Directed by Matthew Jacobs Morgan Starring Angela Wynter, Rakie Ayola, Janie Booth, Kate Dickie Short Film Review by Evie Brudenall “Short but sweet” is a phrase often deployed, but the use of the sentiment has never been more applicable or potent in the case of Matthew Jacobs Morgan’s short Gracie. Gracie, an ageing dementia sufferer, dwells on sad and painful memories from her past until one day, her grandson decides to create a happier present for her. First and foremost, the lead performance given by Angela Wynter as the titular character is a tour de force. Although she is given minimal dialogue, her longing expressions convey a thousand words that are capable of evoking very palpable emotions from the audience. Gracie’s eyes act as a road map to her rich and colourful past as she recollects distant memories and longs to be back home in Jamaica. Wynter is able to take us on a journey of Gracie’s life in a very short amount of time and writer/director Morgan’s touching script allows for heartfelt sympathy for every character. In just under ten minutes, Morgan also surprisingly orchestrates a completely natural and believable character arc for Gracie’s grandson Aaron, played by Morgan himself. At the beginning of Gracie, Aaron is an uncomfortable young adolescent, uncertain of how to act around, and interact with, his ageing grandmother. He tactlessly presents Gracie with a bouquet of flowers, stating, “Mum told me to bring these”, indicating that his visit was not a selfless act and was prompted by his more thoughtful mother. Aaron is often more engrossed in his mobile phone, but as he watches Gracie dance alone in her room to music that only exists in her head, a spark is ignited in Aaron and he races off to construct a state of bliss for his grandmother. He takes Gracie out of her dull, beige microcosm and transports her to an approximation of her very own paradise and he is redeemed for his previous indifference. Somehow, Morgan additionally finds time to incorporate flashbacks into the story in a manner that does not feel forced or appropriate but are in service to the enrichment of Gracie’s character. The flashback offers the audience a glimpse of Gracie in her younger days as she displays her fiercely protective mothering instincts whilst simultaneously depicting the hardships and prejudice she would face as Gracie’s neighbour refuses to let her daughter use her bathroom. These small and subtle moments within the narrative contribute to help form the life of Gracie in the audience’s mind. Unabashedly wearing its heart on its sleeve, Gracie is a film that embraces its sentimentality with the intention of prying tears from the eyes of the audience. With performances this strong, Morgan’s objective has almost certainly been achieved. #ShortFilmReviews #ShortFilms #EvieBrudenall #MatthewJacobsMorgan #AngelaWynter #Dementia

Written & Directed by K. Patrick Tutera Starring Aleksandra Vujcic, K. Patrick Tutera, Michael Bronte Short Film Review by Monica Jowett The Last Hurrah, a short film by director and writer K. Patrick Tutera, is a homage to film noir, telling the story of two characters with a complex history. Within the 18 minutes of the film, Tutera packs in style, substance and soul, and his effort in creating a remarkable film noir short pays off. The Last Hurrah follows Petra (Aleksandra Vujcic) and Samuel (Michael Bronte), ex husband and wife who are pulling one last heist together before a retirement from crime, with their ‘last hurrah’ giving them one big pay-off. Their history together goes a long way and it was not all smooth sailing. Petra is a femme fatale, a prominent trope in classical Hollywood film noir, and a mysterious figure whose intentions are not quite trustworthy. She clearly has big plans for the money she has acquired and isn’t letting anything get in her way. Vujcic's natural Croatian accent helps to add to the mystique of Petra and also creates an undeniable charm and seductive nature, a brilliant match against Bronte’s chiselled American masculinity. He has the looks and charisma of a leading man, yet there is gentle aspect to him as well. Samuel clearly has deep feelings for his ex-wife, and she may be his only weakness, but he uses sarcasm and cynicism as a barrier of defence. The noir style of the film is easy to see, from the trench coat and fedora to the sharp contrast lighting. Cinematographer Philip Hurn brings the black and white imagery into sharp focus, and along with the immaculate production design by Katherine Bulovic, the viewer feels transported into the film noir world. It is not just the look of The Last Hurrah that makes it film noir, with the background story of the heist, its urban setting and the themes of love, jealousy and the possibility of a betrayal which bubbles under the surface, all classic characteristics of the genre. Though many modern retellings in a film noir style can feel cheesy, or over-the-top, Tutera has made this short film a near perfect homage to a much loved style and genre of filmmaking. Though a little too wordy and a stale centre, The Last Hurrah is a fine example of a modern film noir, with great performances from its two leads, a storyline which keeps you interested throughout and is, overall, visually compelling. Just as a film noir should be. #ShortFilmReview #MonicaJowett #ShortFilms #KPatrickTutera #Noir #FilmNoir #AleksandraVujcic #MichaelBronte #BlackandWhite

Directed by Michael Turnbull Starring Hester Ruoff & Ross Newell Short Film Review by Chris Olson When the lewd and raw intimacy of a sex chat line is juxtaposed with the ferocious crashing of waves on the British coastline, you know some thought has gone into telling this story. Short film The Sea Monsters Funeral, written and directed by Michael Turnbull, is an emotionally evocative piece about the coping of loss, in all its heartbreaking glory, as well as the tenuous and unlikely relationships that can emerge which sweep us in a new direction. Working as a sex chat operator, Deloris (Hester Ruoff) finds her self intrinsically linked to grieving father Murray (Ross Newell), who has lost his grip on reality since the passing of his daughter. The titular Sea Monsters are whom he blames for the tragedy, and Deloris must help Murray seek revenge and closure. It's an abstract concept in some ways, and there are indeed moments of supernatural storytelling, but the bulk of Turnbull's short film is levelled squarely at the drama genre. The story and characters are thoughtfully created, containing very little innocuous sentiment, and instead delivering large quantities of pathos which is hugely affecting. Some moments are harrowing to watch, such as Murray going ape shit in a hotel room, whilst others are just tragic. What's clear, though, is that Turnbull knows how to tell a gripping yarn that, whilst tender, does not shy away from the painful core that is the foundation of the story. Ruoff is superb to watch, injecting some of the best black comedy moments during the movie, as well as coping masterfully with the dramatic scenes. Newell, likewise, is a brilliant on screen presence, tackling what could have been a rather shambolic portrayal of grief with physical perfection, rendering a character that is heartbroken, obsessed, emboldened and deeply troubled. The use of slow motion was a little heavy handed given the shorter run time of the film, but that doesn't take away from the sequences where the technique was used rather effectively. A birthday party scene was a particular favourite, as was the aforementioned wave crashing sequence which introduced the movie. There was also some beautiful cinematography from Joseph Cook, who captured the arresting isolation of the seaside with the chaotic turbulence of the story remarkably well. An outstanding dramatic piece with heartfelt themes, The Sea Monsters Funeral is a painful but spectacular watch, a unique and sensitive approach to a most fundamental human crisis. #ShortFilmReview #ShortFilms #ChrisOlson #Drama #BlackComedy #MichaelTurnbull #HesterRuoff #RossNewell

Directed and Produced by Marianna Dean Starring Gemma Paget and Justin Aves Short Film Review by Georgia Wren Directed by Marianna Dean, In The Park presents the colliding of world views and examines the social assumptions people make about each other every day. Unfortunately the short film comes off as more of a lecture, than a perception altering piece. Based around working mum Jessica’s (Gemma Paget) moment of crisis, she is “saved” by homeless wordsmith Robin (Justin Aves) who, through the power of his massive worldly intellect, causes her to somehow completely re-evaluate her perspective of others, despite his insults and, frankly, unjustified superior attitude. At first the film begins by establishing its characters in very clear roles. One of the best aspects of the movie is how instantly we are able to identify Jessica as a high class business woman and the contrast between her costume and Robin’s. The art department have dealt with their characters superbly and both actors very much look the part. The other immediately striking thing about In The Park is that it boasts some impressive camera work by Dagmar Scheibenreif, exposed very well in an environment that is difficult to control. The opening shots are smooth and controlled and overall the film is wonderfully framed, making lovely use of natural light. Unfortunately, over the rest of the film it doesn’t amount to much when the main view is two actors and a hedge. This concept works in the original text, as a play, however, we do not usually expect an entire film to feel as though it is in “real time”. Because of this, the scenery eventually becomes dull and uninteresting, with a few 30 degree rule breaks. However, the most problematic part of the film by far is the dialogue which, considering it is most of the plot for this film, contains a startlingly large amount of waffling and unnecessary elements. The conversation and acting are not enough to sustain interest for 20 minutes and because of this any point the film tries to make is buried under over-complicated analogies and weird, unfunny jokes. No one needs to sit and watch an apparently homeless man lecture a woman for 15 minutes continually. It’s unrealistic and overly theatrical. Delivered in an annoyingly patronising tone, Jessica becomes nothing more than an excuse for Robin to talk about himself and insult her, leaving me baffled as to why at the end she thanks him for solving her problems and bettering her as a person. Just because you choose an alternative lifestyle and don’t subscribe to the rat race to support, say, a family, doesn’t mean you have the right to lecture someone who does. The concept is worn out, and sadly this short does nothing new with it. The whole scenario is so utterly unbelievable that I imagine it was difficult to drag any kind of performance from the actors, who, while hammy, do for the most part deliver the lines like the theatrical stereotypes they portray and do a decent job with the given script. On the upside, the sound has been well recorded, well mixed and the sound design is great; creating a microcosm around the characters. The music used throughout sets a very light-hearted tone and does work well although occasionally due to the poor lines, it feels dystopian, as though the audience have to be told when to smile and when to frown. Overall, In The Park is technically really well made, a credit to it’s crew but it means little when the content is weak. It feels like a 10 minute film dragged out to 20 and just emphasises the strange dialogue which becomes tedious to listen to. #ShortFilmReviews #ShortFilms #GeorgiaWren #MariannaDean #GemmaPaget #JustinAves

★★★★★ Directed by William Oldroyd Starring Florence Pugh, Cosmo Jarvis Film Review Lucas Wilson As with all the finest gothic pieces, the landscape broods large in William Oldroyd’s film adaptation of Nikolai Leskov’s Lady Macbeth. While in Charlotte Bronte’s Jane Eyre, a formal touchstone here, the landscape enhanced the heroine’s sense of isolation against the wild forces at her door, in Lady Macbeth the protagonist is one with the Northumbrian wilderness, much to the alarm of the reproduction-obsessed husband-father team who attempt to tame her. The tensions arising from this, from autonomy in combat with the unmasked tyranny of orthodoxy, form the backbone of Lady Macbeth and they are expertly channelled in Florence Pugh’s highly controlled, powerful performance. Pugh’s turn is a masterclass in volcano-calm acting, often helming intense feelings of lust and anger with facial stillness and sinister intensity. Had Lady Macbeth seen a wide release earlier, it should with any justice have given her a first academy award. Opposite Pugh, singer-songwriter Cosmo Jarvis appears as an object of desire, not too difficult looking as Jarvis does, but he doesn’t rest on his laurels, capturing the vitality and weakness at the heart of his character. If the idea of the male as object of sexualised desire sounds subversive in a period drama it’s because it is; Lady Macbeth draws upon a literary and visual legacy deeply rooted in late British Romanticism only to invert traditional conceits. The damsel as distressed and other-regarding is violently reversed and if what that looks like isn’t exactly feminist, it’s highly individualistic. Parallels with Milton’s Satan and the other Bronte’s Heathcliff, both rebels against household conformity, are obvious and underscored by the anti-heroine’s forthright rejection of religion in favour of personal pleasure and a self-selected code of values; not generally concerns in the domain of young women in Victorian England. Dan Jones’ score soundtracks these themes well although it’s his work as sound designer, all low winds and slamming doors, bringing to life the open spaces of Ari Wenger’s bleak, sparse cinematography, that embeds itself in the subconscious, playing with and tending on mortal thoughts. Some of these cinematic elements conjure Fukunaga’s undeservedly overlooked 2011 adaptation of Jane Eyre, elsewhere it’s Shakespeare directly that’s invoked, especially the genre-starting play from across the border from which Lady Macbeth gets its title. If you’ve ever watched that Macbeth and wondered what if things might weren’t all right in the end, the rightful king restored and peace throughout the land, if you’ve ever wondered what if the lady of Dunsinane had openly raised her head defiantly against those who would douse her fires, Lady Macbeth, one of the best British films in a few years, offers a tantalising howl from across the moors of time. #FilmReviews #LucasWilson #WilliamOldroyd #FlorencePugh #CosmoJarvis #Tragedy #Shakespeare

Directed by Joseph Johnson Starring Ric Law and Pippa Winslow Short Film Review by James Burgess There are lots of films which delve into the domestic fragility of crumbling relationships: Sam Mendes’s award-winning 2008 version of Richard Yates’s novel Revolutionary Road, chronicled the devastating denouement of disillusionment turned sour, ending in tragedy for the central couple. Here, up-and-coming British filmmaker Joseph Johnson, evokes a similar sense of unfulfilled, trapped tension with Something Blue, his contemporary debut short film, which won much critical acclaim throughout the 2016 shorts film festivals circuit, collecting several awards. It has a deceptively simple premise, where a husband and wife sit down at the table over breakfast. Although proceedings may look mundane, even convivial on the surface - resentments, regrets and seemingly uncomfortable subjects are raised, during the course of an increasingly strained conversation. What’s most clever, is the subtlety of the writing, especially in relation to the dialogue; it quickly becomes evident that it’s what is not said, that’s just as vital, if not more so - as what is. So, an objective portrayal of a marriage is played out - not through the scenery-chewing, overtly confrontational methods, which may once have been favoured - but instead in a far more nuanced, layered, meditative way - where two people are so desperate, but equally unable, to talk to each other, due to a lack of communication that’s presumably endured years of erosion. The key lies in all the half-formed statements of justification, or questions which tale-off: ‘I’m trying’ and ‘Where are you going?’ or ‘Was it okay?’. This structural choice of foregrounding the subtext, is what lends the film its uneasy air of bubbling profundity, and also allows the root of the protagonist’s issues to be left open to interpretation. It’s never made explicitly clear what their fundamental problem is, but this means that the ambiguity can also be reflected in the film’s cinematographic style. An initially innocuous close-up on a personalised glass of water, suddenly holds great significance. The performances too, are both extremely effective at alluding to this sense of interior ellipsis, always an inch away from breaking through their façade. Ric Law’s husband, even occasionally stares blankly into the camera, as if this is his only means of escape. Pippa Winslow in particular, brings a pained, disparaging quality to a wife who’s dealing with an unspoken trauma. Winslow is excellent at conveying the most complex of emotions, just through a shift of the eyes, or sombre look into the middle distance. This is a well-observed, affectingly performed drama, which acts as a prescient social comment. #ShortFilmReviews #ShortFilms #JamesBurgess #FilmFestivals #Filmmaker #BritishFilmmaking #JosephJohnson #RicLaw #PippaWinslow

★★★★ Directed by James Gunn Starring Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper, Vin Diesel, Kurt Russell, Karen Gillan, Michael Rooker, Pom Klementieff, & Elizabeth Debicki Film Review by Chris Olson Too much of a good thing. A strange sentiment, and something quite often plied to the superhero movie genre, it begs the question of whether saturation (of any kind) can ever be anything other than a bad thing. Even when the quality remains immovably high for its respected field, will audiences simply get full and go home? In the case of James Gunn’s second outing with the Guardians of the Galaxy franchise, it’s like going back to that restaurant you once tried (and loved), ordering almost the exact same meal, and leaving with a big smile on your face. To further the metaphor, the only thing wrong with the dining experience is that, no matter what ingredients they used, or party tricks the waiter did, nothing can make up for the element of discovery. Guardians of the Galaxy Vol. 2 is a fantastically cinematic film, with exceptional characters and performances, that is the cracking B-Side to a simply impossible-to-beat first single. After briefly meeting Ego (Kurt Russell) at the beginning of the movie, we stylishly glide into the opening frames of Vol. 2 with Baby Groot (Vin Diesel) performing some hot moves against the typically Guardians’ soundtrack, whilst the rest of the gang: Star-Lord (Chris Pratt), Gamora (Zoe Saldana), Drax (Dave Bautista) and Rocket (Bradley Cooper) do battle with a giant space, slug, thing. They have been hired by Elizabeth Debecki’s Ayesha of the Sovereign race, to protect some rather important batteries. After a job well done, Rocket decides to steal some of them anyway, giving them a hot pursuit of arcade machine fighter pilots who chase them through space and an anarchically dangerous asteroid belt, leaving them crash landed on a remote planet. Enter again Ego, who claims to be Star-Lord’s father, who offers them refuge and backstory. There is also a rather entertaining subplot involving Yondu’s (Michael Rooker) quest for redemption, having let the clan of Ravagers he represents down time and again when it comes to punishing Star-Lord and his evasive antics. After being given a dressing down from Sylvester Stallone, a fellow Ravager, he also gives chase to the Guardians hoping to avenge their relentless transgressions against him. From start to finish it is wonderful to be immersed back into Gunn’s science-fiction world again. The visuals are nothing short of breathtaking, the characters are so vividly sketched that you enjoy spending time with every one of them, and the comedy is an eclectic mix of slapstick, insults, and tomfoolery that you feel childish for sniggering but everyone in the audience is there doing the same with you. Both movies capture something quintessential about cinema which is delivering an experience. They tap into the beautiful escapism of movies, where the shallow facets which seem to have taken priority (garnering awards, sticking their politics into someone’s face, etc) are eschewed for a more wholesome motivation - making a bloody good movie. Vol. 2 could have benefitted from a quick trim on the back end, there is no need for a runtime of over two hours when your plot can be written on cassette tape case, and the soundtrack was not quite as good as the first mixtape, but these are quibbles that naysayers will need to justify a wholly anti-Guardians stance. The fundamentals of the storytelling are excellent (even with the clunky dialogue that subsists largely on exposition), with emotive arcs, some excellent backstories being delivered; in particular Nebula’s (Karen Gillan - who is formidable on screen), wherein we learn more about the sibling rivalry between her and Gamora, or Yondu’s and his role in the upbringing of Star-Lord. The performances are excellent, with amazing chemistry between all players, the cinematography is sublime, the music is great fun and the plot...well it’s a superhero plot so there’s lots of smashey smashey...and there is a tiny dancing tree with the cutest voice who has eyes that will make your heart melt. The difficult third album may be a way away, but Guardians of the Galaxy Vol. 2 did what we expected...it brought its flare and sass, took centre stage and did the same routine on a bigger scale. Watch the official Movie Trailer for GOTG Vol. 2 below... #FilmReviews #MovieTrailers #ChrisOlson #Superheroes #Marvel #JamesGunn #ChrisPratt #ZoeSaldana #DaveBautista #BradleyCooper #VinDiesel #KurtRussell #KarenGillan #MichaelRooker #ElizabethDebicki #PomKlementieff

Directed by Simon Van Parijs Written by Dan McKenna Produced by: Simon King & Elliott Edwards Starring Jonathan McGarrity, Brease Woolley, & Jimmy Eggleston Short Film Review by Chris Olson Using a plethora of aesthetic devices to capture one man's descent to rock bottom, which ironically culminates in his ascent to the top of a tower block where he plans to throw himself off, filmmaker Simon Van Parijs's short film Where Is Hope tackles heavy issues with impressive technical capability. Alec (Jonathan McGarrity) is a character crumbling when we first meet him at the beginning of Where Is Hope. After witnessing him react to an emotional voicemail from his soon-to-be ex-wife and following him as he ascends the stairs to a rooftop, the darker tone to Van Parijs story (written for the screen by Dan Mckenna) becomes all too obvious for the audience. However, a surprise awaits Alec on the roof when he literally stumbles upon Hope (Brease Woolley). The two characters engage in a repartee that is heavily morose on his part, and whimsically indifferent on her's. What starts as an initially promising short film, with some great visual flair and confidence in the earlier scenes inside the tower block, gets let down by fairly clunky dialogue between Alec and Hope. The latter's performance is too reliant on the script, coming across as having no real understanding of the super-philosophical lines she spouts, creating an uncomfortable contrast between her's and McGarrity's - which is actually pretty nuanced. Alec is a more fully-fleshed character, but his journey gets marred by contrivance. In a story almost completely anchored by two characters, direction needed to be a bigger priority than it is. Hope comes across as jarring and irksome, which makes her effect on Alec ultimately unbelievable. With that said, it is essential that the strengths of Van Parijs's film are now highlighted. Not least the editing from James West which matches the ferocity of Alec's emotions with superb skill, quick cuts maintaining a demanding pace for the audience. Furthermore the cinematography from Milo Cosemans is darkly arresting - especially during that aforementioned stairwell sequence. Sequences atop the tower block are also gripping, with some nice close-up framing of Alec's face giving an uncomfortable intimacy which was compelling. A subtle and tentative sound design accompanied some of the scenes, offering much needed gravitas. A bold and moving story not quite executed by its central performances, Where Is Hope offers an enjoyable view that sadly never quite ascends past its fundamental limitations, but does give you plenty to enjoy from those off the screen. #ShortFilmReviews #ShortFilms #ChrisOlson #Drama #SimonVanParijs #JonathanMcGarrity #SimonVParijs

Directed by James Ersted Starring Paul Bergmann Short Film Review by Lucas Wilson Among the boxes to tick for a short film, one must surely be to leave the audience un-satiated. Month to Month, James Ersted’s horrors-of-isolation short, uses the tried and tested technique of posing unanswered questions, although, here, they are asked with fiercely original storytelling and in an atmosphere that is unsettled and melancholic. Paul Bergmann ably plays Johnny, an Elvis ogling singer-songwriter looking to make it big in LA. Money is short and dictates that he rent a “month to month” apartment where he begins to dream images of the feminine demonic. Then, in that same apartment, he discovers a painting. Month to Month doesn’t borrow ideas from The Shining or Dorian Gray as much as it communicates similar sensations. However, the Lovecraftian accent is unmistakable; the juxtaposition of cosmic evil and mundane urban life collides in a way that is troubling and frightening. Although Johnny’s mundane, waking world is black and white, his dream world is shown in slashes of scarlet and, while Ersted (who, impressively, directs, produces and writes everything) only slyly hints at a connection between that dream world and the Hollywood that the film is set in, it’s unmistakably colour and evil that are energised here. It’s no accident that the dreams are tempting as much as they are ominous, with Johnny in the cross-fire. There’s a semi-suggestion that he’s a little unbalanced and most certainly beaten down by life. Bergmann approaches this with intelligence and convincing subtlety and, if nothing else, Month to Month is worth checking out for the Johnny Cash-inspired songs that Bergmann performs. Elsewhere, the aforementioned colour (the work of Marco Cordero) is driven into a sumptuous cinematography (the remarkable work of Jeffrey Peters) that, at every given moment, works as a series of evocative images which lends Month to Month a nightmarish texture. It’s this quality that gives this odd, short film its peculiar power. From the moment it begins, it treads through dreamscapes which take turns towards the satanic, embedding itself in the subconscious. Granted Johnny’s dream sequences could have been more threatening but the only real frustration with Month to Month is its brevity. If ever a film had the originality and weirdness to revitalise mainstream horror, a feature length Month to Month would be it. Following its well-deserved reception, a little luck might, hopefully, see a major studio throw in their lot. #ShortFilmReviews #ShortFilms #LucasWilson #JamesErsted #PaulBergman

Directed by Mark J. Blackman Starring Kerry Bennett, Joe Absolom Short Film Review by Lorenzo Lombardi Putting a modern spin on a classic fable is a difficult task, but when done with a well-thought approach, it is an undeniably unique treat. Neon does just that in an admirably stylish and gripping way, making it an inventive fantasy/romance. Neon follows an office worker named Mary (Kerry Bennett) after she suddenly receives a phone call from her boyfriend Elias (Joe Absolom) about splitting up. He explains that this is because of the lengths he has to go for his occupation of being a ‘matchmaker’. From there, the film’s focus shifts between Elias’ duties and the night the couple first met. The conversation they have on the phone sets the foundation for a compelling narrative-fuelled structure. Heartbreaking dialogue acts as a great contrast to Elias’ brooding but vulnerable character, the latter characteristic also applying to Mary as the possibility of an end to the relationship is hard to bear. This is made possible by both leads’ sheer passionate performances. Cinematography and lighting also stand out too. Varying angles highlight the increase of tension throughout the film, with intimate ones being used in more emotional scenes. Colours are used in expressionistic fashion, giving the film a viscerally artistic edge. It certainly lives up to its title in that regard, displaying vivid and beautiful shades of blue and sometimes red. Neon’s Visual flair is inexplicable. At first a straight thriller, the plot point that brings in the fantastical elements of the film is a very surprising and bold move in the story that will stay with the viewer long after the credits roll. Even after the reveal, the way this film continues to handle mythological tropes feels fresh and unique. The ending is satisfying too, bringing the story to a literal and figurative close after a moving finale that tests our empathy the audience’s empathy with the characters. Director Mark J. Blackman’s short is imaginative and emotionally engrossing. Check this one out if you are in the mood for energetic emotion and fantastical thrills. #ShortFilmReviews #ShortFilms #LorenzoLombardi #MarkJBlackman #KerryBennett #JoeAbsolom

Directed by Serena Chloe Gardner Starring Peter Warnock, Jemma Lewis, Evelyn Lockley Short Film Review by Evie Brudenall Whilst similar in their titles, Lady in the Park is most definitely not to be confused with 2015’s The Lady in the Van starring Dame Maggie Smith. The latter uplifted spirits and warmed the heart of the audience, but Lady in the Park in no way registers the aforementioned sentiments on its radar. In Birmingham, 1963, Alex Wilson (Peter Warnock) earns a living as a café owner at a railway station. However, business isn’t booming and as a result, his finances are in an increasingly dire state. As the financial strain begins to reflect in his home life, Alex’s world descends into desperation and he risks losing his beloved family. From the moment Alex is introduced, he is clearly positioned as our empathetic protagonist; he is well liked and respected by the café’s patrons and his staff, and despite his best efforts, the takings for the day are underwhelming. Upon his return home, he is lovingly greeted by his two darling daughters but his wife, Gail (Jemma Lewis), grants a frostier reception. She laments his lack of income and in her most spoilt manner bemoans, “What kind of man can’t provide for his wife?!”. Alex Wilson most certainly has our sympathies, but it’s achieved without a sliver of subtlety on the writer’s behalf. During the married couple’s heated argument, the score that accompanies the back-and forth is extremely melodramatic and almost creates a farce out of the very stern and humourless story. The performances from lead actors Warnock and Lewis unfortunately exacerbate the heightened overripe narrative with their pained expressions and wooden delivery, although they find no salvation in the script. Contrived with predictable and overwrought dialogue, Lady in the Park does its actors a great disservice – the story moves so quickly that they can scarcely match its pace and the audience is left eating the dust in their wake. The colour grading and filmic quality of the short is excellent, and the crisp and clear images denote the thought and level of professionalism that was put into Lady in the Park. This attitude is also reflected in the set dressing and use of locations, but Wilson’s café screams “set design” and therefore prevents complete audience immersion and causes a jarring disconnect – even though Wilson’s life is falling apart, the visuals and world-building created by the filmmakers are so intricately and neatly put together. As a result, it feels like we’re experiencing the lead character’s money troubles through the lens of rose-tinted glasses. Although fathomed with earnest intentions, the confluence of stereotypical characterisation, unoriginal dialogue and exaggerated drama culminate in a forgetful tale without an ounce of nuance. #ShortFilmReviews #ShortFilms #EvieBrudenall #SerenaChloeGardner #PeterWarnock #JemmaLewis

Film Feature by Chris Olson The perfect event for filmmakers of all levels to mingle with some of the leading artists in the industry, this year's BAFTA Guru Live 2017 film festival looks to be filled to bursting with insightful masterclasses, special Q&As, panels featuring top guests, as well as a lovely mixture of film, TV, and games. Taking place over two days (May 6th - May 7th), and in both London and Glasgow, tickets are currently available for a smorgasbord of fantastic events, several of the best film-related ones of which we will go into a bit of detail in this article. Telling Stories: Film Saturday 6 May, 10.30-11.45 at The Big Screen, BAFTA, London Featuring a panel of superb screenwriters, including Prevenge's Alice Lowe as well as Lady Macbeth's Alice Birch, this event for the BAFTA Guru Live 2017 showcase could be the one to beat. The expectation is that attendees will be given some crucial insight into the journey of a film, from start to finish, but also it will be more than likely that anyone who turns up will also be given fascinating detail about the arenas surrounding making a movie in 2017 from the spectacular panel. Making a Debut Feature: Film Saturday 6 May, 2.30-3.15 at the Centre of Contemporary Arts, Glasgow Not based in London? Never fear, film fans will be treated to a top notch even in Glasgow on the Saturday afternoon. Speakers include the producer of Mad Max: Fury Road, the writer of Slow West, and the producer of the superb '71. They will be speaking about the daunting task of making a full-length film, providing a unique collaborative discussion about what's in store for anyone taking up the challenge. How to Pitch Saturday 6 May, 15.00-16.00 at The Workshop, BAFTA, London Possibly one of the most harrowing aspects of filmmaking, the BAFTA Guru Live 2017 hosts know what their audiences want to know, and that is how to pitch an idea. Director and screenwriter David Keating and producer Gavin Humphries will be on hand to shed a light on this ghastly challenge. Masterclass: Notes on Blindness Sunday 7 May, 15.45 - 17.00 at The Big Screen, BAFTA, London One of the most affecting films of last year, Notes on Blindness was a critically acclaimed piece of filmmaking directed by Peter Middleton and James Spinney. The pair will be on hand to talk all things film when it comes to achieving nominee-level success. To buy tickets to any of these events, as well as the rest of the Guru Live 2017 schedule, visit - http://guru.bafta.org/live. #FilmFestival #FilmFeature #ChrisOlson #Filmmaking #BAFTA #BAFTAAwards #Masterclass