★★ Directed by Shane Sweeney Starring Shane Sweeney, Danielle Bux and Rachel Chambers Indie Film Review by Michael Fiott One Thing Left To Do tells us the story of Michael (Shane Sweeney), a young man who meets and falls madly in love with the woman of his dreams, Rosie (Rachel Chambers), after a comical encounter in a bar. After their romance blossoms and they are subsequently engaged, tragedy strikes and Michael takes it upon himself to travel to their would be honeymoon destination to find Rosie’s sister Summer (Danielle Bux). After meeting her, he attempts to deal with the difficulty of his loss and contemplate his choices in life. The first thing that was obvious to me when watching this film was it’s difficulty in creating a consistent tone, which often gave it a rather schizophrenic impression, the start had me convinced that it was to be a lighthearted romantic comedy film with the characters introductions. Then at times, rather shockingly, it would transform itself into a very harrowing drama, evidence of this being the rather unsuspecting death of Rosie and then in an instant turn into a brutal action movie. The confusion is doubled by the often questionable choices of music, from scene to scene this can change from slow and emotional pieces, to contemporary pop and then in an instant become reminiscent of what you can expect to hear in an elevator. The film also progresses the character of Michael by turning him into what seems to be a rather unhinged and psychopathic killer whose actions are comparable to that of an unempathetic vigilante and then finally turns full circle into a lighthearted romantic comedy once more. The swaps and changes that the film went through not only served to confuse, but also translated mainly onto the protagonist, as the writing of his character followed the turbulent script and resulted in him being hard to relate to. The rather erratic script leads me onto the dialogue of the characters, none of which truly seem to have their own voice as they all have the same sense of humour, demeanor and outlook on life, evidenced by how each character bonds with each other by talking about sex often very explicitly, which feels out of depth for people who have just become acquainted with one another. One or two private scenes containing this type of dialogue would have been acceptable and only then if the characters were obviously aware of how private and vivid the subject of their conversations were, unfortunately however the frequency results in the audience simply writing it off as juvenile. Because of the obvious faults in the script it did reduce otherwise seemingly average actors performances, making them appear much worse than they could have been if the script had included any genuine human interaction. The result of this (especially in that of Shane Sweeney who portrays Michael) is an extensive collage of either extreme bliss or conversely an enraged or often emotionless glare over his eyes. That being said, there are promising directorial moments here, with Sweeney’s rather effective use of montage to progress the plot, which can be seen at early points in its run time. We are also treated to glimpses of notable cinematography, mostly noticeable in the darker sections where a sense of gritty visual flare is added to the shots in post production. Overall, One Thing Left To Do ironically attempted to do to much and would have benefitted from a more concise script that focused on portraying one solid tone throughout and also focused on creating more human moments within its dialogue. #IndieFilmReviews #MichaelFiott #IndieFilms #ShaneSweeney #DanielleBux #RachelChambers

Directed by Lee Whittaker Starring Lee Whittaker, Amanda Hall, Laur Allen, Jamie M. Timmons, Michael Edelstein, Pat Milicano Short Film Review by Chris Olson Never one to shy away from controversial topics, filmmaker Lee Whittaker has a proven track record of telling stories that get to the heart of important and compelling themes. His previous short film, Catching Fireflies, was a whimsical yet engaging tale about child homelessness. Not so whimsical, but just as engaging short film Aimee, tackles another difficult subject - child sex trafficking in the U.S. - with formidable results in all aspects of filmmaking, but giving audiences too much of a good thing. Ex-marine Jessica (Amanda Hall) is desperately searching for her sister Aimee (Jamie M. Timmons) who has been abducted by child sex traffickers. We see her frustrations with the local law enforcement (Pat Milicano), who seem unable or unwilling to find the culprits with any immediate effect, turn into explosive action as she and Lee Whittaker’s character track down the perpetrators, with the hope of recovering her sibling. Meanwhile, we see the living conditions of Aimee, who is cooped up with several other victims, under the uncaring watch of a surly overseer (Laur Allen) who is preparing Aimee to see her first “client” (Michael Edelstein). Like a 9-minute movie trailer with exceptional creative flair, Aimee is like being teased with what promises to be an amazing feature film, only to leave you desperately hoping for more when it cuts off abruptly at the end. It’s kind of like watching a mash-up between the best bits of Room and Taken, with more stylistic cinematography. There are so many exceptional moments in Aimee. A beautiful shot of a woman in the water is used in several moments during the film which is absolutely breathtaking, as is a scene where Jessica flies through a wall (Whittaker and Hall showing their stunt chops here). Alongside the action, are incredibly moving and horrific moments of trepidation as we watch Timmons deliver some exceptionally emotive sequences during her captivity. Her small dialogue with Edelstein’s paedophile is completely captivating. The main issue with Aimee is that it is too short. This is a criticism we usually lob at short films that we really enjoy, and I did really enjoy Aimee as a movie, however, with Whittaker’s film, the running time is a genuine problem. The film is chock-a-block with so many threads, as well as the juxtaposing pacing of the two main storylines (Jessica’s hunt moves at breakneck speed, whilst Aimee’s situation is more delicate), that audiences will not feel satisfied watching it. Instead, it is like being bludgeoned peppered with small moments to catch our breath, before being bludgeoned again. Perhaps there was a purpose to this. All of the movie’s external marketing is focused on pushing out the larger message, attempting to bring the themes and issues to the forefront. By having the film assault the audience like this, it could hammer home the importance. Whether or not this tactic was intentional or not, however, it is difficult to recommend Aimee as a short film. It simply does not work at the current length. It needs fully fleshing out, a chance to let all the fantastic elements which are already there time to breathe and build. Like being given all your favourite foods as a starter, audiences will crave Whittaker’s film as a full banquet with all the trimmings of a feature length. Watch the official movie trailer for Aimee below... #ShortFilmReviews #ShortFilms #ChrisOlson #MovieTrailers #LeeWhittaker #AmandaHall #LaurAllen #JamieMTimmons #MichaelEdelstein #PatMilicano

★★★★ Directed by Nic Barker Starring Roelene Coleman, Calista Fooks, Sam Macdonald, Gabrielle Savrone, Chris Gibson, Stuart Daulman, Indie Film Review by Chris Olson “We’re all lonely...everyone.” Such is the sentiment spoken by one of the characters in Nic Barker’s moving and intense indie drama, Short Distance, and a sentiment which perfect encapsulates the tone of the story. Loneliness within relationships is a major theme in this work, as it was in Barker’s previous short film, Dead Sharks, whereby the two supposedly polarising ideas (being independent or being codependent) are actually not so far apart after all. Told with a multi-narrative structure, Short Distance focuses its energies on the modern relationship. Using several couples as character studies, Barker’s story tackles multiple issues that people face when it comes to having a monogamous relationship in the modern day. Whilst some themes are actually enduring notions told in movies before, such as the loneliness found when your partner travels a lot, or the entanglement of emotion one can end up in when a relationship fails to move on after it has finished, the aesthetic and tone of this indie film is so genuine and heartfelt, it feels like everything is fresh. Modern elements have been inserted in order to offer new insight into relationships, such as the role of online dating services. One of the most affecting sequences in the film is the birth of a possible romance between Belinda (Gabrielle Savrone) and Olly (Chris Gibson) who meet online. Their whole journey is utterly enrapturing, not least because both performers turn in outstanding portrayals, but also because their unsteady foundations and distrustful attitudes towards each other are full of conflict and pathos, making for a spectacular watch. Not quite as stylish or captivating as Dead Sharks, the cinematography in Short Distance is still remarkable. Cityscape scenes are breathtaking in their urban isolation, whilst intimacy is created with close ups of the characters faces during emotionally poignant moments. Barker is such a steady pair of hands when it comes to intense drama that you can watch a movie like this and never once question that what you are watching is anything less than masterful. He just understands human frailty on a level that is not only completely engaging and entertaining, it’s actually informative! Barker also knows when to let his visuals do the talking. Dialogue is not stuffed in for the sake of filler. There were several moments where I noticed the framing of the characters was off-centre. Whether this was intentional or not, it gave me the impression of some of Tom Hooper’s films, such as The King’s Speech and The Danish Girl. Those films are actually quite a good benchmark if you are trying to decide the audience demographic for a film like this. I would love to see Barker given the budget to make an epic drama like those movies. If I had any criticism of the film, it is that the sound quality was a little poor in places, as was the lighting. This did not spoil the film, it just revealed the potential. Ultimately it is the themes of this movie that are its fundamental strong points. Ironically it is a story like this, that centres around human concepts such as connection, loneliness and fulfillment, that are the ones that make us question the point of them the most. And whilst you may not get an answer, Short Distance is a film to bring all your baggage to and rejoice in the fact that yes, we are all lonely...together. #ShortFilmReviews #ShortFilms #ChrisOlson #MultiNarrative #NicBarker #GabrilleSavrone #ChrisGibson #Drama #Romance

Written and Directed by Yama Rauf Starring Noor Jamal and Habibullah Nikzad Short Film Review by Georgia Wren No Woman is provocative from its very title, a bold statement, creating intrigue from the offset as to the viewpoint of the film and filmmaker. As it is, the 3 minute short by filmmaker Yama Rauf is a smart, very honest piece of filmmaking. Centred around two young women, the stark avant-garde style presents a startlingly bleak image of the restrictions put upon the characters, based on something as simple as their gender. Rauf makes this theme undisputable as the girls approach an unseen border, marked by a sign post declaring “No Woman”. The gatekeeper for this invisible border arrives, masked and armed, to enforce the unwritten rule of no women. Admittedly, the plot itself is rather simple and obvious and, perhaps, the metaphor is a little in your face, but what makes the film so good is the manner in which the film addresses its subject. The first thing to strike me about this film was the sound design, which is well layered and very atmospheric. In a short with no dialogue, the sound here flies, elevating the piece beyond being a throwback to early experimental cinema to a contemporary, intense experience. Shot in black and white, the cinematography is stunning, using space and colour to highlight the distance between the oppressed and the oppressor, and allows the rolling clouds above the characters to create a palpable, oppressive tension. It is sublimely shot, making great use of the landscape and capturing some wonderful and subtle performances by Noor Jamal and Habibullah Nikzad. The black and white, 4:3 style choice is incredibly reminiscent of early avant-garde filmmaking, a choice that throws us back in time, perhaps attempting to remind us that gender based discrimination is sadly an old, but ongoing, issue. And while Rauf tells us the film is largely about women in Islamic societies, the film feels wonderfully universal, even down to the opening shot of the first two women’s feet, both dressed in vastly different shoes but stood at the same line, the same ambition and the same obstacle. This is an idea compounded in Rauf’s editing, and his fantastic use of repetition. Every cut feels full of purpose and he conveys a very cyclic view of women’s struggles, almost suggesting a bleak futility in resisting. That is until he reverses the footage, taking the power from the male character who is stripped of his mask and collapses to his knees. Rauf allows the challenging woman to overcome her obstacle, passing the weeping man, only for her to once again come across the same figure, raising a gun. At its core, the film appears to be about the repetition of denial and how literally defying and unmasking those who deny others is our best way forward. Rauf has achieved so much in this film, taking on almost every role himself and coming out with a movie that threads so much into such a short space of time. Simplistic and bold, it is a technically very well made film with some brilliant performances and the sheer strength of its wonderful images stick in your mind well after watching. #ExperimentalCinema #BlackandWhite #ShortFilmReviews #ShortFilms #GeorgiaWren #Filmmaker #silentfilm #YamaRauf #NoorJamal #HabibullahNikzad #WorldCinema

★★★★ Directed by Rory Mullen, David Prenderville, Brian Quinn Starring Graham Earley, Rex Ryan, John Conners Indie Film Review by Lucas Wilson Early on in Monged, Graham Earley’s Dave tells a stood-up, hopelessly socially-inept, Bernard (John Conners) that his situation is a “rite of passage”, one which, in those immortal words of inebriation, “s’happened to all of us”. If that’s true then it’ll be Bernard’s second rite of passage in one night, as Dave draws him into a blur of drugs and clubs, more to resolve his own problems as a would-be drug-dealer than from any concern for his less-than-savvy charge. Around the fringes of this bromance, DJ Ray (Rex Ryan) is as frustrated by his job as he appears to be by his attraction to a fella watching him from across the dance floor. Such are the threads wound up in Monged, an excursion into the lives of three Dubliners over the course of two heady nights. If it sounds like familiar territory you wouldn’t be wrong, but that doesn’t diminish 75 minutes of E-strewn fun that, at its best, calls to mind a straightish Queer As Folk. Like that vaunted series, Monged is blessed with a uniformly excellent three-piece lead. Earley especially works wonders as Dave, a rogue who wins us over despite his generally appalling treatment of everyone around him, antics more likely to induce a smiling shake of the head than real revulsion. True to archetype, Ryan’s Ray plays the serious, thoughtful counterpart holding up the sky while Bernard parties on, oblivious to his entreaties. The three of them are able to generate real affection, a canny trick in the film’s short time frame and one that leaves no hangover after the credits have rolled. It also helps that they’re supported by some exceedingly promising production work. Gosia Zur’s cinematography almost deserves an acting credit of its own, bringing Dublin to life through neon lights reflected in rain soaked streets and puddles, each passing in a whirl of never-ending colour, heightening the senses as the characters spiral into altered states of consciousness. For a first attempt it’s frighteningly good and some clever editing, courtesy of Aidan Quigley, spaces out these sequences in a way that’s reflective of a continuous dance playlist, each moment containing the next as much as leading into it. Although dominant, the neo-house music of Monged never feels contrived and only ever enhances the rush of images; never does it seek to replace them and, joyously, never does it strive to make its audience feel disorientated, the hackneyed trick of drug films. But not all is quite so seamless. A spectacularly misjudged performance by Joe Rooney as Corkfella confuses more than amuses and is probably responsible for the film’s somewhat odd marketing as a comedy; granted there is a lightness to its touch, but what comedy there is of Monged is dry, never slapstick and never does it detract from its humanness. As it stands, these scenes are jarring, neither fitting nor befitting what comes before or after. Fortunately, they don’t really detract from the rest either, leaving Monged a night out with only happy memories the next day. #IndieFilmReviews #IndieFilms #LucasWilson #GrahamEarley #JohnConners #RexRyan #RoryMullen #DavidPrenderville #BrianQuinn

Directed by Emil T. Jonsson Starring Per Ragnar, Emil T. Jonsson Short Film Review by Monica Jowett Swedish short film The Best of Intentions follows the story of a father who suspects his daughter’s caregiver is abusing her, and how he plans to confront the man. The dramatic thriller, directed by Emil Jonsson and co-written by Jonsson and Björn Boström, packs a lot into its 13 minutes run time that leaves you thinking about jumping to conclusions without all the facts. The film stars Per Ragnar as the father Kjell, and Jonsson as Jocke the caregiver, both of whom provide stunning yet understated performances. The audience is given subtle indications just through their expressions or slight inflection in their voice. Kjell keeps his anger at Jocke simmering just under the surface of his polite demeanour, and it puts you on edge guessing when he might break and do something worse. Opposite him is Jocke, who also manages to keep his calm, but in a completely different way as he keeps his cool when up against some horrid accusations. The Best of Intentions proves to be an exceptional first short film for Jonsson in the themes it tackles of judgement and how easily it can be taken over by emotions. It explores the dangers of even the simplest of misunderstandings and the irrational thought which stems from them, through the nuanced acting, clever dialogue and the sombre cinematography. The thrill and drama of the short film derives more from the implied and subtle hints in the conversation between Kjell and Jocke, and symbolism used within the frame. Cinematographer for the film Gabriel Mkrttchian uses long, lingering shots of mundane objects or the simplistic set, over-the-shoulder shots combined with close ups, and off-centred framing to further enhance this emotional and gripping story, as the audience can immediately ascertain that everything is not what it seems, simply from the way it appears to us. This is the sort of film that stays with you, not least because of the subject matter of moral dilemmas, but also the music, performances and the way the film captures the viewer into the story through the small set. It will be interesting to see where Emil goes next with his filmmaking choices. Watch the official Movie Trailer for The Best of Intentions below... #ShortFilmReviews #ShortFilms #MonicaJowett #Filmmaker #Filmmaking #EmilTJonsson #PerRagnar

★★★ Directed by Ty Hodges Starring Ryan Destiny, Meagan Good, Ty Hodges, Raven-Symone Indie Film Review by Rachel Pullen Remember when you were young, a teenager to be precise, and everything was so dramatic, a million things could happen in one weekend, where every party was treated like New Years Eve, where ever romance was the love of your life?...Well watching indie film A Girl Like Grace felt like that. As an audience we have seen it all before, especially when it come to the world of teen dramas, each one promising to be more real than the next, be it from shows such as The O.C and Skins to films such as Thirteen and A Girl Like Her. Although similar, each dramatic teenage telling documents in their own ways the perils of youth and the dangers that come along with it, and whilst parents watch in horror at the thought that their precious child could be doing the same, the young either do or don’t relate. A Girl Like Grace is impossible to not relate to, the film documents the life of Grace, played by Ryan Destiny, who starts the story by coming to terms with the loss of her best friend who has recently killed herself due to high school bullying. Subsequently Grace is distant and reserved and so has isolated herself from her peers in school. It’s not long until she is taken under the wing of her dead friend’s older sister Share, played by Meagan Good and begins to come out of her shell by experimenting with sex, drugs and drinking, but predictably it’s not long until her sexual encounters get her in trouble. But getting laid and drinking a whisky and coke are not the main problems faced by Grace, don’t forget the token drunk slutty mother who can’t pay rent, the rubbish boyfriend who tells all his jock buddies about their bedroom antics, the bitchy girls at school who bully Grace as well as wearing an unnatural amount of lipstick for girls of their age, and the nerdy friend who is secretly in love with her... to put it simply Grace has a lot of shit going on. However well Destiny plays this challenging role, it cannot distract from this over saturated plot line, director Ty Hodges has seemed to desperately tick every box of the teen drama genre by cramming every cliché into his film, sadly making for a muddled plot line that quickly becomes unbelievable and unrelatable. This is a sad state of affairs as A Girl Like Grace touches on some subjects that need to be addressed by a wider audience, such as the matter of teen bullying and the suicides that it can result in, and although Hodges has over-loaded A Girl Like Grace, the film still shows the talent he has for tacking these subjects, just maybe one at a time. Despite the hectic storyline, A Girl Like Grace is a relatively enjoyable watch which has a great cast who carry their roles confidently and competently throughout. #IndieFilmReviews #IndieFilms #RachelPullen #TyHodges #RyanDestiny #Bullying #ComingofAge

Filmmaker Interview by Chris Olson UK Film Review were lucky enough to catch up with director Scott Vickers about his filmmaking. During the filmmaker interview we spoke about PTSD, working with an indie movie budget, and...of course...what he would say if he were a dolphin... You made a short film, Advance to Contact, back in 2013. For those who don't know anything about it, can you tell us how the film came to be and why you wanted to tell this story? I was inspired to make a film about Post Traumatic Stress Disorder within the armed forces after reading several articles about an epidemic of soldiers returning home after combat in Iraq and Afghanistan and taking their own lives. It was especially stirring for me as I’d been diagnosed with PTSD a decade earlier after a sudden death in the family. Initially I was going to make a documentary but after a visit to Combat Stress I came in touch with a soldier who told me his story and it was so moving and astounding that I decided to base the story solely on his experience and make a drama. PTSD is a harrowing theme, and films that depict stories with it are often dark in nature. Is this something you wanted to engage with or avoid? I wanted to engage with the darkness. I wanted the audience see through the eyes of the main character “Ben” during his darkest moments. Ben was so disorientated through stress and severe lack of sleep that his nightmares started to merge with reality and he’d often hallucinate. Were there any films or other influences that you really used for reference points when making Advance to Contact? There was a documentary I watched called Battle Scarred and several newspaper articles that set the ball rolling. You made the film on a really small budget. What becomes your priority during the filmmaking? And how do you overcome the inevitable obstacles that bigger budgets can tackle? For me priority for any film being shot and especially on a tiny budget is planning. I knew that if I dropped a day or we got delayed in some way, the film would probably not be competed. I storyboarded every single shot, spent three weeks doing the storyboards and in the months leading up to production I made sure I had contingencies and everything was prepped. Getting a committed cast and crew together is key; people who really believe in the script and the project, they have to really want to get the project done. And food - feed the crew well! Are you going to make any more films about PTSD? What's next for you? No more films about PTSD for me. My current project is a horror thriller shot on a micro budget. It's called MOTHER and is about a pregnant couple who are taken captive on a farm by a family who steal children and bring them up as their own. We will be sure to look out for that! How do you approach finding an audience in 2017? Where are the successes and struggles? I think there’s one genre that the studios don’t have control over and generally don’t do so well at and that's Horror. All the best horrors I’ve seen in the last few years have been true indies. Finding an audience in this era of mass programming with the likes of Netflix is achieved by writing better scripts than the studios and working your arse off. There’s a lot of good stuff on Netflix and coming out of Hollywood, but there’s also a tonne of rubbish. If you could offer any advice to new filmmakers, what would it be? Make films! Write something, shoot it and edit it. Whatever you can afford. Even if it's a scene with a few mates. There is no substitute for just getting on with it and making something, that's how you learn. If you can, go to as many script writing seminars as you can and read scripts of the films you love and get to grips with story structure. What would you say if you were a dolphin? Please, humans, stop dumping plastic bags in the ocean, it's our home! They look just like jelly fish and we keep eating them, they are seriously bad for us! STOP IT! Advance to Contact is available on iTunes and Amazon. #FilmmakerInterviews #FilmmakerFeatures #ChrisOlson #Filmmaking #Interviews #ScottVickers #PTSD #WarFilms

★★★★ Written and Directed by József Gallai Starring: Baláza Szitás, Tímea Virga, Tamás Szilágyi, Olivia Barta Indie Film Review by George Nash A devilishly uncompromising take on a previously generic and repetitive sub-genre, seasoned with pinches of darkly humorous satire, József Gallai’s A Guidebook to Killing Your Ex is also a guidebook to how the found-footage horror film should be done. Following a 3-day video diary of a lonely, heartbroken Hungarian man (Baláza Szitás), we quickly learn that this isn’t going to be your average make-up tutorial or home-video prank reel when it becomes clear that the purpose for such entries is to educate the watching world on how to successfully plan and carry out the murder of your ex-girlfriend and her new lover. His seemingly hollow threats and comical stalking attempts, however, soon manifest as something much darker and more sinister. When the words ‘Footage held and archived by the police’ – the equivalent of Blair Witch’s opening true story spiel – appear across the black screen to commence Gallai’s feature indie film, you could probably cut the trepidation with a knife. How many times have we been sneakily coerced into sitting through re-runs of Eduardo Sánchez and Daniel Myrick’s 1999 shoe-string budget classic under a certain Paranormal Activity guise? Well, for József Gallai, it was one too many. Ingeniously twisting our expectations, this is one found-footage film that says “no, don’t find me, I’ll find you.”. This is because this is a film that firmly establishes itself very early on as one made with the viewer as a priority. Our protagonist lets us in on his murderous intentions almost instantly, and has no qualms in expressing his unfaltering desire for what he sees as justice of the most bloody and unforgiving kind. Crucially though, as the very title would suggest, our protagonist places very little emphasis on the act itself, but far more chillingly spends the most part meticulously mapping every stage and process with such frightening dedication and detail. Szitás is our tutor from the outset. From the entrance of an abandoned sewer pipe or a flat balcony, lectures on how to obtain wider knowledge and the ‘dos’ and ‘don’ts’ of buying a firearm are subtly spliced together with a growing darkness and insight into our protagonist’s increasingly psychotic state and unstable temperament. But Gallai also cleverly weaves seemingly random tangents – be it video messages from his father, monologues about his dead mother, or similar videos of other violent and unhinged individuals – that give the film’s central character a more conflicted and complex make-up. Completely immersing himself in the role, the remarkable Szitás almost exclusively carries the film. Both insecure and totally assured, tragic and villainous, Szitás’ intense turn as a man whose life appears balanced on a knife edge (in every sense) is as oxymoronically powerful as they come. And Gallai’s single character set-up is made all the more unnerving and uncomfortable due to the fact that we as viewers are left with no other choice than to follow a man down a road we’re not sure we want to follow. In doing so, A Guidebook to Killing Your Ex makes the bold decision to make us feel every bit as accountable and responsible for what inevitably unfolds – we are audience and accomplice all at once. But Gallai’s film impressively deals both in dark subject matter and equally dark humour. Szitás’ early attempts at ‘dress-rehearsing’ stalking often end in more obvious hilarity, but it’s also Gallai’s subtle undercurrent of social satire that really gives his movie a timely relevance. Cleverly digging at the Twitter-InstaFace generation of internet users, just as every meal and gym squat now needs to be shared with the world, so do instructions on how to commit heinous acts such as murder. It’s a damning assessment, deliberately hyperbolised by Gallai so that it never feels preachy. Never has the internet and the need for instant gratification been so dangerously addictive. A Guidebook to Killing Your Ex is enjoyably sinister with a delightfully unhinged central performance, and not one to watch if you’re having relationship issues. A very simple idea makes for a work that is simply terrifying. #FoundFootage #IndieFilmReviews #IndieFilms #Horror #GeorgeNash #JózsefGallai #BalázaSzitás

Directed by Maria Pia Fanigliulo Starring Kelby Keenan & James Rallison Short Film Review by Phil Slatter Fragments of May is a short film that in a running time of little over twenty minutes, manages to pack in elements of horror, sci-fi, drama and mental health, mixing it with an appropriate amount of ambiguity and resolution. All in all it makes for a memorable and impressive piece of work. The plot is, as the title suggests, somewhat fragmented. We meet May (Kelby Keenan) who is residing in a mental institution all the while claiming she is visiting earth from another planet. What drove her to be in the institution is eventually revealed while a mysterious planet that lingers over certain scenes suggests to the audience that there may well be some truth in May’s erratic claims. The notion of science-fiction overtones interspersed with mental health is not an entirely original one but while this feels, in tone and plot, to be a close cousin to Iain Softleys K-Pax it manages to retain its own unique sense of identity. Writer/director Maria Pia Fanigliulo uses wide shots early on in Fragments of May to establish characters and scenes which utilises the simple but always effective method of letting the camera tell the story. The use of a wide shot also comes into play later on during a particularly chilling and shocking – in two senses of the word – scene which is pivotal to the film's core plotline. The use of music remains almost entirely diegetic, thus feeding into the fact that this is very much the world of the characters and that we, the audience, are outsiders, deciphering the real from the potentially imagined. The performances are universally excellent – appropriately understated which is so important in a film of this nature. It all makes for a short film that is designed to within an inch of its life and designed very well indeed, serving a script that raises questions and gives some answers while also allowing the audience to make their own interpretations of the events within. #ShortFilmReviews #ShortFilms #PhilSlatter #Scifi #MariaPiaFanigliulo #KelbyKeenan #MentalHealth

★★★★ Directed by Miguel Garzon Martinez Starring Michael Stahler, Marcos Esteves, Rayne Bidder, Justine Herron, & Oren Dyan Indie Film Review by Chris Olson Intriguing and subtle, indie film The Broken Legacy, directed by Miguel Garzon Martinez, is a lucid exploration of human frailty and the consequences of creating relationships under fraught conditions. Set almost entirely within a clinical trial for a random drug, Steven (Michael Stahler), one of the volunteers, hopes to make the best of the close quarters and strict confinement in order to support his dreams of being a writer, as well as winning the affections of another volunteer called Emily (Rayne Bidder). Along the way, he befriends Tomas (Marcos Esteves), a smooth-talking volunteer who offers to help Steven with his girl problems in exchange for co-writing a new script in the hopes of achieving an eternal legacy. Very often, films involving clinical trials quickly descend into anarchic horror flicks involving zombie outbreaks or viral epidemics. Garzon Martinez's film, who also wrote the story, is not jumping into that overstuffed genre, and instead remains more psychologically stimulating. This is about the character interaction on screen, and how the various motivations cause intense conflict when placed under an intense set of conditions. The claustrophobia that each of the characters experiences seems to heighten their foibles, whilst making them more sensitive and self-aware. This is then dramatically enhanced by the spectre of the drug itself, which may or may not be affecting all of the volunteers. Where The Broken Legacy really shines is its character development and dialogue. The performers are all excellent, with Stahler being a great choice for the leading role. His range is tested with the multiple heavy themes, and his interaction with all the cast is great to see. Esteves is also an enigmatic on-screen presence, capturing a lot of mystery and life-lesson style philosophy along the way. Watch the official Movie Trailer for The Broken Legacy above. Cinematically, there are few moments to really grapple with or be challenged by, but there is a steadiness in the filmmaking that was needed to allow the script to engage with the audience without losing their interest. Mainly, the movie seems more preoccupied with making slightly more philosophical comments about the nature of life, than trying to win any favour with viewers by using shock tactics or overly visual theatrics, which is to its credit. Criticism can be found in the story’s underdeveloped sections. Some plot points seem to come about very quickly, or are left completely unexplained - such as a beating that Stephen receives, or Emily’s romantic choices. The film could have benefitted from another 20 minutes, in my opinion, to fully flesh out these characters which had been so painstakingly crafted. Also, the final third felt a little weak, opting to avoid an unnecessary pulse-racing antics (which is fine) but not really doing justice to the storyline. That being said, The Broken Legacy is a thoroughly engaging and enjoyable drama with some romance and psychological thriller elements thrown in. A movie that grapples with heavy themes of life, love, and legacy with a lot of tenacity and heart. #IndieFilmReviews #IndieFilms #ChrisOlson #Drama #Romance #MiguelGarzonMartinez #MichaelStahler #MarcosEsteves #RayneBidder #MovieTrailers

Directed by Nat Luurtsema Starring Lu Corfield, Ruth Bratt, Anna Crilly, Mike Wozniak, & Will Hartley Short Film Review by Evie Brudenall “When shall we three meet again? In thunder, lightning, or in rain?” Those lines will not only send shudders down the spine of GCSE students across the country but are also unmistakably the words of the three witches in Shakespeare’s Macbeth. The tragic tale of a man with a mighty hamartia has been reimagined time and time again, but writer/director Nat Luurtsema has introduced an entirely different perspective in Wyrdoes – that of the three witches. Continuously targeted by the Kingdom’s inhabitants and singled out as witches, Merope (Ruth Bratt), Elsab (Lu Corfield) and Magrit (Anna Crilly) live a droll and aimless life. During an antagonistic encounter with Macbeth (Mike Wozniak) and Banquo (Will Hartley), the witches thoughtlessly give the pair a cryptic foretelling, one that spurs Macbeth to commit heinous actions, much to the horror and surprise of Merope, Elsab and Margrit. The opening shot of Wyrdoes sees the camera capturing a vast and rural landscape, including a grand castle and sunset sky as our three protagonists beat on against tough terrain. Their archaic language indicates that the fictional piece takes place within the realm of Shakespeare, but the tone of seriousness is thwarted when one of the women clumsily injures herself, prompting very vocal and profane rumbles of dissent from her exasperated companions. The shift from drama to dark comedy is sudden and thereby making the humour hit even harder in an unexpected but welcome turn. Abused by the village idiots at every and any opportunity, Merope, Elsab and Magrit persevere against prejudice with grit and sarcasm. Confronted by a brash Macbeth and Banquo, the three accused witches throw flippant prophecies their way (which we all know very well), to which Macbeth guffaws, “My arse!”. To their surprise and horror, Macbeth begins a course of murderous action to ensure the promise of the prophecy and the women try to amend their blunder. The ribbing rapport that provides the foundation of their friendship as they attempt to pacify Macbeth’s thirst for power is a joy to watch, and a comedy series or sequel that follows their awkward escapades in life definitely would not go amiss. Tonally, Wyrdoes bears a strong resemblance to Reece Shearsmith and Steve Pemberton’s fantastic BBC 2 anthology series Inside No 9, particularly an episode entitled “The Trial of Elizabeth Gadge”, that sees a woman accused of witchcraft by the village buffoons. The dialogue is sharp and quotable, with elements of modern sensibilities incorporated – a balance that Wyrdoes also successfully strikes. However, Wyrdoes is about ten minutes shy of an episode of Inside No 9’s running time, and as a result, a plethora of opportunities for humour and shenanigans are missed and remain unseized. We’re given a taste of the witches’ story but it’s not always enough to fully appetise. Macbeth. It’s a tale as old as time, but Luurtsema’s unique and comedic angle on the tragedy makes the vintage feel new and creates a surprisingly delightful short film that brims with unexplored potential. #ShortFilmReviews #ShortFilms #EvieBrudenall #Shakespeare #NatLuurtsema #LuCorfield #RuthBratt #AnnaCrilly #MikeWozniak #WillHartley