements and Lauren Shotton Short Film Review by Seamus Conlon The titular date of this brief comedy of errors directed by Michael Beddoes involves Maddie (played by Melissa Clements) arriving at a bar for a date with a man named Tony. When a man she hopefully anticipates will be her blind date walks to the bar, she is surprised and dismayed when he gives a kiss to the barman. Immediately after, Tony, or rather Toni (Lauren Shotton) arrives at the bar and the awkward date commences. As Toni’s one-way flirtation hits a brick wall on the other side of the table from her, Maddie reflects upon exactly what may have caused the work colleague who set her up on the date to misread her as lesbian. Dodgy gaydars and mistaken sexual identies aren’t particularly original for subject matter. Butch women being misidentified as lesbians has been a comic motif from Sex and the City to Peep Show. Sadly it cannot be said that short film The Date puts any exciting or extraordinary twist on this mildly inconvenient and only moderately funny scenario. Not only is the very premise of the short film unimaginative, but the writing proves highly predictable – when Maddie asks Toni at the end as to what it was that made it so easy for Toni to recognise that Maddie was not a lesbian all along, we know immediately that Toni will respond with an almost verbatim reworking of the words Maddie’s colleague Charly used to justify her misreading of Maddie as a lesbian. Melissa Clements and Lauren Shotton deliver persuasive performances as the mismatched couple, but believability cannot be found in all performances. Whereas Clements successfully visually communicates her bemusement and unease at the situation she finds herself trapped in, Rebecca Robinson is an overacting caricature as Maddie’s mismanaging work colleague Charly – although, considering Charly is written as an intolerable brat fond of abrevs such as ‘obvs’ and acronyms such as ‘BFF’, it may be that there was no way for Charly to be anything other than grotesque. The Date is a largely well-executed short, not unpleasant, and dominated by two strong performances. But it is uninventive in both concept and manifestation. A film whose ‘edge’ is gay subject matter would’ve perhaps been mildly interesting decades ago but feels dated, and in 2017 is uninteresting and will be stale decades from now. When the short ends, the audience wondering, ‘was this trying to make a morally instructive point? Was this a didactic piece about the importance of not making assumptions about people’ sexual orientations?’. Tiresome subject matter can only be redeemed by artistic flair. #ShortFilmReviews #ShortFilms #MichaelBeddoes #SeamusConlon #Comedy #LGBT #LGBTQ #MelissaClements #LaurenShotton

★★★★★ Directed by Amanda Kopp & Aaron Kopp Starring Gcina Mhlophe BFI London Film Festival Review by Chris Olson You have not seen anything like this. A unique and masterful hybrid of storytelling conventions, filmmakers Amanda Kopp and Aaron Kopp deliver a documentary like no other with Liyana, a story stitched together by orphaned children in Swaziland. Running parallel with the footage of the enthusiastic kids is animation of the tale they are creating. What ensues is a tapestry of adventure, heartache, peril, joy and life. In a country with the world’s highest rate of HIV amongst adults aged 15-49, it is a sad reality that hundreds of thousands of children are left parentless by a ravaging virus. The children featured in documentary Liyana are such victims, some with harrowing tales of a desperate childhood that involves being left alone in the world after their parents have been taken. So when storyteller and writer of children’s book Gcina Mhlophe introduces the idea of this group creating a collaborative story, audiences would be forgiven for fearing the worst. It is my honest pleasure to report, though, that the result is a joyous, affecting, and incredible piece of documentary filmmaking. The viewer is witness to the group of orphans enthusiastically choosing the narrative of their central character Liyana’s journey. The storyline they compile is made of sequences that contain tragic allegories to their own experiences, the harsh conditions they have had to endure being mirrored by Liyana. Instead of being a seventy-odd-minute Children in Need segment, the children bring the story to life with their passionate performances of the plot and their insightful comments about the nature of their own life’s direction. By combining the idea of creating a story and dealing with the sometimes cruel realities of life, a wonderful atmosphere of hope and strength begins to seep through the screen as the viewer witnesses an emboldening of these vulnerable young people. With the narrative combination taking place with the youngsters and Liyana, the filmmakers also chose to have a mixture of real footage and animation. For the audience this becomes an abstract experience of blurred fiction and reality, all with a sadness attached, that instead of removing the overall effect, actually enhances it. Some beautiful sequences show the kids in the picturesque hills near their group home, exploring the wilderness and working together. One incredibly gripping moment shows one boy in the doctor’s surgery as he waits to find out if he has the virus. Agonisingly compelling, it was a truly remarkable moment to be witness to and a horrific reminder of the state of conditions in Swaziland. We also see the children individually regaling the tale of Liyana to the camera, some with wonderfully elaborate keenness. The animated scenes are far from the best you will see in an animated film this year, but they are expertly cinematic and perfectly suited to the tone of the story. Highlighting the power of storytelling in even the toughest of social climates, the robustness of youth, and how the human spirit can endure so much if imagination is introduced, Liyana the documentary is by all meanings of the word, a triumph. If you are interested in attended this year's BFI London Film Festival and would like to purchase tickets to see Liyana - Click Here. #BFILondonFilmFestival #ChrisOlson #FilmReviews #AnimatedFilmReviews #DocumentaryFilmReviews #WorldCinema #ThandieNewton #AmandaKopp #AaronKopp #BFILFF

★★★★★ Directed by Anthony Pedone Written by Anthony Pedone and Stephen Floyd Starring James Paxton, Charlotte Best, Sam Dillon, J. R. Villarreal, Tony Cavalero Indie Film Review by Chris Olson A ferocious and unrelenting coming-of-age film from writers Anthony Pedone and Stephen Floyd, An American in Texas takes its audience back to 1990, where life felt just as f*cked up as it does in 2017. Tracking the unbreakable brotherhood of four teenage boys, who, along with being bandmates, share a more fundamental connection that manifests itself as a pure rage at the world around them. Playing angst-riddled grunge and punk, dropping acid, and gatecrashing local parties are some of the more socially acceptable endeavours they partake in. At the other end of their behavioural spectrum concerns a trunk full of animal masks, a collection of axes and a number of empty houses they decide to take out their frustrations on using violent vandalism. With the introduction of White Collar love interest Kara (Charlotte Best), the group's chaos and imminent adulthood leaves them completely vulnerable for what ensues. Rarely does a film grab you by the balls and refuses to yield until its conclusion, but An American in Texas did just this to me and I'm still feeling the sting. It was an absolute adrenaline rush of a movie that captured something pure about the "cusp of manhood" experience, right down to the boiling fury that we all feel at one point whereby we want to tear something down and leave nothing in its place. James Paxton brilliantly performs as Chad, lead singer and the boyfriend to Kara. His infrequent moments of romance are dangerously outweighed by his burning desire to get the hell out of his home town and make it as a musician. Sam Dillon is superb as the slightly unhinged Zac, a would be medic whose penchant for fireworks and narcotics is one of the many fantastic elements that make up this film. J. R. Villarreal plays Paul with a outstanding depth, a character consumed by his disillusionment with the state of the world. And Tony Cavalero as Billy is something you need to see to believe, but know that it is a phenomenal performance. What was so impressive about the film was the masterful balance of so much noise and emotion, against a poignant political backdrop (the Gulf War) whereby American society was about to enter a notoriously divided sense of self, and views on the country's behaviour and values started to reveal themselves culturally. One particularly affecting scene involved a war veteran speaking to Billy and telling him not to believe everything they say about serving God and country. There is also a strong thread regarding consumerism and capitalism, and the town's looming plastic bag factory is a nightmarish presence for our protagonists. The sound design and music in An American in Texas must be commended. It is a tour de force of broiling passion that suffocates the visuals when necessary, which is an immense achievement and the perfect accompaniment for a story depicting the experience of being a teenage boy angry at the world. Music is such a vital part of this film for so many reasons, and the audience are able to experience the visceral expression that is behind the artistry. One of the best films indie films of the year, An American in Texas is a much needed journey of raging against the machine that is as topical as it is furious. Watch the official Movie Trailer below... #FilmReviews #IndieFilmReviews #ChrisOlson #IndieFilms #MovieTrailers #5StarFilm #Drama #ComingofAge #AnthonyPedone #StephenFloyd #JamesPaxton #CharlotteBest #SamDillon #JRVillarreal #TonyCavalero

Written & Directed by Elias Plagianos Starring John Behlmann, Linda Hamilton, William Sadler, Jackie Martling, Tasie Lawrence, Josh Burrow, Lukas Hassel, Fiona Hardingham, Joe Holt, Caitlin Mehner, Lindsay Torrey, Diana Durango Short Film Review by Chris Olson A comedic and cynical journey into the world of paparazzi, fashion, and art, short film Shoot Me Nicely, written and directed by Elias Plagianos, is aesthetically supercharged and thematically interesting, but ultimately lacks coherence and bite. The central character is Sean Wheeler (John Behlmann), a photographer whose life is hitting some pretty hefty bumps, as his fall from stardom includes losing his amazing job and beautiful girlfriend (Fiona Hardingham). To try and pay the bills, Sean has to ignore his passion for art and take to snapping shots of celebrities in compromising situations, selling the fruits of his efforts to the highest bidder regardless of the damage it could cause to his unwitting model’s life. One such subject (William Sadler), a popular TV host, does not take kindly to his picture being taken in an alley, especially when it reveals a...shortcoming of sorts, and vows revenge on Sean. With a fairly loose plot and mild humour, Shoot Me Nicely lacks the sting it needed to be remarkable. The central character is quite plain and devoid of charisma, and the numerous side characters feel stuffed in without any real reason to be there, such as a bartender, Sean’s landlord, the new boyfriend of his ex, Sean’s agent, and some others. The casting felt like a filmmaking debt that needed to be paid to friends in the industry. All this overcrowding results in the story feeling flatter than a polaroid picture and just as throwaway. There are some important plus points to highlight though, the first of which is Sadler’s performance. His scene with Sean, whereby he promises to refund the injustice done to him, is brilliantly theatrical and menacing. The dialogue in that scene also captured some of the themes of the film as a whole, which were another commendable aspect. The lengths that Sean goes to in order to raise himself from the bottom of the pile are despicable and his morality is a stark indication of the broken community in which he inhabits, which exists primarily on the winning of some and the losing of others. To say Shoot Me Nicely is anywhere near Nightcrawler would be outrageous, but there are some definite parallels to be drawn. Another enjoyable scene happens between Sean and Vanessa (Tasie Lawrence) which takes place in a restaurant. Their flirting and chemistry, whilst fleeting, provided a decent chance for Sean’s character to emerge for the viewer. The visuals are well framed and delivered in wonderful clarity, showing a high production value which some audiences will certainly appreciate. With a bit of harsh editing and more of a focus on the storyline and character development, there is a better film in Shoot Me Nicely and I would be interested to see Plagianos turn his attention to something with a bit more meat and less gloss. Watch the official Movie Trailer for Shoot Me Nicely below... #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #Fashion #EliasPlagianos #JohnBehlmann #LindaHamilton #WilliamSadler #JackieMartling #TasieLawrence #JoshBurrow #FionaHardingham #JoeHolt