Directed by Sophie Black Written by Sophie Black and Tommy Draper Starring Jonny McPherson and Holly Rushbrooke Short Film Review by Chris Olson How do you make a home invasion movie seem charmingly romantic? Well you make the intruder a quirky, free-spirited teenage girl called Mary (Holly Rushbrooke), and the victim Kent (Jonny McPherson) a softly-spoken shut-in who desperately needs his horizons broadening. Wrap it all up with a delightful acoustic soundtrack and intimate framing and a cosy story doth you have. Such are the ingredients of short film Night Owls, directed by Sophie Black (who also co-writes with Tommy Draper), a disarming and enjoyable piece that throws two characters together and enjoys the chemical reaction which ensues. As the tale unwinds for the audience, glimpses are offered of each character's backstory and home life but never so much as to veer away from the connection that is obviously forming between these two unlikely people. The setting is equally as vital in delivering the visual warmth that emanates from the characters. Set mostly inside Kent's cluttered living room, objects and paraphernalia of all kind surround this blossoming friendship that outshines all of the external forces that would try to prevent it. Old vinyl records are played, a large rug is utilised as a makeshift duvet, and the pair seem unwanting of anything other than each other's company...and maybe some smokes. As the two engage in some revelatory discussions about their lives and feelings, the world seems to focus like a perfect moment in time. As a short film, Night Owls is watertight, using the medium's limited run time to ignore unnecessary exposition and instead balancing all its elements with the goal of capturing the essence of the dynamic between Kent and Marry. This is then complemented by using soft lighting and gentle cuts to highlight the tenderness of the story. It shows masterful craftwork by filmmaker Sophie Black. The performances are both strong and viewers will enjoy the repartee. However it is McPherson who proves most enigmatic in his portrayal of the troubled reclusive. Audiences could easily enjoy minutes more of his mournful meanderings. That being said, Rushbrooke delivers some much needed tenacity to certain sequences, from her soaking wet introduction and request to enter Kent's home (after being caught trying to pick the lock), to her effortless dancing in his living room. Whilst there is nothing hugely original about Night Owls, this is undeniably a case of a good story being told well. The enduring themes and picturesque aesthetic make it a beautiful film to behold. #ShortFilmReviews #ShortFilms #ChrisOlson #Comedy #Romance #SophieBlack #TommyDraper #JonnyDraper #HollyRushbrooke

Directed by Jarno Lee Vinsencius Starring Demis Tzivis, Ida Gyllensten, Kase Chlopecki, Jennica Landén Short Film Review by Annie Vincent Jarno Lee Vinsencius’ latest short film, The Madame in Black, plays on those familiar urban legends we all knew as children. In this version, Alex and his sister Emma conjure the Madame by saying her name three times into a mirror. As children this was a game played in a dark and dusty basement for amusement. 22 years later however, they realise this is much more than a game as it becomes a vicious reality for Alex, Emma and their respective partners (Harry and Sarah), when they meet for an evening at Emma’s home to celebrate her birthday. It’s clear to see why The Madame in Black has won numerous short film awards. The opening montage plays with those familiar conventions we expect to see and which set that eerie tone for a jumpy horror: a flash shot of a witch burning at the stake; an older sister goading her younger brother into a scary game; the familiar tinkle of a child’s jewellery box cutting over the Psycho-esque screech of a violin. From the outset, Vinsencius’ talent for camerawork is evident. He carefully uses natural light and shadow to create that ominous atmosphere and as the film progresses to an evening 22 years later, he uses the dark, carefully framed silhouettes and mirror reflections to create angles which suggest the group are being watched. The episode in the woods is really exciting, when we see Alex dragged along the floor and the camera follows Alex and Emma running back into the house, again delivering that voyeuristic effect for the audience. The accompanying score is also effective in that ‘crazy old 80s horror flick’ way; an observation Harry makes to Emma as the evening appears to be drawing to a close. Whilst the suspense-building music will sound familiar and lead you towards those big jump moments as expected, careful attention has been paid to other sounds which ramp up the tension: the edgy scratching of a colouring pencil against paper, the ethereal chanting of the witch, crunching footsteps in the forest. Unfortunately, where lighting, sound and editing have combined to create a credible horror short, the script hasn’t worked quite as well. The English subtitles (which could do with tidying up) may be to blame for some of this, but ultimately there is little depth to this story and the premise – that a group of adults in their late 30s would play out their childhood games with little incentive - is weak for the audience. The lead actors, Demis Tzivis (Alex) and Ida Gyllensten (Emma), deliver solid performances but it feels like even they wanted there to be more story here. Both deliver facial expressions and a subtlety in their lines which would indicate their characters know more than they are letting on, and I wish there was more. Horror audiences have come to expect more developed plots and it is clear that more that could be done here. Overall, this film is deserving of the credits given to Vinsencius for the production and is well worth a look if you’re a horror short junkie. There is certainly talent here and I hope we see it again in future productions, but do ensure you revel in that eerie atmosphere and those classic jump moments when you see this, as the script is likely to leave you wanting. #AnnieVincent #JarnoLeeVinsencius #DemisTzivis #IdaGyllensten #KaseChlopecki #JennicaLandén #ShortFilmReviews #ShortFilms #Horror

★★★★ Directed by Marti Noxon Starring Lily Collins, Keanu Reeves, Carrie Preston, Lili Taylor Netflix Film Review by Evie Brudenall Eating disorders and anorexia are both a taboo subject area and also wildly misrepresented on the big screen where it is often depicted as a backdrop to facilitate painful melodrama. In all, it is rarely treated as the serious mental illness that it is. That is until Marti Noxon’s debut drama To The Bone, a sincere, unflashy and at times darkly comic look at an illness that refuses to define its characters. Ellen (Lily Collins), a brooding 20-year-old anorexia sufferer, has spent the majority of her teenage years in various recovery programmes without result. Her desperate and dysfunctional family are determined to find a solution and send her to a group home for youths under the guidance of the controversial Dr Beckham (Keanu Reeves). Based on the movie trailer alone, people were quick to dismiss Netflix Original To The Bone and accuse it, and the creative team behind it, of romanticising eating disorders and glamourising the illness that gravely effects so many. The promotional material for the film may have given the wrong impression or spectators could have jumped the gun with their assumptions. Perhaps it’s a confluence of the two, but UK Film Review’s verdict is that the affliction is handled with complete sensitivity. Both writer/director Noxon and star Collins have a history with eating disorders and their experience and fingerprints over the picture prevent it from becoming Tumblr fodder. To The Bone has a plethora of strengths but Noxon’s writing, particularly the dynamics between characters, is certainly a mentionable one. The root of Ellen’s problems is hard to identify but Nixon heavily implies that they may stem from her uniquely frustrating family. She is largely raised by her stepmother Susan (Carrie Preston), a well intentioned albeit overbearing figure who often misjudges the appropriate way to to approach Ellen’s disorder, such as presenting her with a hamburger shaped cake that reads, ‘Eat Up, Ellen!” in icing. Her father is never seen, with Susan attributing his constant absence to his hectic work schedule and her mother lives in Phoenix, citing that Ellen cannot live with her due to her inability to facilitate her daughter’s condition. But she does “send hugs”. The only person who sees Ellen as a person and not a problem is her half-sister Kelly (Liana Liberato), but a family therapy session reveals just how emotionally affected she is by her sister’s anorexia. The family dynamic extends to the group home where characters assume a different function depending on their stage of recovery. Every single supporting character feels like a fully fledged person in their own right, each burdened with their own varying struggles. Noxon’s writing may shine but her direction is unimposing, allowing for the attention to fall completely on the astounding acting. Collins as Ellen (later renamed Eli) is a captivating presence as the focal point of almost every frame and arguably delivers the finest performance of her relatively short career. Ellen is a character whose sharp tongue and often scathing remarks can make her unlikable. Under different circumstances and with another actress at the helm, that could have been the case but Collins imbues the role with a charm and vulnerability that makes us thoroughly invested in Ellen’s journey. It’s a journey that is constantly arduous and moments that may seem like progression, like a potential romance with fellow patient Luke (Alex Sharp), are instead complications as the film thankfully resists the urge to have a love interest become the cure that our protagonist has been waiting for. Touching, funny and poignant in one graceful sweep, To The Bone is a stellar debut from a filmmaker whose sensitive, dark and artistic voice deserves to be heard. #Netflixfilmreviews #Netflix #EvieBrudenall #LilyCollins #KeanuReeves #CarriePreston #LiliTaylor #Anorexia #EatingDisorders #MartiNoxon

Directed by C.J. Lazaretti Starring John Wilde Short Film Review by Michael Fiott The Turtle Terminator is a short film that would make any previous victims of a turtle related incident feel very wary about their future relationships. The nameless narrator begins by explaining how he was bitten on the ring finger by a turtle when he was young when reaching for a toy. Growing up, he then used the leftover scar to attract potential mates, as they would have to touch his hand to take a closer look, he would also explain to them that he made a few comic strips of an imaginary character called ‘The Turtle Terminator’ after his harrowing experience. You then have to suspend your disbelief as it is revealed that this story is a genuine deciding factor for his future happiness with women. Generally there isn’t much to feast your eyes on in this film in terms of cinematography, but it does have some very interesting ideas, such as the completely white background that flashes back to him as a child and the seemingly expertly drawn animation segments of his childhood comic. These do help to pad out what is otherwise a rather blandly shot and edited film, but ultimately do not serve for anything more than a welcome input of imagination. Another element that does enhance its viewing is its use of music to guide us through, swapping from music that would otherwise be used in a whimsical sitcom to an awfully serious and slow piano piece that wouldn’t be out of place in Beethoven’s back catalogue. Although the biggest problem The Turtle Terminator has is its seeming lack of direction or meaning to the plot; the audience for the most part is held at ransom with their own need to understand it and genuinely leaves us disappointed and jaded at the entire concept. Whilst there is still a comic and light-hearted tone infused in its almost three minute run time, we are still left confused as to why such a serious route was taken for its ending. The audience would be able to appreciate the humorous irony and exaggeration that being bit on the hand by a turtle would be the deciding factor for the majority of your life as you know it, but unfortunately I am not completely sure that this was the impression the filmmaker was hoping for when setting out to produce it. #ShortFilmReviews #ShortFilms #MichaelFiott #Animation #CJLazaretti #JohnWilde

★★★ Written & Directed by Amartya Bhattacharyya Starring Amrita Chowdhury, Susant Misra, Swastik Choudhury, Hrushikesh Bhoi, Dipanwit Dashmohapatra Indie Film Review by Taryll Baker An ambitious project, and a charming one at that. Amartya Bhattacharyya’s Khyanikaa: The Lost Idea throws us into a wonderland filled with impeccable colour and strange but convivial characters. Simple yet convoluted; the plot seems to have some dream-like inspirational roots, but whenever the roots become visible the dirt crumbles back. First and foremost, this film is beautiful to look at. When a film holds you through just the visual storytelling, that’s an achievement. Though the ideas are interesting, the way in which they’re explored is not. Thankfully, cinematographer and director Amartya Bhattacharyya provides a vivid canvas that paints itself as the camera moves blissfully through the rural landscapes. The work behind camera has clearly had some thought, the shot composition is remarkable. Not only that but the dialogue recordings are pristine, supplied with the sounds of nature, all mixed splendidly. The talent isn’t just behind the camera, the cast is excellent also. Each actor brings their own quirkiness to their roles, creating a likeable connection between character and viewer. The script is underwhelming and although the actors deliver their lines carefully, it’s something that becomes noticeable from the beginning. That said, the way in which the conversations are captured through Bhattacharyya’s vision is stunning. Every location has been scouted carefully, creating a vivid and visually intricate world for our eyes to explore. There were some really nice sequences placed throughout, including a brilliantly choreographed dance performed by Amrita Chowdhury, however the story never felt captivating enough to hold interest past these. The original score for Khyanikaa: The Lost Idea by Kisaloy Roy takes us on a ravishing journey through the Indian culture. Every scene is skilfully paired with Kisaloy’s work. The string arrangements are lush, and the plucked instruments complement them well. With modern film scoring, sometimes the music can become washed out due to an explosive bed of sound, but here it’s being brought to the foreground. It never outstays its welcome, instead it continues to evolve, bringing the visuals to life. This is truly brilliant work by Kisaloy. There’s little to comment on further than the aforementioned, mostly because of the humdrum plot, so I’ll end it by saying this; it’s difficult to understand how a foreign film should be received, especially through translation, so although I believe the story to be tangled, others may say otherwise. The visual approach is breathtaking, and that’s something that can be appreciated by all. That’s what I took from it. #IndieFilmReviews #TaryllBaker #IndieFilms #WorldCinema #AmartyaBhattacharyya #AmritaChowdhury

Written and Directed by Matt Senior Cinematography and Editing by Matt Senior Starring Bill Senior Short Film Review by Euan Franklin Pinching us with the beep-beep-beep of a heart-rate monitor and the drum of a heavy heartbeat, we watch an elderly man play with a train set. He writes poetry and his slurry dictation competes with the film’s soundtrack. He walks along a dirty beach, dressed in a clean navy uniform. Abstract images stream through, complimenting the poetry’s voiceover – all featuring our elderly man, William (Bill Senior). The film ends, inevitably, with the sun going down and the heart-rate monitor flat-lining like a broken piano key. I have to play Devil’s Advocate and treat this memorial video as a short film, which is how poet/filmmaker Matt Senior tries to present it. And despite being perfect as a eulogy, William can’t function as a narrative. William is based on a poem written by Matt Senior, and is heard as a backing track throughout the film. Although overloaded, this consistent poetic voice works well within a visual medium. It creates scattered puzzle pieces of our hero’s fading consciousness as he moves towards death, like these were his thoughts and musings before passing away. But, though sometimes moving, there is not enough motivation behind it. And there’s not much chance to know the character beyond his being in the navy and fixing train sets. Even films with similar poetic presences, like Jim Jarmusch’s Paterson, don’t linger too long in prosody and offer subtle conflicts in between. William’s character doesn’t appear to struggle, or have many troubles. This removes engagement from the majority of us who never knew him. But Bill Senior creates an engaging presence within the film, even though his performance isn’t up-to-scratch. If he said nothing at all, we would still follow him. Senior’s cinematography tries to be profound, tries to reach high for a Malick-like quality, but clearly isn’t capable. Some visuals are nicely composed and there are many picturesque locations that look good on camera, but we’re still left with beautiful intentions rather than beautiful imagery. This is transparent when a shot near the beginning is used again in a scene towards the end – a recognisable trait of lazy filmmaking. But, the visuals connect perfectly with Senior’s poetry – achieving a heavenly atmosphere, full of idyllic and leisurely touches. Overall, William works better as a poetic tribute than a short narrative – not applicable to anybody outside the Senior family. It may well have been an emotional send-off, but the sense of story slips through Senior’s fingers. It’s clearly not meant for the rest of us. The film is an admirable poetic experiment, but isn’t much more. #ShortFilmReviews #ShortFilms #EuanFranklin #MattSenior #BillSenior

Directed by Steven Ritt Starring Igby, Joe Silva Short Film Review by George Nash Unleashed Love follows the life of a well-loved but lonely Pit bull who discovers companionship in the shape of a small, rescued puppy named Gracie. When life deals a harsh blow, however, will such a happy, spiritual connection ever be formed again? Excuse the canine related pun, but Unleashed Love starts out in the most misleading fashion imaginable. In the book of cinematic algebra, a philosophical Einstein quote followed by a night-time opening shot of a full moon with a deep voiceover uttering the phrase “When the darkness enters into my life, and lingers, I feel separated from everything”, doesn’t equal a film about dogs. Except, apparently, according to writer and director Steven Ritt, it most certainly does. Despite enigmatic beginnings, Unleashed Love (A Dog’s Tale) – to give it its full, punny, more self-explanatory title – turns out to be a rather simple tale of love and loss, but with an extra pair of legs and much, much more hair. Posted to TheAnimalNetwork.TV, it comes as no surprise that this is a work made by, and designed to resonate with, hardcore animal lovers everywhere. Ritt is evidently a huge doggy man, whose short film is threaded together by an underlying belief that every dog deserves a place in both our homes and hearts. In essence, this is a 12-minute home-video cum dog montage set to music (you probably shouldn’t Google that), following the highs and lows of Igby the Pit bull as he deals with the uplifting power of companionship, and the devastating weight of grief. Yes, the premise might sound a tad far fetched, and for the most part it appears as though this is all being played for laughs. The level of cheese reaches Himalayan heights, and the chimes of parody sounding a little unintentionally throughout give it the same warm, fuzzy, tongue-in-cheek feel of a Pug meme. Yet, somewhere amidst the high-school teen drama shots of Igby staring intently at an open fire or gravestone, and mash-up soundtrack of country twangs, slow piano and snazzy pop numbers, there is a meaningful sincerity to it. It may lack the narrative intricacy and careful, stylish finesse of a larger budget short film, and may not hit its intended emotional pitch, but Unleashed Love (A Dog’s Tale) does exactly what it says on the tin, eventually. Ritt, on this showing, isn’t likely to turn many heads, but the film evidently derives from his own unleashed love; and, really, that’s where all filmmaking should originate from. #ShortFilmReviews #ShortFilms #GeorgeNash #AnimalFilms #StevenRitt

Written and Directed by Diana Galimzyanova Starring Sara Luosta, Anna Andersson, Vladimir Ivanov, Jenna Laamanen Short Film Review by Rachel Pullen According to Wikipedia, a Minotaur is a bovine/ humanoid creature that lives in caves and tunnels avoiding the light, which shines towards evil which is amplified by their selfish attitudes toward life. Yet despite my research into these creatures, there was little to no discussion about the female of the species...where are all the ladies at? Russian director Diana Galimzyanova takes this Greek myth under her wing and delves into the mindset of the elusive female Minotaur, producing her latest horror short Minotauress. Minotauress follows the story of a young woman who has come to a remote island in hunt of a Minotaur, with plans to kill it in order to achieve fame and wealth, she sets about her mission, but like all good horror films, it’s not long before the overwhelming vast forest causes her to get lost, that is until a seemingly innocent girl offers her help. Of course this girl is a female Minotaur and is sick of these people invading her island in order to capture a monster and so manipulates the circumstance in order to preserve her secrecy. Minotauress is just that, an invasion story, Galimzyanova awakens her audience to the fact that some things, some people are better off left alone, and that we do not always have the right to know every little thing about someone’s life or circumstance, and in this modern day, where we have the option to put our lives out in the public sphere, it should always remain that; an option. The short film casts a mystical feel through its use of light and scenery, we are guided through a serene forest, sun breaking through the canopy, blissfully unaware of the morbid intentions of the lead role, and it’s this serenity that allows for the sense of mythology to ring present in this short film, an enjoyable and valuable factor that Galimzyanova chose not to avoid. The performances from our two leading ladies manage to keep the story together but lack a sense of genuine urgency, they simply are "performances" rather than believable acts, and with some heavy dubbing over the actors' voices it’s easy to lose sight of the storyline due to these factors. This short brings an interesting story to the table, but lacks in any kind of engagement, classing it as a horror I believe to be a bit of a leap, Minotauress deserves its place within the mythological genre where it could stand as an interesting addition but not one that kept me interested enough to watch it again. Enjoy the visuals because sadly it lacks everywhere else. #ShortFilmReviews #ShortFilms #RachelPullen #DianaGalimzyanova #SaraLuosta #AnnaAndersson #VladimirIvanov #JennaLaamanen

Directed by Octavian Repede Staring Teodor Porumb, Paul Bondane, Camiku Repede, Dan Ioan Bogdan and Maria Tomoiaga Short Film Review by Daniel Reason With all the conspiracy theories regarding the moon landing of 1969 and the Space Race between Russia and the USA, it can prove to be quite difficult to get the whole truth about this point in history. In this short film, Octavian Repede provides us with a fictitious story about a Russian attempt to beat the USA, in The Last Dream for the Moon. Where the film succeeds is through it’s believability. The details of this event are explained thoroughly, which make the film so believable and for that reason it can be compared to Daniel Myrick and Eduardo Sanchez’ cult horror film, The Blair Witch Project (1999) as that too was a story of fiction that seemed too detailed and real to be false. Through Teodor Porumb’s character, Professor Werner, we are told all the “facts” and are presented with an in-depth analysis of them. When the film has finished, it would be easy to believe that this event did take place due to the level of accuracy in what we are told – a reaction that the aforementioned The Blair Witch Project (1999) also had. However, due to how thorough the film can be, it does feel, overall, quite slow. The approximately 30-minute run time seems to drag and it feels a lot longer. Perhaps one such reason as to why this is the case is that some of the dialogue of Professor Werner is very slow itself. Often, he would say one word, take a pause and then continue with the sentence. It would have benefited to make these scenes and the dialogue a bit faster so that the short film wouldn’t seem like it’s dragging. Also, there were a couple of spelling mistakes within the subtitles, which then made it hard to not search for more. Despite the issues with pacing, Repede has done a brilliant job with the overall direction. It is well shot and is presented in a unique way. There is a clear experiment in using different ways of filmmaking, which gives the film it’s own clear style and tone. The editing is done by Repede, also, and the footage matches the dialogue perfectly, which adds to the aforementioned believability of the film. In conclusion, The Last Dream for the Moon is a new story about the Space Race, that can be very easy to believe. The level of detail and accuracy that Octavian Repede has put into this film is clear. However, the pacing of the movie makes it feel very slow and prevents the short from being as interesting, and therefore as rewatchable, as it could have been. #ShortFilmReviews #ShortFilms #DanielReason #OctavianRepede #TeodorPorumb #PaulBondane #CamikuRepede #DanIoanBogdan #MariaTomoiaga

★★★ Directed by Luc Besson Starring Dane DeHaan, Cara Delevingne, Clive Owen, Sam Spruell, Rihanna Film Review by Kieran Freemantle Based on the comic book series Valérian and Laureline by Pierre Christin and Jean-Claude Mézières Valerian and the City of Thousand Planets was a passion project for French writer/director Luc Besson and with a budget of €197 million it is the most expensive French film ever made. In the 26th Century the space station Alpha serves as a universe wide example of co-operation: a place for alien races to share knowledge and resources. Major Valerian (Dane DeHaan) and Sergeant Laureline (Cara Delevingne) are secret agents who have a flirtatious relationship - but Valerian starts to have visions of a planet being destroyed and when the inhabitants appear on Alpha they seem to be a threat that the agents need to stop. The best aspect of Valerian and the City of Thousand Planets is it has created a compelling world and made me want to see more of it. There was a tremendous opening montage showing the birth of Alpha which started off as a space station orbiting Earth and being made of compartments from the various nations of Earth before the alien races become a part of it. It's a great montage set to David Bowie's 'Space Oddity' and this setup could have easily have worked for a franchise like Doctor Who or Star Trek. The aliens are also imaginative and do look like they are from another world - beings ranging from aquatic races to robots. Valerian and the City of Thousand Planets is a big space opera and the money is up on the screen. There is a lot of CGI, it bright and colourful and at times really campy. However, the CGI was in uncanny valley territory. The aliens are well designed and eclectic but they never looked like they were really standing with the humans and some of the settings, like a desert planet and the planet of Mül, looked like they were from an animated film. If Valerian and the City of Thousand Planets was an animated film it would have been fantastic but the live action actors didn't mesh with the aliens and their surroundings. It won't be challenging Avatar and The Planet of the Apes reboot franchise for special effects prizes. Valerian and the City of Thousand Planets has been criticised for its screenplay and most of them are warranted. The plotting is like a videogame: after the montage the film was pretty much non-stop action. The first action sequence involving Valerian and Laureline show them trying to infiltrate a market on another plane of reality and whilst inventive could have been the concept for a videogame. as the film progresses it lurches into different action sequences. However, I will take having videogame plotting over what Besson achieved in Lucy where the main character became a god. An example of this video game plotting is when Valerian goes missing, Laureline has to find him by going into Alpha's sea to find a jellyfish that could give her a psychic connection to her partner. This is then followed by Laureline getting captured by a group of aliens and the only way for Valerian to save her is to find a glamour-bot. Besson is known as an action director and he does produce some solid sequences. One of the best is when the white-skinned aliens attack the leadership of Alpha and Valerian has to give chase. It started with a special forces raid, moves into Valerian becoming a superhero smashing through walls followed by a sequence a bit like Star Wars and the reboot Star Trek films. Although it is unbelievable to see a skinny woman like Cara Delevingne beating up creatures two and three times her own size. [SPOILER ALERT] The plot was also incredibly predictable - I personally guessed the big mystery and most of the major plot points within the first ten minutes. Clive Owen may as well have walked around with a neon sign saying 'I am the bad guy'. [SPOILER FINISHED] It adds a little moral ambiguity but the audience only get to see a slice of the world of Alpha. For a film that was meant to be a passion project Valerian and the City of Thousand Planets could have been a bit more ambiguous with its story. Out of the two main cast members, DeHaan did look similar to his comic book counterpart. But his delivery was similar to Keanu Reeves which is disappointing for an actor who had such a great start in Chronicle. Delevingne is fine with the flirting and banter but she fails to convince as an action hero - her age and stature work against her. Even Owen, an actor I generally like, is in overacting mode and Valerian is not going to be a highlight of his career. Rihanna's character Bubble was the one who had the best arc in the film. She plays a shape-shifting alien who is held as a sex slave and Valerian offers to set her free if she helps the agent. Besson gets Rihanna to play to her strengths by letting her have a dance number in a variety of costumes. Valerian and the City of Thousand Planets was advertised as being from the director of Leon and The Fifth Element because Besson has not made anything of note since. Valerian and the City of Thousand Planets is the definition of a 'leave your brain at the door' film - it is perfectly entertaining as long you don't think about the plot. It's Besson best film since The Fifth Element but that is damning with faint praise. The world and the settling of Valerian would make a great videogame or anime series. Watch the Movie Trailer below... #FilmReviews #TheatricalReleases #KieranFreemantle #ScienceFiction #SciFi #Fantasy #ComicBook #LucBesson #DaneDeHaan #CaraDelevingne #CliveOwen #SamSpruell #Rihanna

Directed by Aidan Bose-Rosling Starring Chris Fennell Short Film Review by Monica Jowett Short film The Jester follows Adam, a troubled teenager. The opening scene sees him standing on a rooftop, ready to jump to his death. Through a series of flashbacks, we find out the many events which drove him to this point, all started from when he was expelled from school. Writer and director Aidan Bose-Rosling has created an interesting piece of cinema that touches on several sensitive issues such as depression and child abuse. Rosling has a tendency to over generalise these problems, yet ultimately The Jester shows how bad the effects can be and how much they can go unnoticed. Adam (Chris Fennell) carries the film well, yet at times it can be hard to believe he is truly affected by what has happened to him, due to a jarring delivery at times. However, this is a tough character with many layers, and with just 30 minutes of the film, he does well to convey the impact the abuse and lack of love he has been through. The flashbacks and time jumps create an interesting narrative, yet the changes in time make it harder for us to follow what happened to Adam in what order. The problems Adam faced started with him being expelled from school because of something he did, and though it feel like there should be a build up to it, the payoff of what happened it not completely satisfying. In fact, it is act other points of the film where you feel more for Adam, such as the instance of a teacher acting inappropriately to an underage boy. The music of the film is what helps to build the suspense and drama about what is happening to Adam. At just the right moments, it can send a chill down your spine, and builds on the awkwardness of the situations Adam finds himself in. Rosling makes a powerful statement with The Jester, yet at certain times it does not have the impact it probably should. Fennell can be praised for giving a sufficient performance as Adam, whose many troubles are brimming below the surface. #ShortFilmReviews #ShortFilms #MonicaJowett #AidanBoseRosling #ChrisFennell

Filmmaker Interview by Chris Olson Hi Alexander, nice to speak to you again! How goes life in Germany? Hi Chris, glad to see you again! Life is great - many new projects came about here in Germany, and I am currently very busy planning my next feature film "Revolution!", which is the sequel to "Timeless". It will start filming in Germany later this fall. It seems you have been busy since last we spoke. You just completed two silent films. What can you tell us about them? I always loved silent films. I grew up watching the comedies of Laurel & Hardy and Buster Keaton on VHS, and have many friends who are either film collectors, film historians or both. So, I felt it is about time to do some silent movies as a little challenge to myself. Back in 2008, when I was 19, I already did a silly silent "zombie-movie" as a gag, but this time, I wanted to do them properly and as faithful as possible to the era: Hand painted title cards, early 20th century style costumes and makeup. There is Five Lovers Down which is a comedy that will have its world premiere this September in Greece at Mykonos Biennale. And there is Woyzeck, a dramatic adaption of a famous German play, which is my homage to early 20th century one-reelers. They both go together well, I kind of see Five Lovers Down as the comedic prelude to Woyzeck. Tell us more about Five Lovers Down Five Lovers Down shows famous dramatic episodes from different epochs involving lovers. They always end tragically in similar ways – the repetition and way they are edited makes it highly comedic. That film was a joy to make: We got to experiment with very different costumes and makeup for each setting to make it look period correct, and I shot parts of it on black&white Super8 film just for fun. The idea came up very spontaneously when Thomas Goersch, the starring actor, visited me one day and we joked around what kind of film I could do next. Afterwards, I quickly wrote the screenplay – and we did the film. You mention that Five Lovers Down is comedic. How did you feel about creating comedy in a silent movie style? Was it very different than your other comedies? In my feature film Timeless, I had already done a silent movie homage in the opening scenes – they are pure slapstick set to music and have a bit of a 1920s feel to them, although that film is in colour. In Five Lovers Down, however, the comedy is much more subtle than that, it is based around the way the scenes are put in context. Each episode by itself is staged like a 1910s dramatic movie – but the way they are intercut makes them very funny. What about Woyzeck? Woyzeck is a famous German dramatic theatre play by Georg Büchner that has been made into films many times in the past - the most famous version probably the one by Werner Herzog starring Klaus Kinski. I felt that if I did a version of that play, I needed to do it in a way nobody else has done to make it interesting. In Five Lovers Down, there is a short Woyzeck episode that worked particularly well. After I finished editing of Five Lovers Down, I realized that it would be fun to do a bigger dramatic film centred on Woyzeck – in the same style. Thomas Goersch and the other cast members were very enthusiastic when I mentioned that idea, and all wanted to do it. I adapted the play to fit a one-reeler structure of an early 1900s drama, with the goal to make a film that could actually be from the period. The idea being if someone in the early 20th century would have set out to make Woyzeck, it would have been very similar to this film. I am very proud how Woyzeck turned out. I added some small funny/weird elements to it – but the overall tone is quite serious, showing a man’s descent into madness. It was quite fascinating: On set, we were laughing between takes, it was a very joyful, funny atmosphere – and as I assembled the film in the editing room, this one-reel drama starts emerging on the screen. That’s pure magic of filmmaking, so to say, a wonderful feeling. What would you tell a young filmmaker who wants to do a silent movie, too? I sometimes see people doing silent movie style videos in which they deliberately use silly overacting, speed up the motion etc., in order to make it funny. I find that a bit silly, as those films only work if you look at them from today’s point of view – 1920s audiences would have found those exaggerations bizarre (e.g., quick movements only happened when silent films were years later played back with a faster frame rate). When I did Woyzeck and Five Lovers Down, my approach was: We only have b&w film stock. We have no audio. How can we make this film work the best way possible? I approached it as if I were a director in the silent era wanting to make a comedy and then a drama to the best of his abilities – without exaggerating elements to get laughs from modern audiences. Using only stylistic means from the era, I ignored how strange/funny they might look today and instead focused how to tell the story in the most effective. Some elements come naturally when filming without audio: For example, overacting – which is necessary to an extent and came up naturally to better tell the story visually. There are no stylistic elements included just for the sake of being silly. So, I guess my advice is to avoid silly clichés. If you do it in a style faithful to the period, it will work well without intentionally silly acting, unnatural movements or things like that. Watch silent movies to get a feeling for their style. Then, go to set, take the film you do seriously (be it a comedy or a drama), and focus on telling the story using stylistic means from the era. Focus on the signified (the story you want to tell) that happens to be told using a signifier that’s unusual today (a film in the style of the early 20th century), but don’t make the signifier the main appeal. And please, don’t add digital dirt and scratches to the video to simulate old film stock. Many times, they look fake and ruin the illusion. A good, restored silent film from the 1920s can look almost pristine – the only damage I put into my films was a constant, very subtle movement in the frame, as if it was an old, shrunk 35mm print wobbling in the scanner. I did that by filming every shot – including the intertitles – free handed, trying to do it as steady as possible, as if using a tripod. The resulting, slight motion in the frame gave me the natural look of wobbling shrunk film stock I wanted. Is it unusual for a filmmaker to go back to making short films between making features? What are the benefits of doing this? My biggest satistfaction as a filmmaker is to go on set with the actors, film something, edit it afterwards and just create a finished film. Without wanting to sound cheesy, it feels kind of magical, to see a film you imagined come to life. It's a wonderful and satisfying way to spend time, and I want to do it as often as possible. When I finish a feature film, there is always a period afterwards during which it is screened at festivals, in which I plan the next film, etc., a period where there is no filming. Thus, I love to fill that period doing smaller projects, be they films, be they creative writing, any way to be creative. In short films, I can experiment with certain aspects, try new things, and be very spontaneous. I know that some filmmakers stop doing short films altogether after they start doing features – but to me, both are important and satisfy different artistic goals. I guess it’s a matter of taste. Do you like to work with the same crew on your short and features? I love working with the same people on many projects. I have many regulars who appear in many of my films, like Julia Csatary who acts in both silent films and has been in most of my films since 2009. That way, each set is a fun reunion between old friends. I am also excited to collaborate with new actors/actresses. The major discovery in these silent films to me was Hakan Aygün – a first-time actor who impressed me so much that I intend to cast him in future projects. The lead actor in both films is Thomas Goersch. How did you meet him? I met Thomas in 2015, when I was looking for an actor to play the morals minister in my feature Timeless. He is very talented – and has acted in quite a lot of genres. He loves to do extreme roles like Woyzeck, a man driven to insanity. To watch him transform into the character on set was quite something: One minute, he is funny, joking around in between takes. Then, before the take, as he gets into character, he becomes a whole different presence. He additionally did the costumes for Five Lovers Down together with me and did the makeup in both films - to help make them look period look correct. Would you recommend new filmmakers attend courses? Or simply go out and start shooting? Both. It has always been my attitude you can’t learn how to be creative, but you have to learn the technical background to express your creativity. In filmmaking, there are many technical aspects. For example, what do different camera settings mean? Different light temperatures? How to record the audio properly? How to operate editing software? Etc. You have to learn those in order to put the ideas in your head on the screen in a way that is satisfying. As with every art, the technical basics have to be learned. You can’t be a painter if you don’t know how to hold a brush, etc. How you learn them is up to you – be it autodidactic or at a film school. But you can't do without practice, and if you have the passion to do films, just go out and do it. Digital technology removed so much of the costs of filmmaking – if you have an idea for a small film, just take a few friends and do it! If it’s not as good as you imagined, just do the next one, you will get better! All that while learning your craft either by yourself or at film school, wherever, just do it. To me, one of the great aspects of film school (I went to Hochschule der Medien in Stuttgart, Germany) was the amount of input you get every day in different fields. All kinds of different classes show you things that you might have never stumbled across otherwise, while being surrounded by like-minded people your age... I have to say, I personally find being a student a highly enjoyable experience. You struggled to answer when we interviewed you before...so...what would you say, now, if you were a dolphin? Well, a good question. This time, I would respond in a style appropriate to my latest films: #FilmmakerFeatures #FilmmakerInterviews #ChrisOlson #FilmmakingCourses #AlexanderTuschinski #ShortFilms