★★★★ Directed by Ding Sheng Starring Jackie Chan, Jaycee Chan, Da Hai, and Fan Chuan Film Review by Bailey Claringbold The Flying Tigers are a team of boneheaded bandits led by Ma Yuan (Jackie Chan), whose choice of target are locomotives. After an injured soldier from the Chinese army stumbles across them it is up to the band to overthrow the Japanese army by blowing up a bridge crossing into their home territory. Of course, things don’t always go to plan. The biggest strength in Railroad Tigers was the chemistry between the team and main characters. Each had their own personality and quirk, and although there wasn’t too much depth in terms of character background, it wasn’t really necessary here as the on-screen charisma was phenomenal. It was a treat to see Chan back in his element, with some hilarious slap-stick comedy and witty remarks, as well as still being able to perform some insane stunts at the tender age of 63. The tight chemistry and bond may be in part due to Jaycee Chan starring alongside his father, allowing their real-life family tie to shine through. The other cast members also gave some decent performances, and meshed together well with their comedic timing. However, the film faced some pacing issues, leaving some sequences drawn out or putting in scenes that appeared to be filler. Although the script balanced the characters and comedy well, it was bogged down by the pace. Visually the location choices in Railroad Tigers were scenic and beautiful, with some great sweeping shots of the vast plains. The colour palette worked effectively, with the characters' earth-coloured clothing making the vibrant backgrounds pop. This was even further enhanced by the creative cinematography. The CGI elements weren’t always perfect, such as the animation of the train and vehicles at some points, but it can be overlooked as the film did not rely on these effects too much. In terms of the editing, there were some rather abrupt and abrasive transitions throughout which gave the feeling of video game cut scenes rather than a film. Although down to personal preference, I felt that some of the cuts were an odd decision. One of the biggest and most surprising highlights was the score which utilised traditional Chinese music with some modern influence. In the humorous scenes the melodies became bumbling and gave the sense that Ma Yuan and his gang had absolutely no idea what they were doing. On the contrary, when then action became intense the score handled a more serious and dramatic sound which aided the film’s emotional impact extremely well. All in all, Railroad Tigers is a fantastic throwback for any Jackie Chan fan, providing that classic slapstick comedy and sense of adventure as well as some superb performances across the board. The choreography is executed perfectly, as you’d expect, and the score is brilliantly written. Although it suffers from some slow pacing, as well as some strange editing, Railroad Tigers is most definitely worth your time. #FilmReviews #WorldCinema #BaileyClaringbold #WarFilms #DingSheng #JackieChan #JayceeChan #DaHai #FanChuan

Directed by A. A. V. Amasi Starring Daniel Gonora, Isaac Gonora Short Film Review by Leonardo Goi Twenty years ago, the Jairos Jiri were Zimbabwe’s largest touring band. Of the thirty-two band members, twenty-nine have died of AIDS. Daniel Gonora, once the group’s lead singer, is one of the three survivors. Now visually impaired, he plays and sings in the streets of Zimbabwe, accompanied by his talented son and drummer Isaac, hoping to make some money to feed his family. You Can’t Hide from the Truth, National Film and Television School graduate A. A. V. Amasi’s fourth feature, is a 28-minute long documentary that accomplishes a remarkable task. It portrays the life of a musician fallen from grace and forced to beg on the streets with his son, and yet it depicts their poverty-stricken lives in a way that does not prompt us to suffer for them, but with them. Daniel and Isaac handle their daily struggles in a stoic, admirable way. They perform for street crowds that are eager to listen to their music, but not to pay for the entertainment. They are forced to play old instruments and improvised drums. And every night they walk home to feed their family before embarking on another day of street performances. Amasi is no stranger to gritty portraits of Zimbabwe’s poorest. Already in 2012 his Chauya Chauya – A Risky Life had documented the lives of Harare’s prostitutes, and their Sisyphean struggle against AIDS. But in You Can’t Hide from the Truth, the Zimbabwean director puts as much emphasis on Daniel and Isaac’s plight as he does on their willingness to overcome it, and give their family a brighter future. There’s a powerful moment in which Daniel says that if he could see things, he’d probably be dead as the rest of the Jairos Jiri. But then he immediately adds, “so long as we have instruments, we won’t be lost.” It’s a brief moment of hope, but it encapsulates the constant tension between despair and determination which makes Amasi’s short film documentary stand out as a remarkable work and, ultimately, a life-affirming tale. You Can’t Hide From the Truth feels more like a family portrait than a critique of Zimbabwe’s political and economic crisis, and any reference to Mugabe’s government is deliberately kept out of frame. But the title of Amasi’s fourth feature is ominous, and if the director avoids commenting on the state of affairs of his home country, Daniel’s remarks on the AIDS epidemic are a sad testament that nobody can ever truly hide from the suffering that plagues Zimbabwe’s poorest. The use of a hand-held camera does wonders to capture the vitality and chaos surrounding Daniel and Isaac’s street performances. And while Daniel is the feature’s centerpiece, the young Isaac is a formidable scene-stealer, and his inextinguishable energy never abandons the duo, even when they seem to have no audience to play for. You Can’t Hide From the Truth is much more than a documentary about the struggles of a blind musician. It is an intimate portrait of his family, a coming-of-age tale of his talented son, and a powerful reminder of the healing power of art – a delicate and universal parable. #ShortFilmReviews #LeonardoGoi #DocumentaryFilmReviews #Documentaries #ComingofAge #WorldCinema #AAVAmasi

The first ever Chelmsford Film Festival draws closer and there have been some exciting developments this week. The winner of the award for ‘Outstanding Contribution to British Cinema’ has been announced as Alice Lowe. Alice wrote and starred in the cult gem Sightseers, and more recently has written, directed and starred in Prevenge; a black comedy about heavily pregnant Ruth who goes on a killing spree. Alice will be presented with her award on the opening night of the Film Festival on Wednesday 7th June and will be participating in a live Q&A. Alice will talk about her experience of the film industry, give insights about British cinema and share advice for budding and professional filmmakers. This adds to the already rich line-up for the Festival’s opening night. Carl Mackenzie, one of the founders and directors of the Festival said “We can’t wait for opening night. Not only do we have a live interview with local filmmakers Carl Strathie and Charlette Kilby, the creators of sci-fi feature Solis, we also have a screening of interactive film Late Shift and a special guest appearance from Alice Lowe. It’s a fantastic way to kick-off the Festival.” Solis is a low budget sci-fi feature that follows Troy Holloway, a man who is faced with impending death when he realises the escape pod he is drifting on is heading towards the sun. The hype surrounding the recent release of Guardians of the Galaxy Vol.2 is everywhere and opening night of CFF 2017 is no exception. Chris Cook, lead 3D modeller at Framestore, will be giving a live interview and divulging the VFX secrets behind blockbusters such as Guardians of the Galaxy Vol.2 , Dr. Strange, Beauty and the Beast and Gravity. Chris will share some valuable insights about working in the VFX and other creative industries. The packed evening will conclude with an interactive cinematic experience. Late Shift was written and directed by Tobias Weber and allows audience participation in a completely unique way. The remaining 3 days of the Festival also promise to be just as exciting with Thursday night's panel discussion at Grand Central and Friday’s screenings of the CFF 2017 officially selected films at Cramphorn Theatres Picture House. The Festival will be brought to a close on Saturday, 10 June with the awards ceremony and closing party. All of the winners from CFF 2017 will be announced from twenty five films over four categories - Short Film, Mini Short, Documentary and Music Video. Follow the CFF Facebook page www.facebook.com/ChelmsfordFilmFestival for updates and visit the website at www.chelmsfordfilmfestival.com to buy tickets for your favourite events, or a festival pass for full access to the 4-day Festival. #FilmFestivals #UKFilmFestivals #FilmFestivals2017 #ChelmsfordFilmFestival #CFF2017 #CarlMackenzie #AliceLowe #ChrisCook #TobiasWeber #FilmEvents

Directed by Fateme Ahmadi & Asmita Shrish Starring Arun Rai & Bir Bahadur Rai Short Film Review by Chris Olson Within tragedy is beauty, often marred by destruction and chaos, but it's there. Short film Chandra, directed by Fateme Ahmadi and Asmita Shrish, is an absolutely breathtakingly beautiful movie set within a terrible tragedy, that contains coming-of-age naivety and discovery, juxtaposed with the wizened cynicism and overly protective nature of age. Chandra (Arun Rai) is on a journey with his Grandfather (Bir Bahadur Rai) to the hospital, where Chandra's mother is giving birth. Their adventure is laden with obstacles, though, such as their car breaking down, a taxi driver refusing to aid them, and the fact that the city they must traverse, Kathmandu, has recently been devastated by a violent earthquake. The pair make their way across the city which is in tatters, Chandra experiencing the visual wonderment of a child being exposed to new things, whilst his Grandfather experiences the tumultuous feeling of witnessing his grandson lose his innocence, whilst desperately trying to get to the hospital. A remarkable short film, Chandra is visually stunning. The landscape is used to full effect to depict this perilous journey whilst capturing the aforementioned beauty which seeps in from time to time. A lovely example of this is a low angle shot of Chandra and his Grandfather walking across a rickety bridge, or seeing Chandra's face as he looks out over the destroyed city of Kathmandu for the first time. These moments held a brilliant balance of pathos and touching sentiment, as well as a vibrancy when they come across some of the gorgeous landmarks, that is maintained throughout the piece. The performances from both players are spectacular, capturing the delightful chemistry between their polar opposite places in life and yet the very natural, and human, nature of their joint vulnerability in this situation. As the movie builds towards the final third, a rising tension is experienced as we nervously anticipate whether or not the hospital has also fallen victim to the natural disaster. This is played particularly well by Bir Bahadur Rai, whose arc gets some excellent development. There is a wonderful sound design on the film, especially the composition from Filip Sijanec, that inserts adventurousness into the pace and tone of Chandra. The music is subtle but gracefully effective in creating the wistfulness of the boy's journey into enlightenment, at the same time as injecting dramatic undertones. Intrinsically beautiful and thematically harrowing, Chandra is impressive from start to finish. The filmmaking is masterful, the performances are excellent, and the storytelling is unravelled with skilled poise. Watch the stunning movie trailer for Chandra below... #ShortFIlmReviews #ShortFilms #WorldCinema #ChrisOlson #DisasterFilm #FatemeAhmadi #AsmitaShrish #ArunRai

Directed by Dan Lofaso Written by Phoebe Torres Starring Mark Grenier, Timothy J. Cox, Thea McCartan, Jake Lipman, Christopher John, Rhea Kottakis Short Film Review by Taryll Baker Most interventions are commonly serious, especially when a loved one's drinking problem has come to fruition. Director Dan Lofaso takes an amusingly light approach to the subject with Gary From Accounting. As with all short films, there’s always the worry that you will not connect with the characters within the constrained duration. However, Phoebe Torres writes the characters realistically, and though a little amplified by the actors, it bodes well for the eventual resolution. As the screen opens we see Gary (Mark Grenier) entering a seemingly vacant house, wandering around and eventually settling in with some light reading. Seconds later Hannah (Thea McCartan) and Belle (Jake Lipman) enter the room to discover they have invited the wrong Gary. As he packs up his things to leave, Nathan (Timothy J. Cox) arrives home to his nightmare but sees Gary as he pushes past to the door, greeting the accountant with joy. Remember those episodes of How I Met Your Mother when each character would set up interventions for their friends’ various problems and addictions? Those moments of comedic genius are reflected here but in no way feel stolen or repeated. It’s Gary’s love for the TV show Girls and his hate for spoilers that ultimately captures Nathan’s attention. Each of Gary’s lines are delivered so naturally by Grenier which totally sells the scene. Then having the children (Christopher John & Rhea Kottakis) beg for their father’s love and affection only builds on this exaggerated yet truthfully organic fly on the wall state of affairs. Speaking of flies on a wall, Director of Photography Jesse Bronstein uses the now-famous mockumentary style of filming, allowing us to feel as if we are literally sitting within the room and witnessing the intervention first-hand. Thea and Jake both perform well but its the showcase of spot-on timing from Mark and Timothy that really keep the viewers locked in. The camera handling and editing is at an acceptable level for such a low-budget film, not once a distraction or intrusion to the overall enjoyment the film distributes. There are small but noticeable alterations in the sound recording, however it seems simply irrelevant as all lines are easily apprehended and doesn’t discredit the quality of the picture. The absence of a score is felt, though even the most subtle composition would feel overpowering, so its deficiency is understandable. Simply put, Gary From Accounting is a serious but oft-times fun and realistic cross-genre short that succeeds in capturing and entertaining its audience. Each individual involved feels vitally important and have created a light-hearted and enjoyable little film #ShortFilmReviews #ShortFilms #TaryllBaker #TimothyJCox #DanLofaso #PhoebeTorres #MarkGrenier #TheaMcCartan #JakeLipman #Mockumentary #Comedy

★★★ Directed by Alexander Tuschinski Starring Sebastian B., Alexander Tuschinski, Phillipp Metzler, Harry Lennix, & Rick Shapiro Indie Film Review by Chris Olson Anarchic yet charming, Alexander Tuschinski's uneven indie film Timeless is a Molotov cocktail of filmmaking energy that coalesces into a vibrant and enthusiastic outing. Few films combine as many elements as Tuschinksi's feature, who writes, directs, edits and produces here. There is a plot involving time-travel, anarchists and rebellion, as well as slap-stick comedy sequences of American sitcoms, physical humour, and philosophical ponderings about the nature of art, power and everything in between. The tale is of Arnold (Sebastian B.) who finds himself dislocated from the 1930s into a bizarre future that is run on propaganda and totalitarianism. He is fortunate enough to find refuge with a group of renegades, in particular the charismatic Mr. Konstantin (Alexander Tuschinski), whom espouses his eclectic worldview and life lessons to all around him; such as how to pick up girls using his faultless method...or how to stage a revolution. Whilst the plot is baffling, the filmmaking is equally as eccentric. Fast cuts, vivid colour filters, and misplaced frames are just a few of the techniques in the bottomless bag of magic tricks which Tuschinski applies to Timeless. And what is just as incredible is that they, for the most part, are hugely enjoyable! There is a palpable passion for movies and storytelling when watching the film that you cannot help but engage with. The frenetic pacing of the scenes, the tongue in cheek dialogue, and the reckless abandon of conventional structures are quite simply bold and beautiful. There were also some brilliant props used throughout the movie, including weapons and tanks, as well as excellent costumes which felt like a nod of the head to vintage cinema. Like all controversial art, many audiences will not be attracted to the ungainly nature of the piece. Characters are not sketched in huge detail, instead smeared across the screen like visceral ideas. The more wacky scenes (such as Mr. Konstantin attempting to elude two females he bedded) have a classic comedy styling which has a universal humour, whilst the darker comedy moments are injected with the same amount of gusto (such as Arnold being interrogated by Harry Lennix and Rick Shapiro). It's too long, quite baggy, and inconsistent throughout but Timeless is also a lot of fun. The genre-hopping is done with confidence and skill, the elaborate filmmaking is daring and at times very intelligent, and the willingness to be thematically challenging is something starkly missing from a great deal of modern storytelling. Watch the official movie trailer for Timeless below... #IndieFilmReviews #MovieTrailers #ChrisOlson #Comedy #BlackComedy #IndieFilms #AlexanderTuschinski #HarryLennix #RickShapiro #SebastianB

Directed by Morgan Johnson Starring Morgan Johnson, Rachel Porter, Michael Fisher, Cameron Young Short Film Review by Kirsty Asher Looking Back Merrifield marks the second short film directed, written by and starring Morgan Johnson. The film opens with an intrusive knock on a door, tired eyes open reluctantly to face the world. These opening shots are crisply edited with a cool, drained colour palette and this is a great foundation for the sad story Johnson has to tell. The story is of Alexander, a young man who is by his own admission stuck somewhere between adolescence and adulthood. After an uncomfortable exchange with his friends where he rejects their invitation to party, he begins to recount fond memories of his best friend and girlfriend Madison Merrifield. There are some great shots here which emphasise Alexander’s isolation and depression: a close shot of him lighting a cigarette catches a neurotic twitch of his jaw. The everyday dullness of coffee brewing in the machine split screened with a loving and encouraging note from his dad as well as the nauseous glare of an electric kitchen clock, all illustrate competently how this young man’s life is in total stasis. We are shepherded towards an understanding of why his life has ground to a halt when he takes a bike ride to the local park, and we meet the hitherto mysterious Madison. The script cleverly plays out Alexander’s loss at the close of the film with a repetition of his original description of Madison, and then crucially adds a small but nevertheless melancholy addition to the end of the monologue. The final shot is simple yet sweetly melancholy and leaves us on a note of Alexander’s gradual return to a hope for the future after unveiling his difficult memories. The story being based on real-life circumstances certainly adds to the tragic tone of the film, however I found it difficult to capture the tragedy in the performances as well as the camerawork and screenplay. Johnson certainly captures the facial expression of sullen-eyed depression, but the tone of his voice-over narration is contemplative and filled with suburban ennui as opposed to devastated and heartbroken. This more casual tone doesn’t quite match up with the exciting incident of meeting Madison’s character in the park. When directing oneself there is always the loss of an outside eye or creative opinion which can be risky. In this case there are instances in particular montage shots where Johnson looks ill at ease in front of the camera and his performance doesn’t always come across as naturalistic. Likewise, there is a noticeable lack of chemistry in the scenes of dialogue between Madison and Alexander. It would be hard to decipher from that scene alone that they mean as much to each other as Alexander had previously suggested. Looking Back Merrifield doesn’t quite hit the emotional target its aiming for, but there is certainly praise to be given for the clever use of camerawork and editing that emphasises the important aspects of a small, simple story of love and loss. #ShortFilmReviews #KirstyAsher #ShortFilms #MorganJohnson #RachelPorter #MichaelFisher #CameronYoung

★★ Directed by Steven Laws Documentary Film Review by Phil Slatter That you may well never have heard of Stevens Johnson Syndrome (S.J.S) is in many ways the reason that Steven Laws' flawed but important documentary exists in the first place. It tells the story of Jean Powe who, following a mis-diagnosis, was prescribed medicine that would lead her to contract S.J.S, a severe allergic reaction to medication that causes horrendous inflammation of the skin which can lead to blindness and, as hard as it might be to believe, much worse. While Jean Powe survived, it has left her house-bound, striving for the independence she once had. Director Steven Laws subsequently undertakes a noble quest to educate people about S.J.S. asking strangers if they have heard of it, before telling them what it is, what causes it (medication including Ibuprofen, Telenor and Acyclovir) and subsequently the importance to ‘Educate before you medicate’. While one can’t fault the intentions of Laws or his film, the repetitive use of the very same questions and answers makes the documentary very repetitive – while the interviewees are being informed, the audience is being told the same thing, time and again. This leads us to ask more pressing questions that the documentary fails to really address – just how common is S.J.S? We’re told it is rare, the sufferers say it’s not but there are no facts one way or the other, no input from any healthcare professionals and no insight into why the disease is so unknown. Is research being done into it? If not, why not? While the strapline ‘Educate before you medicate’ is a fair comment, simply telling people that they can contract a hideous disease by taking medicines that millions consume daily feels like scare-mongering. It’s doubtful that this is Laws' intention, but what is needed is a further delve into the illness and the many issues surrounding it. Jean Powe “Stevens Johnson Syndrome” Survivor does stay personal to the story of Jean Powe though and this is where the documentary film is more effective. While the reasons behind why so little is known of the syndrome may be because of the relatively low volume of people who contract it, this is of scant comfort to those who end up with skin blistering from the inside simply because they’ve had a reaction to medication. As Jean herself says ‘Only time a person will step up is when it happens to them’ and this is what prompted the filmmakers to make this documentary in the first place. It’s a noble first step, but one that doesn’t get into the necessary details of where the work on S.J.S sits in the medical industries list of priorities, and more importantly why, to perhaps have the impact that is required. #DocumentaryFilmReviews #Documentaries #PhilSlatter #StevenLaws #Filmmakers

Directed by Matthew Mahler Starring Timothy J. Cox, Cameron Rankin & Tiffany Browne-Tavarez Short Film Review by James Burgess This is an entertainingly subversive short film, which deceives the audience into foolishly thinking they’re watching one genre, before totally indulging in that classic cinematic trick of: ‘pulling the rug out from underneath’ the audience, and pursuing a completely different direction. The basic premise, as with the setting, is one that’s complicit in this mundane lull of our expectations. It evokes a seemingly reliable, familiar set-up: the contemporary, corporate sterility and post-modernity, of an archetypal New-York office. All compartmentalized booths and grey, dull, saturated colour-schemes - to connote the hum-drum emptiness of its workers. Dark Romance's protagonist is Tim, a prime example of one of these ordinary, everyday, somewhat disgruntled employees, who receives unwanted romantic attention, in the form of various surprise gifts repeatedly arriving at his desk, such as a sentimental card and an anonymous bunch of flowers. The consequences of these mysterious proceedings, are initially played as though they’re comedic. Tim is teased about the plethora of erroneous presents, by young colleague Cameron (amusingly played by Cameron Rankin). There’s a pleasingly recognisable, comic, conversational tone to the film’s early sections, which is more akin to a conventionally light, frothy romance. However, events soon take a decidedly darker turn, as we enter the realm of that most infamous of sub-genres: the pot-boiling stalker thriller…It proved to be extremely popular back in the eighties and early nineties, with the advent of the likes of Fatal Attraction and The Hand That Rocks The Cradle, resulting in many a ‘water-cooler moment’ the world over, that is now rarely seen. It’s therefore fitting, that the earlier established aesthetic of this film, is one which showcases the aforementioned ‘yuppie-culture’, which was at its excessive height during the period when a lot of films of this ilk were made. It’s also refreshing to see it in the form of a short, where compression of both time and budgetary constraints, have certainly done little to dilute its impact and innovation. The use of score, or rather, an existing piece of music, is particularly effective; as classical, relaxing strings suddenly adopt a haunting, contrapuntal incongruity, which juxtaposes the chilling horror of what’s on screen. Tonally, it’s evident that its tongue is well and truly in its cheek, with a playful last line of dialogue that emphasises the spirit embraced by the filmmakers, of never taking themselves too seriously. Dark Romance may not break new ground, but it’s simple, funny and knowingly clever in a subtle way. #ShortFilmReviews #ShortFilms #JamesBurgess #MatthewMahler #TimothyJCox #CameronRankin #TiffanyBrowneTavarez

Directed by Leonid Andronov Starring Chris Roderick, Malena Bengt, Jeffrey S. Fellin Short Film Review by Amy Cornforth In 1962, Chris Marker made La Jetee, a 28 minute experimental love story in a dystopian future, which later went on to inspire Terry Gilliam’s 12 Monkeys. The unique thing about this film is that it is almost entirely made up of still images rather than motion - which perfectly enhances the film’s underlying theme of memory - because memories are like snapshots. Emerald Dreams is blatantly a homage to this film, using still images to form a narrative in a futuristic setting - and director Leonid Andronov has even dedicated the film to the late Chris Marker. This time, the film uses still images to capture the fragmented reality of the dreamworld - and each shot is so visually stunning, that they would make a wonderful picture book. The film is a love story set in the future, after the New Great Depression. A young man, Gary Jibbons (Chris Rodrick), works for a company called Dream Adventures Inc. Basically, they take dreams and sell them, so other people can experience the dreams - almost like the next stage of cinema. He meets a girl named Valerie (Malena Bengt), who is capable of dreaming a high number of ‘Emeralds’ - the most valuable dreams. She signs a contract with the company, and she and Gary begin to fall in love. But they discover the company is far more sinister than it appears. Gary and Valerie must break away from the company if they are to have any hope. Every aspect of Emerald Dream is dedicated to making the film as dream-like as possible. The cinematography is a particularly striking aspect of the movie, partly because of the novelty of a narrative formed by still images. Technology has come a long way since 1960, as the images are of a higher quality, and the camera often sweeps across the images so the film flows smoothly rather than remaining static. Also the pictures primarily have a shallow depth of field, blurring the background and sometimes even the edges of the image, and the combination of this and highlighting the actors with bright lights effectively gives the impression this reality is taking place in a dreamworld - and it’s really beautiful to look at. This also isolates and also draws attention to the actors - who have the difficult task of conveying character through only the subtlest facial expressions, without the additions of speech and physicality. Although all the actors do this beautifully - Jeffrey S. Fellin, who doesn’t have as much screen time, does a particularly good job as playing the sinister Lawrence Gelding, just through the intensity of his expressions. Equally, Rodrick successfully conveys his love for Valerie and his determination to save her through his pained expressions and subtlest hint of anxiety in his stare. And Burt Culver is the voice of Gary - and he narrates the film in a relaxing monotone voice, which could easily send you off to the dreamworld. All of these aspects combined have made for a very compelling and visual short. I imagine Chris Marker would be proud that his work has inspired such art. #ShortFilmReviews #ShortFilms #AmyCornforth #Scifi #ScienceFiction #LeonidAndronov #ChrisRodrick #MalenaBengt #JeffreySFellin

Directed by Ben S. Hyland Starring Valmike Rampersade, Gina Bramhill, Antonia Bernath, & Rebecca Grant Short Film Review by Chris Olson Domestic abuse but probably not how you know it, Ben S. Hyland's psychological thriller Padlock is a short film to be reckoned with when it comes to delivering hard hitting themes alongside gripping tension, violence, and mystery. Set inside a nondescript suburban house, we are treated to an intimate glimpse into the volatile relationship between Matt (Valmike Rampersade) and Julie (Gina Bramhill and Antonia Bernath). From the outset, an air of tension is palpable, as we witness the controlling behaviour of the latter, which becomes increasingly disturbing and abusive. Having already gender swapped the stereotypical "abuser", the story, penned by Hyland and co-writer Jonathan Young, goes one further to subvert genre conventions by introducing a fantasy element which, albeit heavily laden with metaphor, is starkly arresting and poignant. Revelling in the dark secrets which surround monogamous relationships, Padlock is a film that captures something quintessential and compelling about the human experience. It posits the question: what do you do when the person you are most intimate with is the person causing you the most harm? The movie also comments, with intelligent simplicity, on the guises we wear for those around us and society in order to maintain the facade of safe normality. Herein the titular Padlock becomes a heavy metaphor for personal secrecy. The performances are a mixed bunch. Rampersade is an effective enough lead, coping more with the physicality of his character than the dialogue. He is (quite literally) pushed off the screen by Bernath, who delivers a powerhouse performance as the on-screen menace. Her nuanced and controlled performance dictates so much of the pacing and threat of each scene she is in that audiences will quite simply beg her to come back into the frame. There were some tender moments in the filmmaking which are worth highlighting. Such as the use of lighting as Matt lays awake in bed, the light strewn across only part of his body - perhaps reflecting the secrets he hides from the world. The sound design is also used with subtle grace to pick out the rising tension without becoming too cumbersome for a short drama. Aside from one goof when Matt's sister Anna (Rebecca Grant) comes to visit - after washing her hands they are bone dry somehow? - which jolted me momentarily out of the movie, Padlock is a gripping, intelligent and thought-provoking piece that leaves a visceral aftertaste. #ShortFilmReviews #ShortFilms #ChrisOlson #PsychologicalThriller #Drama #Scifi #BenSHyland #ValmikeRampersade #GinaBramhill #AntoniaBernath #RebeccaGrant

Directed by Pınar Öğün Written by Meltem Arikan Starring Pinar Ogun, Julia Farrington, Mark Vernon Thomas, Melin Edomwonyi Short Film Review by Rachel Pullen Now for all you men out there who are reading this I’m sure you are aware of the standards that are put on women by the media, by social standards, and by men, to look and appear a certain way in order to be accepted. And as for all you women reading this I’m sure you are part of that social oppression even if you try not to be, but have you ever wondered what it would be like to be the one judging? To be the one pulling apart the male ego by studying his appearance alone? Short film Exhibit opens with 2 women entering an artistic instillation of a variety of nude middle aged men in masks, kind of like the freaky ones that were used in Eyes Wide Shut, holding up frames to their faces. The women take their time studying the men’s bodies, interrogating them about what they can offer them, until they come to realise that the men are working very hard to avoid being chosen... Exhibit feels like a stage production and in fact it was written to be just that, with a black background and simple lighting on the two women and the men they investigate, there is little more going on in this production visually. But Exhibit does not require flashy camera angles and effects, it’s strong and deeply engaging script is captivating from the get go, with obvious reflections of the standards for women in society and how they are judged mainly on their appearance, the piece also tackles how women perceive men, how they are often guilty of choosing a man on what he can offer her in terms of security and for filling personal needs rather than his kindness or a personal connection. Now these opinions expressed by the characters is something I could pull apart in this film review and spill my theories on to paper, but like going to an art exhibition, it is something for the viewer to decipher, I believe there are many different paths the audience could take when making their minds up about the message that director Pınar Öğün is trying to present. Each actor is confident within their role, displaying a wide range of emotions, each male that is on display seems to express certain characteristics of what the women are looking for, each displaying their individuality well in such a short period successfully. Exhibit is just that, it’s an exhibition of the perception of genders, an exhibition of patriarchy within the modern society, a study of no matter how much power the women have they are still part of the system that is governed by men; they will never truly be on the other side of the frame. Öğün takes a refreshing approach to this sensitive subject and personally I enjoyed the subject of gender segregation and the issues that face women in this modern age without feeling too over whelmed by the sometimes more biased based films that tackle this matter. #ShortFilmReviews #ShortFilms #RachelPullen #PınarÖğün #MeltemArikan