★★★★ Directed by Joselito Seldera Starring Blaise Miller, Claire Gordon-Harper, Kyle Sing, Jake McClean, Paul Dillon Indie Film Review by Andrew Galvin While a disaster for many, many people, the economic downtown of the last decade has been a goldmine for American indie cinema. The likes of Margin Call have tackled the credit crunch head on, but the best examples have used it as a backdrop and focused on the effect upon the little man—people in smaller areas of the country, struggling to get by: see the likes of Winter’s Bone and Manchester By The Sea. Both films are a visible influence over End of Fall, the new film from Joselito Seldera. We meet down-on-his-luck farmer Jackson (Blaise Miller), a schlubby, Casey Affleck-alike father, informed by his neighbour in the opening scene that his home and his land are going to be taken away from him. It’s an enticing opening: suggesting a story populated by real people in recognisable situations. The film around them follows suit—the tone and cinematography are subdued in washed-out colours, the soft piano and guitar score sits low in the mix, and the young members of the cast talk like they’re in a Bruce Springsteen song. The central relationship between Jackson and his daughter, Emily (Claire Gordon-Harper on astonishing form) helps ground things too, as their chemistry is compelling. When End of Fall is at its quietest and most still, this is a film that sails a hair’s breadth away from being a masterpiece. As the film develops, however, the machinations of the story prove to be less effective. Swerving away from the likes of Derek Cianfrance and Kenneth Lonergan, the presence of a dead body and a suspicious police chief aim more towards early Hitchcock. Despite the build-up of tension being effective, it feels like an unnecessary movement towards occasional melodrama that sits uneasily with the tone of the film. This is exacerbated by Kyle Sing, as Jackson’s rival. He delivers an odd performance throughout, all bulging eyes and questionable changes in pitch and volume—whether fault lies with director or actor is unclear, but either way it is distracting. In the end though, none of these factors succeed in unseating the film’s atmosphere. This is unhurried filmmaking very near its pinnacle. While not quite at the level of quality of its influences, this has real depth thanks to its economic and gun control subtexts; a small picture deserving of the widest possible audience. #IndieFilmReview #FilmReviews #AndrewGalvin #IndieFilms #JoselitoSeldera #BlaiseMiller #ClaireGordonHarper #KyleSing #JakeMcClean #PaulDillon #GunControl

★★★★ Directed by Hannes Holm Starring Rolf Lassgard, Bahar Pars, Filip Berg and Ida Engvoll Film Review by Daniel Reason Hannes Holm’s A Man Called Ove is a Swedish film that is based on Fredrik Backman’s 2012 novel of the same name. It tells the familiar story of an Ebenezer Scrooge-like character, called Ove (played by Rolf Lassgard), who is angry because of what is happening in his life and what has happened in his past. He disapproves of pretty much everything around him – his neighbours, his job, a stray cat – there isn’t much in life that he enjoys. And when a new group of neighbours arrive, we truly learn about his behaviour and attitude. In a film such as this it is very important to have a central character that we can understand and relate to, this consequently means that the overall quality of the film relies heavily on Lassgard. It is, therefore, very pleasing that this is the movie's biggest strength, as Ove is an interesting character, to say the least, and is very enjoyable to watch. It would be easy for Lassgard’s angry performance to irk, which would result in a troublesome foundation. However, with the use of flashbacks that are scattered throughout the film, we learn more about him and so we understand why he is the way he is - something of a tragic character. The way he interacts with the world provides us with some more details about things that have happened to him, and it leads to some strong comedic scenes and performances from other characters. Due to how emotional the story is, these comedic moments are key, as they provide some much-needed relief and make the film flow more efficiently. It is through his relationship with the new neighbours, that have moved into the house across the road from his, that is the catalyst for change in his attitude – the characters of Parvaneh (played by Bahar Pars) and her two children. Through the flashbacks that are shown, we learn more about him and his wife, Sonja (played by Ida Engvoll) and what could have been. This allows certain scenes between Ove and Parvaneh, or Ove and the children, having much more meaning to them - even the simplest of reactions and things being said can “say” so much more, than if those past events didn’t exist. It is Bahar Pars’character who helps Ove along this journey the most, however, as she helps him adapt to the modern world that he’s continuing to struggle with. Unlike Ove, Parvaneh is full of optimism and is always there to help– her impact on him is very clear. What is appreciated about the way the film handles Ove’s arc is that he still retains the characteristics that make him who he is, and so he doesn’t become a completely different character by the end of the story – his goals remain the same. In conclusion, A Man called Ove is a heart-warming film that demonstrates the impact that people can have on each other, even when their differences may seem entirely contrasting. #FilmReviews #TheatricalReleases #DanielReason #HannesHolm #RolfLassgard #BaharPars #FilipBerg #IdaEngvoll

Directed by Terrell Williams & Emily McDermott Starring Terry King Short Film Review by Owen Herman A State of Purgatory (Dead Air) is the first in a series of short films from Effeno Films and is jointly written and directed by Terrell Williams and Emily McDermott. It is an absorbing short which, although it has a lot of horror elements, doesn’t perfectly fit the mould of genre or even general filmmaking. Instead of a normal narrative Dead Air is more a series of startling images that are meant to confuse, frighten, and intrigue you. They depict a single man, played by Terry King, as he repeatedly experiences surreal and nightmarish moments. The film is purposefully unclear as to the true nature of these scenes, leaving you wondering whether it may have simply been a nightmare, a sinister reality, or even literal purgatory – the intermediate suffering between death and heaven (like an afterlife version of that bit between leaving the house and arriving at your holiday destination). Although it throws up many questions, this is a short film that doesn’t provide answers, simply leaving it as an unsettling experience for the audience. However, this is not a criticism, as it allows you to draw your own conclusions from what you’ve seen. A State of Purgatory (Dead Air) does make you ponder, but is perhaps not as profoundly as the filmmakers would have wanted, as the serious thoughts about life after death that it hints at are mostly lost in the chaos. The star of the show is the editing, done by co-writer and co-director Terrell Williams. It is fast paced and purposefully disorienting, making the best use of various types of cuts, heightening the sense of uncertainty and mystery. The music is also worth mentioning, providing a nice creepy atmosphere right from the start. The filmmakers here have created a suitably creepily weird short movie that is different and manages to linger in your mind after its three-minute runtime is up. Dead Air has piqued my interest for the A State of Purgatory shorts, and I hope they continue and improve upon this promising and thoughtful start. #ShortFilmReviews #ShortFilms #OwenHerman #TerrellWilliams #EmilyMcDermott #TerryKing #Mystery #Existential

Directed by David Stokes and Iain Cash Starring Rhiannon Jones, Iain Cash Short Film Review by Evie Brudenall Trust. It’s hard to acquire but so easily broken. A notion that co-directors David Stokes and Iain Cash explore so well in their aptly named short Trust. Upon returning to her car, Amy (Rhiannon Jones) meets Max (Iain Cash) who claims that he shooed away a gang of youths from her car. Max then asks her for a lift to work and she hesitantly complies, plagued by doubts of trusting a complete stranger. The lessons of not talking to or trusting strangers that we were taught for children are up for review as the same policies no longer apply to the realities of adulthood. Interactions with people that we are unfamiliar with occur on a daily basis and it’s solely up to use to navigate our own responses and reactions. This is something that Trust delves into as Amy is faced with such a predicament by allowing Max into her car. However, she soon starts to regret her choice as she questions some of the things that Max says, including, “It’s like we’re taught to see the worst in people and not the best”. Although it’s a declaration that’s hard to refute, Max’s happy-go-lucky demeanour is enough to arouse suspicion. The performances from Jones and Cash are convincing and naturalistic but there are a few instances when their acting feels slightly wooden. However, I suspect this is due to editorial choices as opposed to the abilities of the performers as some shots feel haphazardly stitched together in the earlier scenes. As the short progresses, it becomes more confident and assured whilst the film’s ultimate reveal was momentarily satisfying, its moment in the sun lasted all too briefly. Directors David Stokes and Iain Cash fantastically manage to curate an atmosphere of danger even within the relative safety of a bust car park. All of our instincts are urging Amy to remove herself from the scenario even though there’s nothing overtly suggestive of impending threat. But the filmmakers have clearly played on our vulnerabilities and insecurities to the point where we’re speculative of Max’s intentions from the very beginning. A simple yet compelling premise, Trust preys on our primal fears and stirs tension and will provoke conversation upon viewing. #ShortFilmReviews #ShortFilms #EvieBrudenall #DavidStokes #IainCash #RhiannonJones

Written & Directed by John L. Weckworth Starring Oliver Hollis, Rachel Warren, David Lyddon, Les Loveday Short Film Review by Taryll Baker Based upon the urban legend, Edward the Damned takes a modern look at Edward Mordrake; the man with two faces. With its tight 15-minute duration and top-notch special effects, John L. Weckworth’s eerie horror flick succeeds in captivating the viewer and refusing to loosen the grip until its harrowing story comes to an end. As the screen opens we are introduced to Edward (Oliver Hollis), preparing for the day ahead before placing a wig atop his head. The mystery of said wig isn’t revealed until later in the picture, but as he tends to his work day and visits Cindy (Rachel Warren), we get a glimpse of what could lie beneath. The two leads are brilliant, but Warren takes the wheel with her strange secondary role. It’s a spooky and horrifying story, tied up skilfully into a manageable running length. Although a smaller budget is evident, the make-up and special effects are incredibly detailed. It’s clear this is a passion project for Weckworth, taking the reins not only as director, but as the cinematographer and editor as well as working on the visual effects and colour correction. There are many locations used throughout the film which is great to see. That said, due to shooting on the busy London streets, the audio can be difficult to pick out from the traffic and pedestrians in surrounding areas. However, having scenes play out over several locations is definitely a smart move, not once does the pace become a drawback. The original score by Daniel James utilises sinister and unearthly string arrangements, and although used a little too frequently, it’s a functional and rewarding supplement to the story. Each scene is enhanced due to the music, alongside the splendid visuals captured by director John L. Weckworth. It’s nice to see a genuinely haunting take on the horror genre, not only to scare but to intrigue. Jump-scares become tiresome, once interesting tales become rehashed stories, and a promising pitch becomes a cliche-filled mess. This was a nice step back. You don’t find many films like this anymore. Apart from a few jarring cuts and issues with the sound recording, Edward the Damned is a thoroughly enjoyable horror based on one of the most unusual legends to date. It seems at first to be a normal story, but as the film evolves a new face is revealed. #ShortFilmReviews #ShortFilms #TaryllBaker #JohnLWeckworth #OliverHollis #RachelWarren #DavidLyddon #LesLoveday

★★★ Directed by Michael Williams Starring Zack Ratkovich and Glenn Payne Indie Film Review by Phil Slatter OzLand opens with a shot of two men – Emri (Glenn Payne) and Leif (Zack Ratkovich) walking through what turns out to be a desolate wasteland. It’s fair to say that this is largely what comprises much of Michael Williams unique post-apocalyptic film as there is little by way of plot development beyond the two characters main journey of survival. Yet while this makes demands of the audience, where OzLand works by Williams painting a rich tapestry on human existence with deeply philosophical overtones. We learn little of who Emri and Leif actually are, where they have come from or what global event has caused them to be seemingly the last people on earth. Emri is the more paternal of the two yet Leif is the only one of the pair who can read – a fact that becomes crucial when he discovers a discarded book of ‘The Wonderful Wizard of Oz’. With a sense of childlike wonder, Leif is fascinated by the tale and comes to believe it as true – he is scared of flying monkeys, prepared for the witch and wants to find Oz to provide the happiness both men seek. It becomes an almost religious belief in the books story as reality, providing purpose and meaning to a desolate life while Leif interprets everyday occurrences as evidence supporting his manifested beliefs. Emri is more agnostic, and while he feels compelled not to indulge Leif’s ideas, he is at least open to them having to entrust himself due to his own illiteracy. It may appear that events will struggle for an ending, but the fusion of the story of the film and the story of the book come the climax is smart – we never see what is behind the curtain and it’s left open as to whether Leif does or not. It’s a very original take on the post-apocalyptic genre, with a structural similarity to John Hillcoat’s The Road but none of its bleakness. Williams punctuates the film with a brilliant acoustic soundtrack courtesy of Keatzi Gunmoney, and the cinematography is remarkable, even taking into account the small budget and outdoor setting. The demands on the two actors to hold centre stage for the film's entire running time do take their toll at times when the performances occasionally fall flat, while the lack of development to the central story can strain the patience. Yet OzLand remains an original work that draws on a beloved and well known text in a unique and smart way. Williams takes many of the off camera roles but rarely drops the ball, creating something heartfelt and thought-provoking, pulling on the notion that all stories are true and that some of them actually happened. #IndieFilmReviews #IndieFilms #PhilSlatter #Dystopianfilms #Survival #MichaelWilliams #ZackRatkovich #GlennPayne

★★★★★ Directed by Marc Webb Starring Chris Evans, Mckenna Grace, Lindsay Duncan, Octavia Spencer, and Jenny Slate Film Review by Niall Maggs Frank (Chris Evans) is a single uncle who has to raise his niece Mary (Mckenna Grace) after her mother commits suicide, but Mary is no ordinary girl; she's a child prodigy in maths, the schools want her to excel further, but Frank wants Mary to have a childhood and make friends. This leads to a custody battle between Frank and Mary's grandmother (Lindsay Duncan). The deep subject matter expressed in Gifted, is emotional and heartfelt, that in the end, created a beautiful and charming film. The writing was unique and delved deeper into the story than many other films this year, which highlights the great passion from Tom Flynn, through his writing. The plot was thought-provoking, interesting and intriguing. There have been other films about child prodigy's but Gifted stands out above the rest. It was believable and down to earth and not far fetched in any way at all. The setting fit the peaceful and soothing tone of the movie, making it enjoyable and not harsh or upsetting, which could then depart from its narrative, if its over shadowed with grittiness, but Gifted finds the perfect balance. The performances were all outstanding, not just from the leads, but also the supporting cast members gave believable, hearty an impactful portrayals. Chris Evans and McKenna Grace, in particular, were incredible and gave some of the best performances I've seen all year! Considering Grace was only 10, her portrayal was comical, entertaining and realistic. As for Evans, by far his best performance in his career to date. We saw a whole new side of acting from him, that proves he can be still be amazing, even when he's not suited up as Captain America! Marc Webb's directing showed great passion. His method of telling this story was perfect and fit into the plot smoothly and wasn't complex or unrelatable, but felt natural and warming with a great pace that didn't rush or drag anything out. He managed to create a captivating conflict between ideologies of the characters, that added a political aspect, which in turn, made Gifted engrossing and absorbing to the audience. The score from Rob Simonsen, was subtle but effective. It created a soothing, motionless and peaceful atmosphere and tone, that just worked with the story and the characters in it. Also, the music queues were timed perfectly with all of the scenes, which made them more beautiful and emotional. The editing by Bill Pankow was natural and comical at parts which just added to the subtle element of comedy, and the cutting of scenes at perfect times, to some scenes almost feeling like a montage, brought a happy smile to my face. The gorgeous cinematography by Stuart Dryburgh was dreamy and elegant while also feeling like a heavenly paradise, for example, the sunset shot was beautiful and held you in awe of such a breath taking visual. Finally, the script and dialogue was naturally delivered and felt realistic and casual, and not forced or awkward. Every scene with Chris Evans and McKenna Grace felt like we were watching a father-to-daughter conversation in the street, this paired with their excellent performances tied the movie together in a perfect bow, and secured itself into my top 5 of the year easily! #FilmReviews #TheatricalReleases #Drama #NiallMaggs #ChrisEvans #McKennaGrace #LindsayDuncan #OctaviaSpencer #JennySlate #MarcWebb #5StarFilm

Directed by Mark J. Blackman Starring Richard Cordery, Navin Chowdhry Short Film Review by George Nash No longer able to get out by his own accord, retired former University lecturer Michael (Richard Cordery), spends his days alone at his home trying to contact his daughter who has recently emigrated Down Under. Thoroughly individual on the surface, he ventures out on occasion to the local pub or nearby corner shop, chauffeured there by new cab driver Ahmed (Navin Chowdhry). The small talk soon manifests as something far deeper and more meaningful for both men; where the power of kindness illuminates the darkness of solitude. Directed by Mark J. Blackman, and written and produced by Drew Gepp and Ollie Watts - the duo behind Twice Cut Films – Ferried is a quietly powerful and unassuming work of cinematic artistry. At its core, this is a poignant and necessary examination of loneliness, that aims to foreground the subject of old age isolation as a growing social issue, and pierce its bleakness with uplifting moments of friendship and kindness to showcase the underlying power carried by such acts. Visually, Ferried establishes its agenda from the outset. The film opens with lingering shots of rolling green countryside to the mellow acoustics of Richard Keyworth’s score, before cutting to the figure of the elderly Michael sat at the foot of his stairs, on the end of a telephone call that is never answered. Blackman’s patient commencing frames construct a world which for Michael is both vast and empty; a place where both literally and figuratively, his voice goes unheard. “You’re not Barry” – Michael’s first words of dialogue in the film upon meeting his new cab driver, Ahmed, for the first time, are delivered with an almost childlike directness and serve as a further indication of Michael’s increasing unfamiliarity and distance from the world he exists in. It’s an impressively measured and careful opening construction of a man attempting to internalise his pain, but Blackman appropriately makes no assumptions on such subject matter; instead quickly formulating an almost enigmatic tone and minimalist style that is clung to resolutely throughout the piece. Character development is slowly drip-fed to us through means of small talk and suggestive sub-plots of wives and estranged daughters, as unbeknownst to even himself, Michael’s vulnerability and desperation gradually etches across his face through a combination of tired, longing looks and Blackman’s masterful understanding of how silence can often speak volumes. Through subtle irony, however, in the absence of the family that fuels Michael’s loneliness, the presence of that very same family in conversation is what ultimately reconnects him to the world. And to Michael (played with an understated intelligence and respect by Richard Cordery whose previous credits include notable film, television, and theatre appearances), that world comes in the form of Navin Chowdhry’s warm and good-natured Ahmed. Be it simple conversation starters or offers of dinner leftovers, Ahmed’s acts of compassion and kindness never feel emotionally manipulative (as might be the temptation) and always feel totally plausible. Naturalism – in both direction and writing - are the key strengths here in creating a narrative that is outwardly simple, but altogether more evocative, meaningful and ultimately heartbreaking underneath. Perhaps where the film falls down then, is during the few times when it attempts to break such modesty – in particular, one random visual anecdote about a stag-do which, running against the tonal, visual and aural grain of the film, feels like an over-baked attempt at humorous relief which, while it might induce laughter, for the most part struggles to be little more than an artificially engineered, mid-point time filling device. Delicately dealing with issues that transcend the narrative they are examined through, Ferried, quite appropriately, is very much about the journey, not the destination. #ShortFilmReviews #ShortFilms #GeorgeNash #Drama #MarkJBlackman #RichardCordery #NavinChowdhry

Directed by Tofiq Rzayev Starring Gökberk Kozan, Erhan Sancar, İsmail Mermer, Zahit Battal Sarı Short Film Review by Rachel Pullen Bad things always seem to happen on dirt roads, it’s just one of those running themes throughout cinema, once you’re on a dirt track or back road bad things are awaiting. Leftovers takes place on a dirt road, up high on the winding mountains of Turkey, where two police officers are left with the task of transporting a man to identify the body of a young girl. As the policemen travel further up the mountain their passenger becomes more and more unnerved, before he forces the driver to pull over as he becomes ill. The police do their best to comfort this man but as they travel further he becomes distant and detached, delving into his darkest thoughts and vocalising them to his guides, who desperately try to keep calm and collected on their journey. Director Tofiq Rzayev gives the audience a very limited storyline, un-padded and bare he allows the viewer to feel the same confusion and curiosity that the officers must feel from the thoughts expressed by the grieving passenger. The viewer is allowed to envision their own scenario, as we hear it discussed between the characters in Leftovers, but are not allowed to see it, imagination can fun free and wild. The audience is granted a front row seat to the tragic aftermath of the crime, and its effect on all in the car and this approach to the subject provides and interesting and compelling narrative. Each character approaches the subject of the little girl in a different manner, it's almost a scale of emotions, ranging from the most extreme grief to being completely calm and indifferent. Police officers Erhan Sancar and İsmail Mermer both portray the sense of unwilling and discomfort in having to transport Gökberk Kozan’s character to the scene of the body identification with tremendous success, there obvious desire to get the situation over with as quick as possible is apparent from the start, oozing of the screen till the point that the viewer is emerged in that sensation. Leftovers provides and allows for so little all in one short film, this narrative piece allows you, the viewer to make up your own mind about what each character is bringing to the story line, we are given just enough to form an opinion on their roles, but those opinions are uneducated and entirely made on gut instinct, making Leftovers a rollercoaster of emotions from start to finish. #ShortFilmReviews #WorldCinema #RachelPullen #ShortFilms #TofiqRzayev #GökberkKozan #ErhanSancar #İsmailMermer #ZahitBattalSarı

Directed by Gio Karlo Birondo and Neo Bryce Largo Starring Kimberly Mar Barcena, David Shem Calida, Earl Clive Dacal, Sam Kristian Villaver Short Film Review by Kirsty Asher This short film is an unexpectedly touching delivery by Filippino filmmakers Gio Karlo Birondo and Neo Bryce Largo. I say unexpectedly because with the film’s synopsis alluding to both inner demons and real demons as well as some unclear storyboarding in the duration of the film, I was under the impression this was of the Horror genre until the last 5 minutes. Nevertheless, St Monica's delivers a very strong message about catharsis through interaction and self-care. It is in its own way a testament of youth, with its Vice-esque credits graphics and font and young adult cast. It is very clear from the set-up of this film that those involved in its creation feel strongly about the message they are trying to get across to their audience, and for the most part they achieve it. In St Monica’s, according to the synopsis, is “A group of strangers in a support group talking about their demons, unbeknownst of the real demons they’re facing.” (herein lies the misunderstanding about the genre). The opening is a beautiful, dialogue-free montage showing a young woman studying, getting on with life, falling in love with a man; only for it all to come crashing down when she states simply that she is pregnant and the lover promptly leaves her. This is what leads her to St Monica’s, a ‘Support Group for the Hurt’. It must be said that the transition from such a beautifully filmed, well-edited and poignant opening sequence to St Monica’s is incredibly jarring. The sound is off and it looks as though it was filmed on an old home video camera. This seems so odd to me, as the ending is a visually impressive bracket to the film along with the beginning, showcasing similarly professional camerawork and lighting. The technical aspects between these brackets are woefully hit-and-miss. The concept, however, is strong. As I said, the storyboarding is a bit uncertain, to the extent that explanation when needed is not given and the exact genre became unclear. One of the characters has flashbacks to a Groundhog Day-style revisiting to his girlfriend’s murder. Another has visions of being murdered by his girlfriend, and the third privately recounts being infected with a cannibalistic virus which leads to his imprisonment unless he sups on the flesh of humans. Because there is no clear establishment of why these people are meeting, other than because they are ‘Hurt’, the tone gives the impression that there is some kind of murder-mystery-cum-zombie-apocalypse side of this story. What is actually going on here is an exploration of their individual psyches, and the ways they have attempted to cope with personal problems through a fantasy setting: the first boy’s girlfriend committed suicide, the boy who was ‘murdered’ was in fact cruelly left by his love. Perhaps the most poignant is the boy with cannibalism is in fact suffering with anorexia, and his imprisonment is actually imposed on him so he will simply eat something. The girl is revealed to have had a miscarriage when she was hit by a car. Despite the uncertainty of the storyboard there is some beautiful writing here as well as some astonishing special effects and makeup. The directors clearly know how to craft a thought- provoking image, and the message it ends with telling people to open up and talk to someone about the challenges of life is an urgently necessary one. #ShortFilmReviews #ShortFilms #KirstyAsher #ComingofAge #Drama #GioKarloBirondo #NeoBryceLargo #KimberlyMarBarcena #DavidShemCalida #EarlCliveDacal #SamKristianVillaver

Directed by Carl Hunter Starring Joseph Mawle, Elisa Cowley, Maya Whatton Short Film Review by Amy Cornforth A Winter’s Tale is a fantasy short, and a homage to Shakespearean tragi-comedy ‘The Winter’s Tale’ – a play concerned with themes of love, jealousy and time. This beautiful micro – Shakespeare film focuses more on love and time, harnessing the fantastical aspects of the play to tell a slightly altered story, with the Shakespearean roots remaining prominent through a narrative which has been weaved together using lines from the play, and the iconic image of the living statue. The film follows a character referred to as ‘Dad,’ (Joseph Mawle) who is isolated by his Wife (Elisa Cowley) and Daughter (Maya Whatton) due to their occupation with technology. As time passes and he becomes more isolated, he slowly begins to turn into a statue, and he is taken to a beach where he is doomed to remain for eternity, forgotten. This is a much sharper focus on the tragic aspects of the play, and a deeper exploration of the fantastical. The cinematography of A Winter's Tale is beautiful, expertly crafted to communicate the themes and narrative of the short. The opening shots of a misty sea-shore, combined with a Theremin soundtrack really conveys a mournful and ethereal atmosphere, a mood which is maintained throughout the film. The design of ‘Dad’s’ home is particularly prominent, primarily made up of different shades of red, and the Wife and Daughter’s costumes match their home. Dad’s costume is made up of faded clothing to show he feels he doesn’t belong, and he is framed through a veil, looking into the house to heighten his isolation, and he remains in the same spot throughout the entirety of a stop – motion like sequence to show the passage of time. It’s a haunting image. Although dialogue in the film is scarce, and mostly delivered through narration, the performances are still worth mentioning. Joseph Mawle gives a very sombre performance as ‘Dad,’ narrating the film in a monotone voice whilst maintaining the same expression of sadness as he gradually turns to stone. His Daughter, Maya Whatton, has little screen time, but in her few moments, she really captures the relationship between her and her father. As a whole, the film is very beautiful, with a distinct melancholy tone conveyed through scenic cinematography, a strange Theremin soundtrack and sombre performances from all the actors involved. #ShortFilmReviews #ShortFilms #AmyCornforth #CarlHunter #JosephMawle #ElisaCowley #MayaWhatton #Shakespeare #Adaptation

Directed by Cole Jeager Starring Cole Jeager, Timothy J. Cox, Scott Schuler Short Film Review by Monica Jowett Wacky short film The Best Birthday Ever tells the tale of childhood joy. Written and directed by Cole Jeager, it follows Dimpton who is reliving his best birthday, which he celebrated along with his dad and uncle. The strange thing? Dimpton is not a child, but actually a young adult. Using a crayon-illustrated story book as a framing device, we see a young man on the cusp of becoming a grown-up, experience a birthday befitting of a 5 year old. Dimpton (Jeager) starts out by looking back at the memories of the day, which begins with McNuggets, then onto the playground and later the beach. Accompanying him on his birthday are Father Bo (Timothy J. Cox) and Uncle Bib (Scott Schuler) who argue about politics, with Dimpton having very little clue what it’s about. This background talk of politics, and the hilarious line about it possibly being Obama’s fault, seem to indicate a deeper meaning within the five minute film, of the Republicans (Bo) and the Democrats (Bib) fighting, and not taking much notice of what the people (Dimpton) really want. In the setting of a child’s birthday, albeit an adult pretending to be a child, this message seems to hit harder. However, this is a comedy and more than anything, makes fun of politics, in a rather abstract way. And if it was not Jeager’s aim to poke fun, he does make an interesting comment on American politics, which could be applied to many other places around the world. In the same way the film is framed by a story, hand drawn by a child, and narrated by a man-child, the editing takes on a childish effect. This can be seen when Dimpton is imagining what his presents could be: the ideas appear around him like a badly put together meme. While in another short film, this could appear too amateur, The Best Birthday Ever uses this editing technique to its advantage, furthering the innocent storytelling style. While on paper, this might not sound like the best short film ever, this goofball, totally zany comedy, The Best Birthday Ever may leave you scratching your head, but it will also leave you with a big grin on your face. #ShortFilmReviews #ShortFilms #MonicaJowett #ColeJeager #TimothyJCox #ScottSchuler