Written and Directed by Fred Cavender Starring Bess Davies, Rob Lawrence, Jair Massiah, Heather Ancliff, Chris Assheton-Blair Short Film Review by Chris Olson In a world where the truth is an increasingly elusive concept, short thriller Something Crunchy, from writer/director Fred Cavender, is a topical and technically impressive piece. Focusing on the investigations of freelance journalist Robyn (Bess Davies), the story unravels like a classic crime caper but for the modern age. Our protagonist is a tenacious writer for an online news outlet, hoping to capture a juicy story whilst maintaining some semblance of integrity - even though all those around her seem content to produce click-bait and anything viral. Her obsession with a recent hit-and-run story has seen numerous redrafts as Robyn attempts to get to the heart of the event whilst appeasing her editor by making it "Something Crunchy". With the aid of a police officer (Rob Lawrence), whom she has an unusual relationship with, Robyn may find this to be one hell of a narrative. With excellent cinematography, editing and music, there is a technical craftsmanship in Cavender's movie that competes with the best short thrillers. It felt slickly put together and engaged in some impressive sequences that will keep audiences gripped, whilst never risking the cohesive atmosphere which is suspenseful and intriguing. Scenes of Robyn writing are somehow made cinematic, whilst the frenetic journey she goes on during her discoveries is equally as compelling. Where Something Crunchy falls down slightly is in the dialogue and performances. Ensemble scenes are clunky and sometimes wooden, bordering on hackneyed, especially during the gathering of the journalists where they talk in bygone cliches. The cynicism of the characters and their "Like and Share" attitude towards their craft felt hollow and unbelievable. With a little more focus on adding some depth and detail to the characters, it could have gone a long way to enrich the story. That being said, the best moments of the film are where Bess Davies is on her own contemplating the case and how she will represent it. As she pieces the story together we become even more engaged with the outcome. The themes of a film are often the cornerstones of the storytelling, and in Cavender's story there is plenty to chew on. Furthermore, by wrapping this up in a thriller setting, there is an urgency throughout which is effective in making these themes feel bolder, more impactful. With a captivating aesthetic and tone there is a huge amount to enjoy about this short. Watch Something Crunchy on the UK Film Channel below... #ShortFilmReviews #ChrisOlson #ShortFilms #Thriller #FredCavender #BessDavies #RobLawrence #JairMassiah #HeatherAncliff #ChrisAsshetonBlair #UKFilmChannel

Written, Directed & Produced by Louise Marie Cooke Starring Shian Denovan, Valeria Vereau, Christian Kinde Short Film Review by Taryll Baker An explicit look at the subject of bisexuality. A subject which is most times controversial in the world of cinema. Louise Marie Cooke delves into that subject with Siren, a beautiful ‘girl-meets-girl’ tale. With little difficulty, we are thrown into the story of Elizabeth (Shian Denovan); a young woman who struggles to discover what she truly desires. But after a chance meeting with the sensuous Sirena (Valeria Vereau), her world is turned upside down. Right off the bat I noticed how calm and careful Cooke’s approach was. Captured with a soft and steady hand, Siren looks stunning. It’s always a wonderful surprise when a short film has a seemingly high budget, not only lending towards the visuals, but the phenomenal talents involved. The pitch was clearly great enough to connect with people, leading to a successful crowdfunding campaign and final film. Speaking of connection, Shian Denovan, Valeria Vereau & Christian Kinde all become essential components in making their characters entirely believable. The writing isn’t as strong as it should be, but the performances are, and that is something to be proud of. Beside this is the fact that this film is now 3 years old. It still holds up, it’s still a strong story, and it’s still being seen by people around the world, featuring at many film festivals. Overall, speaking within the context of editing and camerawork, Siren is a delightfully tight production. This film is glistening from one edge of the screen to the next. Paired with this, is the music. The original score by Victoria Wijeratne is a ravishingly simple addition to the film. Its ambience, only truly brought to life by the orchestra, is a remarkable feat. The closing track ("Call To The Sea") is a breathtaking accompaniment to the picture, as is the entire score. There was a rare moment when watching, where I paused and thought to myself; “where can I hear this soundtrack?’ As I said, this is something that occurs to me very little when watching shorts, so it was a pleasant surprise. It seems that surprises are what to expect from Siren. I’ve stated many times I was taken aback. Everyone involved, including the talented cinematographer Laura Bellingham, has brought something great to the table and delivered a stylish and important film. A thoughtful and insightful look into the subject of bisexuality. A thoughtful and insightful film, that many should see. #ShortFilmReviews #ShortFilms #TaryllBaker #LouiseMarieCooke #ShianDenovan #ValeriaVereau #ChristianKinde

Directed by Phillip Crosby and Keif Gwinn Starring Monique Squeri, Maeve Leahy, and Fritz Short Film Review by Owen Herman Immaculate is a short film that delights at being weird and wacky. It is a surreal tale of two performers, a clown and a mime, as their relationship breaks down on stage whilst performing to an audience consisting of one man, who also happens to be a puppet and the mime’s boyfriend. The short opens with the two performers getting ready in near silence for their show. Despite the lack of dialogue, the tension between the two is clear, and when the performance is underway, the clown loses her patience with the mime’s self-centred approach. The earlier parts of the short are very much like a silent film, with title cards and very little dialogue. However, as the short progresses it moves away from this, not only with increasing dialogue but also with its aesthetic, which is a shame. Immaculate could have embraced the feel of that era of entertainment, instead it just references it and moves on. Had it been bold and tackled this challenging style head on, at best it could have paid off brilliantly, and at worst it could have gone down as a notably ambitious short. Keeping with the style of show they are in, the performances from the two leads are suitably, and humorously, exaggerated. There is some good physical humour on display, with the jokes about the mime’s various ‘acts’ being the highlight. The relationship between the two is clearly shown early on, without any real dialogue, which demonstrates that the performances were not only strong, but would have also been good enough to carry the short if it had had the bravery to keep with the silent area feel that I mentioned earlier. The short ends in a very bizarre but quite funny way, and it leaves you thinking “what on Earth have I just watched”. This both good and bad, Immaculate is unique and original, but it seems that it’s trying to be weird for the sake of it. The surreal moments do play well for humour, but they have no narrative purpose and, therefore, just leave you questioning what you’ve seen. Immaculate feels half-baked, it lacks commitment to the style it begins with and feels unnecessarily wacky. There are some elements that work, but they fail to bloom into something significant. What begins with intelligence and ambition, tails off into an over-eccentric tale that resembles the mime’s own self-centred performance. #ShortFilmReviews #ShortFilms #OwenHerman #PhillipCrosby #KeifGwinn #MoniqueSqueri #MaeveLeahy #Fritz

Directed by Aaron Granlund and S M Huet Short Film Review by George Nash A classical music prodigy must navigate a neon underworld and outsmart his robot boss when he finds writing symphonies doesn't pay like it used to… …Apparently. At one point in this peculiar short film, the titular character states, “I’m not even sure what I was watching”. And with that, I don’t believe a truer word has ever been spoken. Working Class Mozart – the brainchild of Aaron Granlund & S M Huet – is pure experimentation. So much so, that it’s hard to even call this a film. In fact, it’s almost impossible to pin it down to a single definition at all. At just 4:20 mins - and perhaps quite aptly given its title – the music video is probably its closest relative – and a nightmarish one at that. A series of unnerving, oddly mesmeric visuals set to the clanging, abrupt tones of someone going overboard on a keyboard’s sound settings, Working Class Mozart is pure, unadulterated surrealism. Defunct of anything that resembles plot or narrative coherence, it’s a work that is certainly an acquired taste, and any audience expectation of linearity or logic should be left firmly at the door. But in all its bizarreness, there is something hypnotically memorable about it. Shot with a sickly neon gloss and b-movie aesthetic, the filmmakers are servants to the Avant Garde model of creativity, opting almost exclusively for a trippy Rubik’s Cube of enigmatic, audio-visual mayhem. Working Class Mozart is what we’d imagine a David Lynch directed 80’s DIY, exercise, or softcore pornography video might look like. Try to make sense of it, and you perhaps lose the point: that there isn’t necessarily a point to it. If there is, it might just be that you’re aren’t really supposed to understand it, or even enjoy it for that matter. Instead, this is a work that is to be endured more than anything – perhaps the closest thing to being on acid without actually being on acid. An undoubtedly disconcerting viewing experience, but one that both Granlund and Huet appear to take pride in. However, in making their work so overtly playful and ambiguous, it occasionally feels like the film is trying far too hard to dislodge, and downright confuse us. Working Class Mozart will draw you in, more than likely mess with your head, but if you aren’t looking for a serious cinematic relationship, it might just float your boat. And if you’re partial to the odd illegal substance now and again, you might just feel right at home. #ShortFilmReviews #GeorgeNash #Surrealism #Surrealist #ShortFilms #AaronGranlund #SMHuet

★★★★ Directed by Sofia Coppola Screenplay by Sofia Coppola Cinematography by Philippe Le Sourd Starring Nicole Kidman, Kirsten Dunst, Elle Fanning, and Colin Farrell Film Review by Euan Franklin It’s easy to treat remakes and sequels with contempt, and, more often than not, it is justified. Often you grow to accept the factory system and understand why producing terrible remakes of classic movies will guarantee a gullible audience. It is bizarre, therefore, that indie director Sofia Coppola decided to retell an obscure New Hollywood exploitation movie from the ‘70s. Who, outside of a band of film devotees, has even heard of The Beguiled? Set in the woods of Virginia, three years into the American Civil War, a 12 year-old attendee of the local Seminary searches for mushrooms and stumbles across MacBurney (Colin Farrell), a wounded Union Army soldier. She carries him to the Seminary. The other female attendees and teachers are sceptical about helping him, considering his uniform, but the matriarchal Miss Martha (Nicole Kidman) allows him to stay and rest until he’s healed. Before long, the sweet-talking soldier ingratiates himself within the household and causes friction among the women. In the original, Clint Eastwood’s McBurney is clearly the hero and his is the perspective we are told to trust. The story was from a novel by a male author, adapted by male writers, and made by a male director. The Beguiled was liberating in many ways, but the curse of the Male Gaze is still strong enough to make the women into monsters. Coppola tells the story with a more enlightened approach, subverting it not only to better humanise the female characters, but to consecrate them into being the focus of the film. It’s not about how McBurney uses the situation to his advantage, but how the women deal with this new, attractive male presence after years of managing without one. In shifting perspective, Coppola has brought modern values to a period drama. What was justified in 1971 is violently unfair in 2017. Coppola rejects Don Siegel’s pacy, cinema-verité approach and replaces it with a sense of calm – allowing the story to unfold slowly like the sea before a wave. Many character conflicts are removed in order to maintain this polite serenity, including the controversial exclusion of a black female slave. Some of the harsh historical context is lost, and it was a risky decision for Coppola to make, but it does create a tighter focus on the main characters. Coppola is patient – she makes the film feel more natural, emphasised by Philippe Le Sourd’s realistic manipulation of period lighting. The visuals remind you of Sven Nykvist’s work with Ingmar Bergman, or Stanley Kubrick’s meticulous efforts with John Alcott for Barry Lyndon. And the strive for naturalism allows for more subtle performances from Nicole Kidman, Kirsten Dunst, and Elle Fanning – where even the confrontations are quiet. At times, the stunted pace dismembers some of your engagement with the story, but the characters feel more genuine as a result. With this toned-down remake, it’s as if we’re watching a grown-up version of the original. Siegel threw in lesbian fantasies, incest, and a 41 year-old Eastwood making out with 12 year-old Pamelyn Ferdin, but Coppola disposes of these and proceeds with a more mature approach. The characters feel human instead of being reduced to stereotypes, and although we lose some of the thrill of the original, we gain a subtle, intelligent drama. That’s why it’s difficult to critically compare the two – it’d be like comparing Cries and Whispers with Easy Rider. One thing is for certain: those film devotees will never watch the Don Siegel version in the same way again. Watch the movie trailer for The Beguiled below... #FilmReviews #MovieTrailers #EuanFranklin #Reboot #Remake #SofiaCoppola #NicoleKidman #KirstenDunst #ElleFanning #ColinFarrell

Directed by John Lynch Written by Jon Williams-Nobbs & John Lynch Starring Johnny Vivash, Alan Mandel, & Jon Williams-Nobbs Short Film Review by Chris Olson Right from the aerial cross-fades of the introduction sequence, displaying the isolated mountain location of a research facility, short film Eddie has a pedigree about it that runs throughout and feels on a par with classic British black comedies like Sightseers or Shaun of the Dead. And like those films, there is a masterful balance of genres including comedy, horror, drama and mystery, among others, that is expertly handled by director John Lynch. We meet the eponymous Eddie (Alan Mandel) after he is found wandering the nearly abandoned corridors of the aforementioned research facility. Our central protagonist (Johnny Vivash) is a scientist whose job it is to maintain the establishment, whilst attempting to find a cure for what ails Eddie - who is...shall we say, not quite 100%. Amidst the mindless tedium and babysitting, our Researcher becomes increasingly anxious about the nature of his assignment, which increases in terrorising bleakness. With a penchant for great comic timing, writers Lynch and Jon Williams-Nobbs know how to handle their audience. The tone is consistent throughout, achieving that very British feel which audiences will find incredibly endearing, whilst not skimping on the heightened threat levels. The short includes some nods of the head to classic sci-fi filmmakers, who have taken this path beforehand, such as Moon or to some extent The Thing. The central performance from Vivash is superbly delivered, coping well with the heavy lifting of delivering the lion's share of dialogue, without dropping the ball when it comes to balancing the genres or tone. His portrayal meant the film did not slip into any particular category (which it could have so easily done) and instead scooped up the best elements of many. Mandel is a compelling on screen presence, beautifully enhanced by the make-up artistry of Sara Adamson, and is a worthy sidekick throughout the bulk of the story. What is so commendable about the filmmaking is the extra lengths that the filmmakers have gone to to ensure the piece is more than a low-budget funny horror. The use of spectacular mountain ranges being an obvious example, as is the music from Paul Russell which elicits some wonderfully poignancy from the scenes as well as building the necessary tension and threat of others. The storyline keeps all it's moving parts in order without losing pace, and the characters are vividly sketched so that this isn't just a gimmicky plot. Terribly funny and wonderfully crafted, Eddie is a knockout comedy short film for 2017. Watch the official movie trailer below... #ShortFilmReviews #MovieTrailers #ChrisOlson #JohnLynch #AlanMandel #JohnnyVivash #BlackComedy #Horror #BritishFilmmaking #Comedy

Directed by Michael Panduro Staring Claus Flygare, Camilla Mia Wakke and Susann Cornelius Short Film Review by Daniel Reason The Sunken Convent is Michael Panduro’s reimagining of Hans Christian Anderson’s story of the same name. This is a dialogue-less film that shows a day in the life of this strange, unhappy man- played by Claus Flygare - whose name isn’t revealed until the end credits. As the film progresses, we learn more and more about the everyday things that he does day after day, and his life is certainly far from normal. In many ways, this film can be considered as a critique of our behaviours and attitudes. This is a very bleak and dark film, both literally and figuratively. As each day of this man’s life goes by, he continues to do the same things each day with no hesitation, even though some of those things are so absurd and adverse. Just through a single shot, we see just how long he has been living in this constant cycle, and this makes it clear that he has become very accepting of his rather poor life style. Occasionally, we see the eye of an unknown neighbour, as the man walks by, which suggests that Panduro is highlighting our own obsession and intrigue about other people and their lives, which therefore demonstrates how intrusive we can be. It is because of all this that it makes you question your own self, and wonder about the things that we do day after day without any regard or second thought – this is a very though provoking film, which makes it such an unforgettable experience. As previously said, this is an adaptation of a story from Hans Christian Anderson, but it is told, and shown, much differently than the original source material. While interesting choices and changes are made, it can leave you feeling quite confused about what you’re watching. This is essentially a silent film, so it tells the story through visual storytelling. While some things can be understood and learned about not just the story, but the main character as well, certain elements are so surreal and quite intense at times, that you must wonder “was that truly needed?” This is a shame, as it makes research almost necessary, as without it, it is hard to comprehend what you have just seen. There are moments that are full of intensity and surrealism that it can be quite difficult to watch, but those moments are directed so incredibly well and with the excellent use of lighting on display, you want to persist, despite how graphic the images are. The cinematography is the stand out here. The Director of Photography, Snorre Ruhe, has used the lighting thoughtfully, which in turn leads some very impressive shots. It accompanies Michael Panduro’s direction and is without doubt the thing that makes the film flow. Although, there are moments where the lighting, or lack thereof, can make it difficult to see what it is actually happening, causing some details to be missed or misunderstood. Despite that, it is the cinematography that will be the thing you will remember most about the film’s style and construction. The Sunken Convent is at times very surreal and haunting, but it manages to ask questions about ourselves and wonder more about other people and the way everyone lives. While it would have been appreciated for more story elements to be revealed, this is a 15-minute film that manages to achieve so much. #ShortFilmReviews #ShortFilms #DanielReason #WorldCinema #MichaelPanduro #ClausFlygare

Directed by Sufian Abulohom and Bruna Weichert Documentary Film Review by Chris Olson A tapestry of raw humanity, documentary film Real Talk: An Insight into the Lives of American University Students is directed by Sufian Abulohom and Bruna Weichert and captures something candidly affecting about the nature of young people traversing into adulthood. Full of diversity, emotion, and honesty, it's a film that audiences will be able to connect with, if only in places. Told using only talking heads, the myriad of college students who step in front of the camera are displayed with close-range headshots. Verbally describing particular events in their lives that shaped them, each frame is filled with personal reflection as they regale the audience with some intimate revelation. The intimacy is reflected in the filmmaking, which, along with the close-ups, contains little superfluity or unnecessary distraction. A minimal score is used, the editing is mostly sharp cuts, and the location is consistent throughout. Where the compelling vibrancy of Real Talk comes from is in the wonderfully eclectic mix of interviewees. Whilst all of them discuss some form of growing pains, ranging from terrorist attacks, cancer and divorce to...puppy love, they each display a wide range of coping methods which emanate from their personalities. Some are obviously still upset about their troubles, yet feel stronger from having endured them, whilst others have learned to embrace the chaotic nature of their feelings. For some, they are shocked by their own admissions, seemingly baffled about how hard being open turns out to be, such as a young man who realises his cultural identity is off-balance, or a young woman who is happily perturbed by her relationship with her mother. By treating all its subjects with integrity but not shying away from their pain, Real Talk as a documentary film is able to embolden its message. Numerous students mention the difficulties of facing their problems, and nearly all of them emote a deep sense of personal conflict, that one simply cannot come away from viewing this without experiencing some sense of self reflection. Which is an immense achievement. As a documentary, Real Talk is a deeply personal, intelligent, and well crafted piece. At times the variety of topics can feel like you are drifting, but once you embrace the endless differences being shown and how they are all connected to the same core experience, this is actually essential to understanding the message and power of the film. Aside from a few issues with the audio, there is not much to find fault with here, and this feels like a premise which could be expanded upon. Perhaps not something for a feature length (there's only so much totes emoshing an audience can endure), but as a series of short documentaries, Real Talk could be a real winner. Watch the entire film below... #DocumentaryFilmReviews #ChrisOlson #Documentaries #ComingofAge #WatchFilmsOnline #SufianAbulohom #BrunaWeichert

Written and Directed by Roger Sampson Starring Ashley Maure Short Film Review by Rachel Pullen Pregnancy is something that is in a sense a body invasion, you incubate a mini human for nine months as it feeds off your food, changes your mood and behavior and often can affect your mental health. Due to this babies, pregnancy and children in general have been the subject of horror films time and time again, but what about the people who help these women through this time of change in their lives? what about the doctors involved in whole process? Short film Visitor comes storming in with a whole new approach to the pregnancy as well as body invasion theme within horror. Turning the tables, we follow the story of a fertility doctor played by Ashley Maure who has begun developing a new medicine that can help improve a woman's chances of not only conceiving when suffering from fertility issues, but conceiving highly intelligent babies. During this development she beings to receive messages from an unknown person, invading her personal phone in her personal time, telling her she has a visitor. We watch helplessly as she does very little to defend herself from these persistent and anonymous texts until it is too late. Maure embodies this role with great skill. Body invasion is in essence like playing two roles within a film, we see Maure tackle this in a direct manner, never for a moment steering too far away from the believable, she delivers a diversity between the two stages that her character goes through, and this ability ensures a enjoyable viewing experience. As well as the competence of Maure's performance, director Roger Sampson carries us through this story with ease with well constructed camera angles, and even though it has the feel of a made of T.V. movie, it does not diminish the story that is being delivered. Body invasion is not something that could be easy to tackle on a small independent budget, however Sampson understands that it's not always what you see that can create fear and suspense, the invasion of her phone and her personal space is not only a good metaphor for how some women may feel during pregnancy, but is also a cheap and effect approach to delivering his script. Visitor leaves questions unanswered and the viewer wanting more, this short clearly is a concept film which could be developed into a full length piece and with a bigger budget could really pull off an interesting approach to the body invasion genre. #ShortFilmReviews #ShortFilms #RachelPullen #RogerSampson #AshleyMaure #BodyInvasion

★★★★★ Directed by Trey Edward Shults Starring: Kelvin Harrison Jr, Joel Edgerton, Christopher Abbott, Carmen Ejogo, and Riley Keough Film Review By Niall Maggs (http://ateenstakeonfilm.com) It Comes at Night is the latest horror thriller to come to cinemas and yet another masterpiece from the studio A24. The story is set in a post-apocalyptic world, where a mysterious disease contaminates people exposed to it, making them vomit blood and act zombie-like. It Comes at Night is easily one of the most effective and tense horror films I have ever seen that relies more on music and dread from the audience than forced obvious jump scares like many modern horror films. The cinematography by Drew Daniels is so smooth and creates so much tension with a variation of shots, ranging from long shots and zooms, to close ups and different lighting techniques that make the audience feel scared, isolated and lonely. Perfect for what the film is trying to do. The slow build of the story just adds to the tension and builds and builds continuously until the climax. This is due to the expert direction from Trey Edward Shults, and shows great experience with little experience because of his small filmography! but manages to make the audience feel as if he's been in the business for decades, as this guy knows how to direct horror! not many directors can pull it off as well as James Wan, but Trey Shults is definitely one of them! Like I said earlier, much of the fear and dread from the audience, is due to the music. We can thank Brian McOmber for giving us such a mysterious but terrifying score that's worthy of an Oscar! The heart-pounding effect of the music makes you feel as if there is no hope, really making the audience feel isolated and anxious. It's also extremely reminiscent of Hans Zimmer's groundbreaking music, which is most definitely a good thing! it shows great experience, and you can tell he knows what he's doing! The script was quite good but there isn't much to it, although that doesn't affect the film in any way when you have such great tension and investing characters that overshadow the simple screenplay. The performances from the whole cast were excellent and kept the audience invested. They really brought the film to life, which in turn makes the outcome more relevant and intriguing to the audience, if they are interested in the characters and their fate. There really wasn't anything bad about it, the pace was perfect and the story was interesting, but the film leaves a lot to the audience's imagination and really makes you think, leaving a couple parts unexplained resulting in a few plot holes, but this really doesn't effect the film because it does so much right! Overall, It Comes at Night is easily the most unique and effective horror film of the year, which makes you care for the characters, and brings out all kinds of emotion from you, like anger, dread, fear and sadness due to the dark nature of the narrative. This horror masterpiece is groundbreaking in every way and aspect of filmmaking, from the excellent cinematography and tense editing that keeps you invested to the scary and creepy storytelling, that uses music and colour to its advantage, to create the best horror film of the year! #FilmReviews #TheatricalReleases #5StarFilm #NiallMaggs #TreyEdwardShults #KelvinHarrison #JoelEdgerton #ChristopherAbbott #CarmenEjogo

Produced and Directed by Dermot Daly and Ivan Mack Written by Dermot Daly Starring Mark Catley, Everal Walsh Short Film Review by Euan Franklin We’ve all wondered about it. If I won the lottery, what would I do? What would I buy? Where would I go? It’s presented as an easy yet improbable solution to all of life’s problems. But this isn’t exactly the case for the hero of Ivan Mack and Dermot Daly’s contemplative short film It Wouldn’t Change Me. Adam (Mark Catley) is a disliked office-worker desiring some form of social interaction with his work colleagues. But they don’t talk to him, and he’s too shy to approach them. It’s almost as if he isn’t there – an invisible presence, doomed to be ignored. When Adam sits at home in front of the TV, the lottery numbers are read out. He takes out his ticket. He’s won. His life is going to change forever – or is it? It’s often difficult for short films to adhere to traditional structures, since the narrative has to unfold in such a small space. It’s easy to pick out the clueless filmmakers because the structure hasn’t been considered enough. They often struggle with basic Beginnings, Middles and Ends, drowning us in the thoughtlessness. However, It Wouldn’t Change Me reaches close to perfect in its attention to narrative order. Mack and Daly know what they’re doing. Adam is a well-developed character and Catley’s minimalistic performance creates an alluring and enigmatic presence, despite having nothing to say. He’s not loud among the quiet, he’s quiet among the loud. Many questions about Adam arise by the time the credits role: why does he still work at his job after winning the lottery? why doesn’t he splash out on fast cars and loose women? why hasn’t he told anybody? However, I did feel like the film should’ve been more fun in the Middle. The key message of the film is that money doesn’t change you as a person, but other films with similar plotlines benefit from vice or excess because it conflicts with the hero’s true self. The furthest Adam goes is purchasing a new jacket and a new pair of sunglasses – it’s hardly an exciting transition. We jump from miserable to miserable and rich, with no indulgence in the middle. Danny Marwood’s cinematography is bluntly composed, not using more than one shot for each scene. There are some overwhelmingly grey exteriors that were too flat and dark, and these amateur slip-ups are made even more noticeable when rivalled with the more refined interior shots. In spite of the imperfect exteriors, Mack and Daly have found atmospheric locations in which to shoot – counterbalancing the dullness of the cinematography. It even, I daresay, imitates a European style of filmmaking. It Wouldn’t Change Me is a quiet short with big things to say. There is barely any dialogue, so Adam’s thoughts and feelings are locked inside himself – left for us to decipher. It addresses unsettling realities about whether the lottery is a solution to anything. Even if life’s problems were to suddenly disappear, it still wouldn’t change who that person really is. They’d still have to deal with those problems regardless. #ShortFilmReviews #ShortFilms #EuanFranklin #DermotDaly #IvanMack #MarkCatley #EveralWalsh

★★★★★ Written and Directed by Ed Palmer Starring Ingvild Deila and Stuart Mortimer Indie Film Review by Chris Olson The intensity of captivity narratives makes for some amazing cinema, even when they can be cinematically challenging. Movies like Room and 10 Cloverfield Lane have been huge hits with audiences and critics alike, combining ferocious dialogue, tremendous performances, and a filmmaking aesthetic that is utterly sublime. Writer and director Ed Palmer delivers on this same level with his breathtaking film Hippopotamus. Inside a white bricked room a young woman sits on the bare floor, with bandages on her knees. Her name is Ruby (Ingvild Deila) and her awakening gasp is startling for the audience, who will immediately panic for her wellbeing. With the introduction of a menacing captor named Tom (Stuart Mortimer), who delivers a formidable monologue about the nature of Ruby's captivity, the suspense is beautifully heightened into a state of sheer terror. Ruby must stay isolated until she falls in love with Tom, obeying all rules and not trying to escape. Measures have been taken to ensure Ruby complies, hence the bandaged knees which cover tendons that have been cut. The storyline is superbly written, with bleak horror coinciding with dramatic poise and romantic elements. Palmer masterfully unravels the tale for the audience, showing expert craftsmanship in his storytelling. Whilst the aforementioned captivity films are obvious reference points, a movie like Ex Machina is another. The dark tone of the setting being brilliantly contrasted with the humanity of the central character. Dialogue is to the point and always necessary to the story, allowing the phenomenal chemistry between the two performers to develop the scenes. Deila is utterly compelling as the lead. Every painful crawl or emotional fumble is gripping, with the actor expertly navigating the physical demands of her character alongside the poignancy of her situation. Likewise, Mortimer is a great on screen presence. Throughout Hippopotamus, his figure is a shadowing evil that fills the room, but his interest in Ruby is superbly developed. Avoiding spoilers here as this is a movie to experience as fresh as possible. It is important to pick out a couple of the players behind the camera. Most noteworthy is the cinematography from Tomás Brice. Every frame felt specially chosen, creating an intense tapestry of power struggles and mystery. Some of the transition scenes were so entertaining. As the camera slid from one sequence into another, changing lighting and mise en scéne, it was dramatically impactful and enhanced the storytelling. The sound design from Alice Trott was tenacious, elevating the mood of many scenes to fever pitch whilst knowing when to back off and let the performers do the heavy lifting. Some of the voice dubbing felt a little off, but this was only a minor fault. Bold, dramatic, and painfully intense, Hippopotamus captures the very essence of cinema. It's a genre film that knows where to transcend the limitations and where to knowingly obey them. The result is something quite special. Watch the official Hippopotamus movie trailer below... #IndieFilmReviews #MovieTrailers #IndieFilms #ChrisOlson #5StarFilm #CaptivityMovie #EdPalmer #IngvildDeila #StuartMortimer