Directed by David Javid Zaidov Starring Tim Bettsworth, Rod Glenn, Peter Prentice and Andrew Candish Short Film Review by Rachel Pullen Being cold sucks, we all know that, and I am one of those people who is always cold, but despite how much I think that I am freezing I can confidently say have I have never lost a part of my body due to declining temperatures. And while I thank the climate I reside in for me being able to keep all my toes, I also thank myself for never making the choice to go on an Antarctic expedition...thanks brain. I have never had the desire to do such things but back in 1912 Captain Robert Scott Falcon chose otherwise, leading himself and three of his men out into the harsh terrain of the Antarctic to make claim on the south pole, Outside is a short film retelling of a fragment of that fateful trip. Outside has two polar extremes; we are invited into the warmth and comfort of the tent, where the men are able to regroup and nourish themselves, it is also the only time that the cast talk, giving this time on camera a sense of camaraderie. And then there is outside, the harsh unforgiving terrain of the Antarctic flats [actually shot in Norway], a time where the four men have little communication, huddled faces into their jackets as they push further and further on into the snow. Director David Javid Zaidov allows us to feel the isolation of the Antarctic, with wide shots, showing the vast nature of the area, dwarfing the men to mere black dots in the snow, we are able to get a sense of the huge task that these men were undertaking, as well as a sense of despair they may have felt. The main focus of this short is Oates played by Tim Bettsworth, who is rapidly succumbing to frostbite and is losing his toes like loose change down the back of a sofa, he is slowing his team down, and with supplies running low he must make a choice on order to help his fellow teammates. But Oates is not portrayed as a man who heroically sacrifices himself for the good of the expedition, he is a man who simply cannot take anymore, we see him struggle everyday with the most simple of tasks, and as time goes on we feel not only his frustration but his loss in personal dignity. Bettsworth takes the role to that level, allowing us to be fully immersed in his desire to not be seen as the week link, to at least go out with some pride in and ever declining situation, and in a short film which has very little dialogue this is an impressive performance. Outside is beautiful and devastating, heroic yet undignified all in one blow, and although only a short film as an audience we feel the length of the struggle those men faced. #ShortFilmReviews #ShortFilms #RachelPullen #Biopic #DavidJavidZaidov #TimBettsworth #RodGlenn #PeterPrentice #AndrewCandish

★★★★ Directed by Matt Ott Starring Sonja O’Hara, Katie Morrison, Jaspal Binning, Karin Agstam, Laura Poe Indie Film Review by Amy Cornforth It’s always refreshing to see more female–centric pieces of cinema, focusing on real issues more personal to the female gender, alongside in depth studies of flawed female characters. Indie film Ovum fits into this category like a glove. Like the protagonist, we are newcomers to the sinister and invasive world of ‘designer’ egg donation, and the characters which inhabit it – and we witness the mental and physical impact it has on the donors. Through dark–comedy, cold clinical cinematography, and a score which is almost psychedelic, Ovum highlights the unethical aspects of ‘designer’ eggs through a very eye–opening piece of filmmaking, which ranges from funny, to seriously unsettling. Aspiring actor, Calpurnia Dylan, (Sonja O’Hara) sets her heart on the role in an off–Broadway show. Determined, she decides to adopt a method approach to acting, and applies to be an egg donor as research. However, she soon finds herself knee–deep in the shady world of ‘designer’ egg clinics, and it takes its toll on her personal life and career, although she forms a connection with veteran egg donor and model, Ellen (Katie Morrison). The film has a bit of a rocky start and opens with a more conventional comedic tone, which it deviates from very quickly. However, the script is definitely one of its strongest assets, drawing from writer Sonja O’Hara’s own experiences as both an aspiring actor and an egg donor, and it derives dark comedy by parodying stereotypes from the acting community. Calpurnia has moments where she is almost like a walking parody, a view which fades as the story becomes more focused on egg donation. Overall, the performances in the film are very good, although both Katie Morrison and Sonja O’Hara have a habit of overacting a little at certain moments. Nevertheless, Sonja O’Hara is successful in making Calpurnia a comical, if a little insufferable, character who gradually becomes more sympathetic. She is at her best when working with Katie Morrison, as the two of them have undeniable chemistry. This is complemented by the cinematography, which is beautifully constructed to highlight the growing attraction between the two of them, mainly through close–ups, and framing the two of them together. Conversely, the cinematography also works to make the ‘designer’ egg clinic seem cold and unnatural, at one point even framing Fiona (Karin Agstam) the Ovum–Coordinator’s, face in fragments, so she seems equally inhuman – and this is matched by her purposefully tight and unnatural performance. Through the use of uncomfortable dream sequences, and a slowly decreasing number of comedic moments as the film progresses, the indie film really sheds light on a subject which hasn’t been explored in such depth before. #AmyCornforth #MattOtt #SonjaO39Hara #KatieMorrison #JaspalBinning #KarinAgstam #LauraPoe #IndieFilmReviews

Directed by Shane Andries Written by Vishwas Starring Vishwas, Amr El-Bayoumi, David Harris, Ed Cooney, Ari Barkan, & Anthony O'Connell Short Film Review by Chris Olson Stoking the fire of racial tensions is an essential way to explore its complicated issues and damaging effect on communities. Short film The Visit, directed by Shane Andries, is a smart and compelling take on the current climate of volatility which surrounds particular stereotypes and manages to approach the topic with a unique perspective. Vishwas plays the central character, know in the credits as Bearded Man (a telling notion already), who is startlingly awoken one night by two men. One of the intruders (Amr El-Bayoumi) starts by yelling at our unsuspecting protagonist in a foreign dialect, urging him to reveal his plan. Baffled, the Bearded Man is then questioned by the second man (David Harris), who speaks in English and tries to ascertain whether or not this Sleeping Beardy is a terrorist or not. A well-balanced mix of peril, black comedy, thematic gravitas, and strong performances, The Visit is reminiscent of the dramatic weight of a film like Rendition, whilst capturing the whimsically ludicrous nature of a Buddy Cop film. The seriousness to the story and social commentary is threaded with superbly written moments of humour that, whilst being very funny, do not detract or distract from the overall plot. This is further enhanced by a script which is svelte when it comes to being entertaining, avoiding the expositional tiptoeing which usually happens when less-daring filmmakers approach this subject matter. Vishwas is a superb lead (he also wrote the film), offering an impressive amount of range in the various sequences, especially during a gripping flashback scene. El-Bayoumi and Harris are excellent as supports, creating a wonderful dynamic for Vishwas to bounce off, and also lending the short an endearing tone by the end. A particular reference to Captain America and Aladdin is brilliantly funny, and arguably a much needed spin-off! The filmmaking was solid and catered for the story well. It would have been nice to see a bit more adventurousness with the cinematography. A scene at a petrol station was really gripping, but the outdoor location did not feel fully utilised, and kept mostly to mid-range shots. That being said, this had the effect of feeling quite threatening which added to the suspense. Andries proves himself to be a very capable pair of hands when it comes to delivering a story that is based on ideas that are not only hugely divisive, but also often prone to offensive trivialisation. He does so, instead, in a way that is multilayered, compelling, and loaded with excellent performances. Watch the the full film for The Visit below... #ShortFilmReviews #ChrisOlson #ShortFilms #WaronTerror #ShaneAndries #Vishwas #DavidHarris #EdCooney #FilmChannel #WatchShortFilms #AmrElBayoumi

★★★★★ Directed by Claude Barras Starring Gaspard Schlatter, Sixtine Murat, Paulin Jaccoud, Michel Vuillermoz Animated Film Review by Chris Olson Stop-motion animated film, My Life as a Courgette (original French title Ma vie de Courgette), is a stunning piece of exquisite filmmaking, directed by Claude Barras and based on the novel by Gilles Paris. It tells the turbulent story of Icare or Courgette (Gaspard Schlatter) as he prefers to be called, who ends up in an orphanage after his mother dies where he is surrounded by seemingly hostile children that are the same age as him - an age that’s deemed unlikely to find a new home. Having been brought there by a caring policeman called Raymond (Michel Vuillermoz), and starting to make friendships with some of the other young people, Courgette may just be able to find his ability to love and trust again, especially when he meets Camille (Sixtine Murat). In what is a beautiful story, told without the usual patronising tone that so often accompanies stories about child hardships, Barras delivers a film that treats young people as the intelligent, thoughtful, and yes vulnerable human beings that they are. The characters, who have an infinite amount of quirks and interesting foibles, are brought to magical life through the expressive stop-motion and all have some fundamental aspects missing from their upbringing. The lack of adult supervision and guidance is not a cure-all for what ails them, instead it is one component of many which makes up the tapestry of coming-of-age. It was wonderful to see Courgette learn from, and teach, the others at the group home, who benefit from helping each other and working together to solve the mysteries of live. Some of which were hilariously misguided, such as thinking that sex involved exploding willies! Barras was able to highlight the strong thematic throughlines of Paris’ story, which was written for the screen by Céline Sciamma, along with Barras and Morgan Navarro as contributing writers. Trust was a recurring issue for many of the characters and the multilayered representation of adulthood was spectacular - offering various degrees of cynicism and passivity alongside love and helplessness. The way that the outlook of each child varied so much depending on their experiences was beautifully poignant, especially that of Simon (Paulin Jaccoud), who has the most affecting development and arc. His initial antagonistic approach to Courgette is totally believable, as is his redemption which comes as the fruits of friendship and trust. Love is an idea which emerges numerous times. Do you need to be related to love someone unconditionally? Will there always be a fear that a non-relative will leave you eventually? The sound design is enrapturing, working brilliantly with the visuals to create this immersive world and add lovely moments of pathos or sensitivity. There is a boldness to the animation that made it feel really current and relevant, which is remarkable given the leaps that the genre has made in recent years. Reminiscent of some of the best stop-motion movies ever made, like The Boxtrolls, The Lego Movie, and James and the Giant Peach, My Life as a Courgette is a technical triumph. Combine this with the thematic gravitas which is delivers, giving films like Hugo and again James and the Giant Peach a run for their money, and this is an outstanding film to behold. Available in English subtitles and English dubbed, My Life as a Courgette straddles that most exclusive of genres. A piece of stop-motion world cinema that appeals to young and old viewers alike, making some fantastic comments about growing up and life in general along the way. Superb. #AnimatedFilmReviews #FilmReviews #ChrisOlson #WorldCinema #Stopmotion #Animation #FrenchCinema #5StarFilm #ClaudeBarras #GaspardSchlatter #SixtineMurat #PaulinJaccoud #MichelVuillermoz

★★★★ Directed by Byrum Geisler Starring Chase Conner, Ethan Sharrett, Carol Marie Rinn Indie Film Review by Phil Slatter Like many great works of literature, Jane Austen’s Pride & Prejudice has been adapted numerous times since the invention of the moving image. From multiple T.V. versions to extreme fayre like Burr Steer’s Pride and Prejudice and Zombies via Gurindha Chadha’s Bollywood inspired Bride and Prejudice to more traditional adaptations in the guise of Joe Wright’s 2005 feature film and contemporary romantic offerings like Bridget Jones’s Diary - the list, while not endless, is extensive. Is there any call for a further adaptation? And what more can be done with such a well-known and oft interpreted text? These are thought’s one has when approaching Byrum Geisler’s thinly veiled update of the novel with the key difference (aside from the modern day setting) being that the central love story occurs between two men in Before the Fall. In rural Virginia, we meet Lee Darcy (Chase Conner), a reclusive, troubled alcoholic who soon lands himself in trouble with the law following an altercation with his girlfriend Cathy (Carol Marie Rinn). A chance meeting at the courthouse with lawyer Ben Bennett (Ethan Sharrett) creates discord between the two with the thematic notions of the source novels title being key. As events unfold though, the two men have to slowly overcome to decipher what it is they truly desire. On the surface it may seem as though simply changing a key character from a woman to a man is little more than a gimmick; an idea born out of the thought ‘what hasn’t been done with this before?’ but there is much more to the film than that. Sexuality replaces feminism as a key theme and in today’s society where homophobia is still prevalent, it means events fit well into the modern day setting. Pride cometh and can be a flaw to admitting true feelings, prejudice is still around every corner. The script tackles these issues head on at times with Cathy’s view of homosexuals coming across as unintentional but institutionalised, at least until a scene towards the end where she descends into a one-dimensional bigot of sorts. The key to the film’s success though is undeniably the cast. Conner brings a great sense of ambiguity to Lee Darcy, a character whose quiet demeanour and unhappiness can be linked to one of many things with questions around his sexuality explored with subtlety and never discussed, meaning the ending remains unpredictable in some respects. Before the Fall is admittedly slow-burning and some supporting characters do border on caricature, yet the cinematography makes magnificent use of the setting while the music is memorable and noticeable but not to the point where it becomes invasive. It all wraps up into an unexpectedly smart take on Austen’s classic, a sumptuous and relevant film, well performed and structured with relevant commentary in today’s society. #IndieFilmReviews #PhilSlatter #IndieFilms #LGBT #Adaptation #ByrumGeisler #ChaseConner #EthanSharrett #CarolMarieRinn

Written & Directed by Richard Anthony Dunford Starring Sarah Hawkins, Jamie Langlands & Miranda Horn Short Film Review by Taryll Baker Love is beautiful. Love is cruel. Richard Anthony Dunford’s short film Heartbox tells the story of two unfortunate lovers who bind their love by giving each other their hearts, literally. Featuring a modern interpretation of Christopher Marlowe’s poem ‘The Passionate Shepherd to His Love’ and a wonderful visual shine, Heartbox proves to be a smart and thought-provoking concept. The three leads (Sarah Hawkins, Jamie Langlands & Miranda Horn) are all suitably invested in the screenplay and showcase true talent through their touching performances. Every scene is accompanied with Marlowe’s poem which becomes a melancholy addition as the film reaches its end. The dialogue is clean and deftly recorded by James Wingfield, mixed and edited acutely, leaving little to dislike about the production aspect. The story itself tries to demonstrate the damaged, fractured side of love in the 21st century, and while succeeding at that, it seems to lose a sense of connection that we as an audience require in order to truly relate. The final moments are captured beautifully by the director, as is the entire picture as a whole, but the rationalisation is never explained in depth. Although we fail to greatly adhere to the characters, the film itself is nicely shot and performed. Each location feels organic to the story, especially as Marlowe’s poem mentions lush hills and fields, so it’s a coherent insertion that aids the tale superbly. With short films, the budget can be rather small and while the visual effects are affected by this, they still impress in the film. James Westlake has handled the ‘heart’ scenes carefully, they look and feel tended to. But are they physically there? It’s a question we must ask ourselves after the screen comes to a close. A moving take on Mozart’s ‘Lacrimosa’ is skilfully performed by Mishkin Fitzgerald and encapsulates the picture in a genuinely felicitous fashion. Music is very much important in film, as much as, or even more than the narrative. It helps us feel attached to something or someone on-screen and Fitzgerald did a grand job in this field. As I’ve mentioned before many times over, short films are always difficult to execute, but this is easily one of the more enjoyable and visually up-to-the-minute pictures I’ve experienced. Heartbox may be short in duration and slightly too ambitious in its storytelling, but it has a heart. #ShortFilmReviews #ShortFilms #TaryllBaker #RichardAnthonyDunford #SarahHawkins #JamieLanglands #MirandaHorn

★★★ Directed by Ridley Scott Starring Michael Fassbender, Katherine Waterston, Billy Crudup and Danny McBride Film Review by Brian Degning (@brian_degning) Alien: Covenant is the sequel to the prequel of the original Alien, directed by Ridley Scott and starring Michael Fassbender, Katherine Waterston, Billy Crudup and Danny McBride. After a random accident causes damage to the ship, handy android Walter (Fassbender) is forced to wake the sleeping crew from stasis to save the two thousand or so colonists on board. Discovering a distress call from a nearby planet, the newly appointed Captain Oram (Crudup), decides to investigate in hopes of solving the mystery and, of course, things go ever so slightly wrong… Reaction to Scott’s return to the franchise with Prometheus was certainly mixed, fans of the original Alien were disappointed by the lack of, well, Alien, and wanted more of the horror and suspense of previous installments, while others enjoyed the themes and mysteries the film presented; Who created us? Why do they want to destroy us? Where did the xenomorph’s come from? Covenant lands firmly in the middle and attempts to satisfy both sets of fans, however the result can be jarring at times. Firstly, the overwhelming positive of the film is undeniably the visuals. Scott has created a stunning world which is as beautiful and grand as it is gruesome and claustrophobic. Every shot is put together with a care and eye for detail which has punctuated the director's career and at times will leave you open mouthed in appreciation as well as covering your eyes in disgust at the gore. The only slight issue is the CGI with some of the creatures in the film, mostly great but there are moments where it is very apparent that they are not really there and this does take you out of the moment, even if just for a second. The performances are also great although the two stand-outs, by far, are Fassbender and Danny McBride, the latter of which has previously been known for his comedic roles, who show so many layers and subtlety that everyone else cannot compete. The support from Billy Crudup also deserves praise but sadly our new heroine, Katherine Waterson, fails to live up to the leading ladies the franchise has seen before. Although in fairness her character isn’t especially engaging, and therein lies one of the film's flaws. Aside from the characters of Walter and the film's main antagonist (who should remain nameless to avoid spoilers) no one else really has much development or real story arc. The sudden transformation of Daniels (Waterson) is a little hard to swallow and not many of the other characters leave any sort of impression, this robs the viewer of much attachment so that when the inevitable happens it’s hard to care. As mentioned at the outset the film is a bit jarring. Half direct continuation of Prometheus and half space horror the sudden changes in tone, from claustrophobic body horror to meditative discussions on the meaning of life, seem awkwardly thrown together. This becomes particularly apparent toward the beginning of the third act, where several set pieces seem like they were lifted from a different film and thrown in to provide excitement. Also, there is a last-minute twist that most people will see coming a mile away which does rob the climax of a bit of tension. When the film works well it works beautifully and there is enough to satisfy fans of the franchise but overall it can be a little uneven. The visuals and performances, however, do set this apart from most sci-fi horrors and certainly above most other installments of the franchise. #FilmReviews #TheatricalReleases #Scifi #ScienceFiction #RidleyScott #MichaelFassbender #BrianDegning #KatherineWaterston #BillyCrudup #DannyMcBride

Written and Directed by Steven Adam Renkovish Starring Brittany Renée Smith Short Film Review by Chris Olson A psychologically introspective story about a woman's (Brittany Renée Smith) fugue state following the loss of someone she loves, Steven Adam Renkovish's short film is a visually impactful piece that becomes a victim of its own lack of identity. Fugue is a psychological condition that often combines two signature symptoms. One is memory loss, and the other is a change of environment - I.e. turning up somewhere you don't normally. Renée Smith's character is certainly experiencing some kind of hallucinatory effect from her grief, which is brilliantly depicted in the stark visual landscape of the film. Her hysteria is then reinforced with dramatic monologues to the camera being spliced with all manner of editing tricks and artistic expression. The result is an impressive collage of cinematic flair that is indeed compelling. Where Fugue falls down most notably is in the melodramatic lead (and only) performance and amateurish dialogue. The sequences to camera are mysterious in a childish way, offering no real depth or resolution, and seem concocted only to excuse the baffling array of set pieces that are loosely tied together. As a genre, any film depicting psychological stories about memory loss are always given some room for slack when it comes to structural conventions, but here Fugue trades the basic elements of storytelling in exchange for obscurity, madness, and tedium. Only by the final frames is any sense of real intrigue piqued, but by then the effect is completely impotent. There was not enough coherence between the various elements of the filmmaking to make this the powerful short film it could have been. A physical example of this is the sound editing. Renée Smith is often barely audible compared to the booming musical score, a sound design which contained way too many cliched "horror" effects. As a piece of artistic expression, Renkovish displays some fantastic chops. His visual communication is superbly compelling, something which I would greatly like to see more of. This sadly gets sidelined by a mediocre storyline, an average central performance, and some poorly executed technicals that undermine the obvious potential which is there. #ShortFilmReviews #ShortFilms #ChrisOlson #PsychologicalThriller #StevenAdamRenkovish #BrittanyRenéeSmith

Filmmaker Interview by Chris Olson I recently reviewed filmmaker Alexander Tuschinski's rebellious indie film Timeless for UK Film Review. Having got to grips with the movie's anarchic spirit, I was also lucky enough to catch up with the man behind it. How do you describe your feature film “Timeless” to a new audience? To describe “Timeless” to a new audience, I would say it’s a satire, it’s an anarchistic comedy. “Anarchistic” not necessarily in a political sense, but in a stylistic one. Meaning that it’s unpredictable and it plays with genres. We have some scenes that are straight drama, we have very realistic war scenes, we have slapstick comedy, then we have thriller sequences, and so on. So, I would say it’s an unpredictable comedy and a satire on many aspects of the modern world. What prompted you to tell this story? I have always been very fascinated by how quickly people’s mindset can switch into a totalitarian one, independent of the ideology, just in general. How difficult it is for many people to remain truly tolerant. In Timeless, I wanted to show that issue. By making a young man from 1932 – right before the Third Reich was taking place – travel in time to a quasi-dystopian very near future in which there is a strange totalitarian system, I wanted to show the nature of totalitarian thought, independent of any ideology. I thought it’s best to tell this story not in a “preachy” way, but in a very light one. To make people laugh, enjoy it, and then later realize what’s actually happened there. So we have scenes you laugh about, it’s very funny, and then later when you think about it you realise: “Wait a second, there’s really tough stuff going on there.” And especially the ending of “Timeless” I wanted to make very brutal to suddenly make the laughter stop and make people realise the true nature of what totalitarian systems lead to: violence and war. So, that’s what prompted me to do it. When making the movie, what difficulties did you face? I was actually pretty fortunate because there were no real “difficulties” when making “Timeless”. I know this sounds like some kind of marketing / PR thing to say, but it’s actually the truth. It was a very straight-forward and very pleasant process. The biggest challenge was that there were a mix of professional actors and friends of mine who do it in their free time. To coordinate everybody so that they had time was actually relatively difficult but it worked quite well. I produced the film myself, so this was also my task. Actually, the most interesting thing to me was that the film grew and grew and grew as I made it. The sequence where we smash a car in the final movie was actually just dialogue in the screenplay and I wrote the script myself, so three or four weeks before I shot it I thought: “Wait, this isn’t that interesting, let’s make the dialogue shorter and let’s destroy a car during the scene.” So, that was pretty nice. And the ending, the WW2 scene with the tank, was originally just a few German soldiers in a bunker. Then, I found Mr. Jörn Bindig in Saxony who owns a WW2 tank that’s de-activated but still it can drive, it looks very real. So suddenly, we shot the ending scene as a WW2 tank battle, which was pretty exciting. So, it was challenging, but no particularly difficulties, I am lucky to say. You have a really impressive cast. What approach did you take in directing them? Including yourself? Thanks a lot for the compliment! I was very, very lucky with the cast and I’m very happy about them. Also because the professional actors you see in the film are friends of mine, too, whose work I admire and I wanted to collaborate with them for a long time. And the approach to directing actors? I myself haven’t thought about it a lot consciously, but I heard from others that my approach is very “result-oriented”. Meaning, I tell actors what their role should look like, but I leave it to them, I give them freedom, to develop the background of the character themselves. Watch the official movie trailer for Timeless above. For example, Alliene [Hochrein Gunn], who’s playing Lizzy in the film. When I met with her, I told her a few things: “Lizzy just wants success very quickly, she’s very ambitious”, and then Alliene came up with this whole background story and she checked with me if I’m okay with that. We discussed it and I really liked how she developed the character. So I would say it’s a very result-oriented style. And how I direct myself? That’s a really good question. I just behave the way I feel like in each sequence. There was one scene where my character is very angry and ranting. So, the people behind the camera and I – they’re friends of mine, and I improvised that rant – we had a blast. They were sitting behind the camera and told me things to make me ‘angry’, but in a funny way, so I went with it and just got into the mood to improvise as the character. So, that’s my approach to directing. How has your approach to getting this movie out to an audience been? To get the movie out to an audience, my approach so far has been to show it at festivals. Just to show it around and to get audience reactions directly. And after the festivals, I’ll look for distribution. So, at the moment, it’s still the festival-run. It’s been a blast so far: The film had its world premiere in Paris at the Paris Independent Film Festival in November 2016 and it was just a great time. Helmut Berger is very popular in France. Then, the film had its German premiere at Berlin Independent Film Festival in February, and right after that it screened two times in Los Angeles: In Downtown LA and North Hollywood. It was just a wonderful time. I saw very different audiences respond to the film, and I saw how different people’s views on the film were. Some saw it as a very funny comedy – which was great. Some saw it as a very thought-provoking radical drama that uses comedy as a way to kind of ‘alienate’ the viewers from the story a little bit – I am not using the right word, but you get what I mean. So it’s just very, very interesting to see all these different viewpoints of different audience members on the film, and the film won some awards at festivals, which was also nice. I am looking forward to distribution and to showing it at more festivals. It’s been a really good time, and audiences really liked it so far. What are your filmmaking influences? I would say in general, I am mostly influenced by filmmakers who use the medium “film” to the fullest extend possible. I hear some people say that filmmaking is “primarily storytelling”, but I think there’s so much more to it. The cinematography, the editing, the use of music, it can all bring something to it if it’s just very original, if it does more than simply support the storytelling, if it actively does something in it. Let’s say, people I personally met and exchanged artistic views with would be Hugo Niebeling, first and foremost. He used to be a German director – he died last year, unfortunately – and we were very close. We talked very, very often about films, about editing – he liked my editing-style, I liked his – so we were very, very close. Then there’s Tinto Brass, whose 1960s experimental filmmaking influenced me a lot. The way he’s using cinematography, editing, and switching between genres, giving it all a very surrealistic touch. What advice would you give to a filmmaker in 2017? Advice to filmmakers? That’s a really good question, because I can only speak for myself, so I could give you advice how to be like I am, but that’s not the only way to be. So... I would say some general advice, to filmmakers who start making films in 2017, would be to just do it. Many filmmakers I find put a lot of thought into everything, pre-plan a lot and then it all seems so overwhelming and so difficult that they don’t tackle a feature-film, for example. They say: “Oh, I can not produce such a long film, it’s so much work!” I would say go step by step by step. So, when I produced my feature films so far, to me it feels like producing one short film after the other, every sequence – just to me, feeling-wise – is like a short film: I organise it, I do the next. I just look at the immediate next step. And, sooner than you think, you are done and you have the whole film. So, maybe that’s my advice: Just do it, just start it, and then it will work out. What would you say if you were a dolphin? It’s a good question: What would I say if I were a dolphin? Dolphins are very intelligent mammals and a lot of observations show that they are very self-aware. So, it’s a very tough question, what I would say if I were a dolphin, I cannot answer quickly, I have to really think myself into the mind-system of this marine mammal. So, after careful deliberation... Is that the battery blinking there? Read our full film review of Timeless here. #FilmmakerInterviews #Interviews #ChrisOlson #AlexanderTuschinski #FilmFestivals #IndieFilms #FilmmakerFeatures

Directed by Adam Nelson Written by Xènia Puiggrós Starring Graham Cawte and Francesca Burgoyne Cinematography by Dagmar Scheibenreif Editing by Cleo Alexandra Ford Wilson Original Score by Imraan Husain Short Film Review by Euan Franklin Emotional Motor Unit is set in a mysterious, totalitarian future where the air is poisonous to breathe, where humanoid robots exist, and where people are dependent on drugs to suppress undesirable emotions. We follow a middle-aged Writer (Graham Cawte), employed by a Big Brother-like organisation referred to as ‘The Company’. Bearing similarities to Winston Smith, the Writer completes various assignments for the Company such as composing pamphlets and writing character biographies. His next task is to write a novel, but, given his lack of life experience, he is hesitant to accept. To adjust the issue, the Company supplies an Emotional Motor Unit (E. M. U.) – a special robot designed as a human woman. Its purpose is to provide the Writer with life experience, thus enabling him to write the book. The film juggles many heavy concepts in such a short time. It is normally unadvisable to make a short film with a story, or even a setting, with so much baggage. As well as a dystopian society, we also have the presence of artificial intelligence – both are essential to the story. If the balance wasn’t right, the film would’ve collapsed into expositional mayhem. On the contrary, despite being only her second short film, Xènia Puiggrós crafts her story with the intelligence and maturity of a more experienced writer. The film doesn’t bloat us with too much information about the dystopian society, but rather allows the character to lead us into this world – instead of the world leading him. Admittedly, there is some superfluous world-explaining that could’ve been snipped here and there, but most of it felt essential to the story. Puiggrós’s writing is well-supported by Dagmar Scheibenreif’s bleak and beautiful cinematography. The emphasis on white and grey captures the mechanical atmosphere, as well as the loneliness of the repressed Writer. Whenever colour enters the frame, it is a significant event. The only recurring colour is that belonging to the Writer’s emotion-suppressing pills – his only pleasure in a colourless world. The performances are difficult to judge. There was a clear motive from director Adam Nelson for Cawte to deliver his lines robotically, reflecting the Writer’s automated obedience to the Company. It also sets up the E. M. U. as a contrast to the Writer’s suppressed emotions: the robot appears more human than actual humans. Despite these careful considerations, there are times when Cawte’s performance feels too robotic and could easily be mistaken for mediocrity – particularly when working alongside the superior talent of Francesca Burgoyne. Burgoyne delivers a standout performance as the E. M. U.: not only convincing us of her true robotic identity, but also of her counterfeit humanity. Emotional Motor Unit is an immersive and unsettling short. It is mysterious without needing to be too revealing, emphasised by Imraan Husain’s beautiful score. Loneliness resolved with technology recalls comparisons with Spike Jonze’s Her, although Nelson’s vision seems far more sombre and pessimistic. You consider the future, and morbid questions begin to surface: Will our environment turn against us? Will humans have their emotions drowned away? Will robots become more human than humans? Maybe I can ask Siri… #ShortFilmReviews #EuanFranklin #ShortFilms #Scifi #Dystopianfilms #ScienceFiction #Robots #AdamNelson #XèniaPuiggrós #FrancescaBurgoyne #GrahamCawte

Directed by Ziyad Saadi Starring Astrid Ovalles, Christian Thom Short Film Review by Leonardo Goi Hand Job, director Ziyad Saadi’s 2015 short, is an original and carefully thought out cinematic experiment that nonetheless seems to jettison all hopes of success along the way. It tells the story of Margaret (Astrid Ovalles), a housewife who killed her husband and two women she found him sleeping with; and a man (Christian Thom) who develops a strange sexual attraction for her while interviewing her on the killings. The assassin-turned-sexual-fantasy is not a particularly new trope, but it is the way Saadi chooses to shoot it that makes it stand out as such. We never see Margaret’s face, nor the interviewer’s, as the most part of Saadi’s 11-minute short is a long, almost uninterrupted take of the housewife’s hands. It is an interesting and brave directorial choice. Focusing only on her hands, Saadi can portray the tension between Margaret and her interviewer as it plays out on her body. The way her hands gesticulate gives an idea of what goes on outside the frame, and faithfully reproduces the emotions that she undergoes during the chat. But it is a strategy that nonetheless falls flat on several accounts. Margaret’s hands turn into the catalyst of the interviewer’s sexual fantasies. She describes how she strangled the two women and her husband, giving out macabre details of how she suffocated the three with her bare hands, while the interviewer notes their potential: “Your hands are capable of great things, Margaret.”. Yet the way in which his sexual attraction unfolds is clumsy and abrupt. In the space of a few minutes the interviewer goes from asking Margaret about her life as a housewife to calling her breasts “boring”. The conversation is cut right before the encounter makes a first explicit turn, but by failing to show how the perversion unfolds during and immediately after that moment the interviewer’s supposedly naughty remarks toward the end of the short film feel more like out-of-place, anticlimactic jokes. To be sure, it is difficult to believe Saadi’s choice to focus almost exclusively on Margaret’s hands could have worked on a longer feature. Even so, the feeling is that the full potential for character development of Margaret and her interviewer is only half realized. The means Saadi employs to shoot Hand Job also do not help to do the film justice. Up until the movie's second explicit turn and ending, the director opts for a camera that seems to mimic a low quality security video. A choice that somehow reinforces the voyeuristic and sexually-charged flair of the interview, but severely undermines the overall work, as the audio quality at times makes it difficult to follow the conversation. For all its non-traditional experimenting, Hand Job ultimately feels like a frustrating hit-and-miss. A frustration that owes a lot to the feature’s great potential and original take, and the way neither seem to have been thoroughly explored. #ShortFilmReviews #LeonardoGoi #ZiyadSaadi #AstridOvalles #ChristianThom

Directed by Jonathan Siebel Starring Dieterich Gray, Tania Nolan, Caleb Caldwell Short Film Review by George Nash When a young Amish boy is caught watching his parents during a moment of intimacy, Christy (Dieterich Gray) and Mathilda (Tania Nolan), must decide if this was just harmless curiosity or if something darker exists within their son – a perverted will that must be broken with the whip. Beautifully shot and harrowingly realised, Jonathan Siebel’s Break the Will is a film of conflictions that is both remarkably layered and utterly compelling. Ask any cinephile, and they’ll tell you that lesson 101 of short filmmaking is as follows: keep things simple. Break the Will is fully aware of its own medium’s constraints and limitations, and through writer/director Siebel’s masterful understanding of typical genre conventions, it is a simple idea that makes for a film that is anything but. Astute, meticulous camera shots open the narrative, where, in the foreboding darkness of night, 12-year-old Joshua (Caleb Caldwell) is trapped in a state of restlessness as his pet mouse scurries about its own glass jar prison. The patience of Siebel’s direction is instantly disconcerting, even before the silence is broken by the shrieks coming from behind the door of his parents’ bedroom. At first, it is unclear if these are cries of pain or pleasure, and like any naïve pre-teen, investigation seems to be Joshua’s most appropriate course of action. Through subdued, if not slightly enigmatic, beginnings, Siebel begins weaving his rich thematic web here as love and violence become uncomfortably intertwined and parental relationships – that of child and mouse, parent and child, and parent and God – are shown as distanced and conflicted through subtle use of figurative prisons, closed doors and, later, desolate landscapes. Similarly, by often excluding us from what characters explicitly see, Siebel invites us to explore the concept of looking itself, and ultimately the blinding power it can often have. Siebel - whose body of work includes car and electrical commercial competition entries, as well as a highly impressive sub-minute short involving a moving camera and a rat – offers up a solemn examination of theme and character that is both calculated and mature, even as it slowly moves into its less ambiguous, more explicitly violent moments. On the surface, the main crux of the narrative might appear to be the punishment of suspected perverted tendencies, however, Siebel’s piece is never simply face-value, and there are character wells that run much deeper. In leaving the camera fixed that second longer on the lingering stare of a father caught somewhere between duty and compassion, Break the Will soon becomes a tale of both exterior and interior conflict where Joshua may not be the only one being punished. Despite its 20-minute run time, this is a film packed to the rafters which is as layered, textured, and deliberate as Roham Rahmanian’s confident and beautiful cinematography. There is a true power and elegance to Siebel’s filmmaking, exploring themes far more universal and timeless than the period setting would suggest, with revelations that really hit home in a narrative seemingly absent of one. Despite shavings of melodrama that pepper the narrative towards the end, Break the Will is an altogether accomplished, fluid snapshot of an existence dictated by rigid social, familial, and religious structures. #ShortFilmReviews #ShortFilms #GeorgeNash #PsychologicalThriller #Drama #JonathanSiebel #DietrichGray #TaniaNolan #CalebCaldwell