Directed by Andrew Kotatko Starring Jean-Marc Barr, Radha Mitchell, and Jane Birkin Short Film Review by Chris Olson Andrew Kotatko's exquisite short film, Whoever Was Using This Bed, is an intimate and mysterious rendering of a relationship that, over the course of one night, gets laid bare with spectacular drama. Focusing on Jean-Marc Barr and Radha Mitchell as a couple, Ray and Iris, whose good night's sleep is rudely disturbed by a relentless wrong number being dialled, with a woman asking to speak to a Mick. The pair, unable to get back to sleep, end up dissecting some weighty topics surrounding their relationship, including some maudlin existential banter, whilst the voice (Jane Birkin) on the end of the phone becomes increasingly fascinating to Ray, causing him to linger alone in the dark listening to her strange ramblings. Kotatko let's his screenplay (from a short story by Raymond Carver) unravel like a sweet aroma that basks around two incredible performances. The countless layers of intrigue in Whoever Was Using This Bed are allowed to permeate the viewer subconsciously, hidden behind a subtle veil of domesticity. All this is then complemented by a gorgeous mise en scéne that combines the best elements of noir, thriller, and psychological suspense movies. Barr is a thoroughly engaging co-lead, riffing through a menu of emotions within the opening few minutes, and then bringing some great grounding later on, he lends a fantastic foundation. A foundation which Mitchell launches a hugely enigmatic and striking performance. She is an on screen force to be reckoned with, turning in daring moments of intimacy, power struggles and vulnerability. At times it was like watching Charlize Theron or Michelle Pfeiffer in one of their more dramatically impressive roles. The score and sound editing were very affecting. Natural noises were used to enhance the sense of foreboding, such as the clack of the phone being put down or the flick of a switch on a table lamp. One moment of quick editing when Ray makes some coffee was reminiscent of Edgar Wright's Hot Fuzz, which added a nice injection of humour. This was one of only a few light moments, though, as the main tone (and appeal) of Kotatko's short film is one of perilous tension and intrigue. Aside from a couple of clanging script moments (the use of "baby" is quite jarring), Whoever Was Using This Bed is a daring and atmospheric short film, and a fantastic cinematic achievement. #ShortFilmReviews #ChrisOlson #ShortFilms #Noir #PsychologicalThriller #Thriller #Drama #AndrewKotatko #JeanMarcBarr #RadhaMitchell

Directed by Penelope Lawson Starring Rebecca Martos, Olivia Blois Sharpe, Daniel Deutsch Short Film Review by Lucas Wilson There’s a distinctly 90s tone to Penelope Lawson’s short film Numb, a 10 minute snap shot of a woman in emotional free-fall. If the autumnal steam of New York doesn’t call to mind torn denim and angst, then Rebecca Martos’ Courtney Love-channelling Astrid will. Love’s Live Through This may very well have acted as Numb’s subtitle, an articulation of the challenge that Astrid presents herself with as she aggressively pursues random sex, a drink and a cigarette never far away. At its best, Martos’ performance is genuinely uncomfortable if a little let down by fairly routine dialogue and an approach to filmmaking rooted in realism but which is, somehow, overly studied. The best scenes are those with Daniel Deutsch whose Mark, one of the three random men through which Astrid acts out her personal nihilism, is a squirmingly ill-fitted partner in this odd coupling. More of that awkwardness might have given Numb the kind of hopeless emptiness that any 10 minute excursion into self-destruction through hedonism offers. Consistency in camera work might also have delivered a more powerful impact. Early on we are witness to a presumed AA meeting where a shaky, unstable camera effectively places the viewer in the therapy circle, work later undone by Steadicam, undermining the emotional grit which Lawson aims to show. Elsewhere, however, there are pay offs, particularly in music; when Twin Shadow’s Five Seconds, perfectly chosen, starts playing in a bar it’s a well-timed breath of life and one that ties together Numb’s preoccupation with New York and the relationship between love and despair. The original score, written by Evan Louison and Matthew Mendelson (who’s also responsible for editing and cinematography here - two of the strongest elements of Numb), is also an effective slice of cinematic minimalism and the clever, diary-scrawled credits that it soundtracks lend a further sense of the individual-in-angst. Although Numb is an exploration of a woman out of control, owing to a script which does not fully exploit the emotions which it invokes, the individual-in-angst does not translate to individual-in-peril. At the start of that AA meeting a participant describes his use of alcohol as an attempt to numb his emotional pain. Astrid’s behaviour seems to stem more from existential numbness than it does from a search for numbness; she drinks because she is in the abyss not because she seeks it. The confusion around this character motivation is a flaw that detracts from the power which Numb, an otherwise promising work, could have struck its audience with. #ShortFilmReviews #LucasWilson #ShortFilms #filmmaking #PenelopeLawson #RebeccaMartos #DanielDeutsch

Directed By Ziyad Saadi Starring Andre Herzegovitch, Karah Serine, Sarah O’Sullivan and Nileja James Short Film Review by Michael Fiott Hello, My Name is Death takes us through a gamut of feelings throughout its short runtime; fear, intrigue, a slight tinge of uneasiness and most notably confusion. It begins in a dark room with a bemused man (Andre Herzegovitch) sat on a chair, he is then approached by...well...Death itself and is informed that he has been shot between the eyes by either of the two women who stand by his side. He is then informed by Death (Nileja James) that he must figure out which of the two shot him in order to save himself from death. What follows is a series of cryptic sequences where it is obvious that the vision of director Ziyad Saadi was not to give us the answer, but to simply let us figure it out exactly like our protagonist. This is an interesting choice from Ziyad as it provides a challenge and takes multiple watches to begin to even catch a glimpse of the real outcome. One major thing to appreciate about this, is that it doesn’t take the safe route of normal storytelling, Ziyad uses almost clockwork editing and repetition that dictates it’s slow pace, using this technique does genuinely let the film simmer in your mind and ultimately leaves us questioning what we have witnessed. The repetition I mentioned takes its form in a number of different ways other than its editing, with the recurring lines like “Smile, it’s a beautiful day” and the subtly alarming soundtrack which is reminiscent of an angry and slow alarm clock. There is also a very dark and almost seedy undertone to the short film with its use of profanity and suggestion of incest, a dark feeling that is doubled by its surroundings, as a minimal amount of locations are used. We see our characters in the dark room and we see our protagonist on a street with a melancholy expression on his face. Only seeing two varied locations began to make me feel claustrophobic, again an obviously intentional choice. This claustrophobia is also delivered to us with unrelenting close up shots that emphasise every movement of the performers' faces, which range from bewildering to downright creepy. Especially from actress Karah Serine whose sterile and unrelenting smile is unsettling to say the least. When all of these elements collide together we are left with a piece that borders on being arthouse, the only thing that separates it from fitting this category is the relatively plain and ordinary look of the film, there were no particular shots that were a treat to the eye as we would see in more artistic pieces. Although I have listed many positives that the film obviously has, it ultimately provides us with a challenge but leaves us contemplating its overall plot and message, because of this it made me wish I was watching Ziyad’s vision applied to a different plot. #ShortFilmReviews #ShortFilms #Arthouse #MichaelFiott #ZiyadSaadi #AndreHerzegovitch #NilejaJames

★★★★ Directed by Matthew J. Keats & Van Poynton Starring Ross Forder, Stephen Cromwell, Stephen Murray, Lena-Marie Fitzgerald, Johnny Elliott, & Louise Butley Indie Film Review by Chris Olson Told in stylish film noir, indie movie The Nightmare of My Choice, from filmmakers Matthew J. Keats and Van Poynton, is a cryptic tale of dark themes, depraved characters, and captivating dialogue. Alan Ball (Ross Forder) is a complete man of mystery. Like a streetwise James Bond, he traverses the Dublin landscape in a variety of aliases. Often accompanied by his alcoholic sidekick Flukes (Stephen Cromwell), Mr Ball attempts to sneakily twist situations to his benefit through a full utility-belt of lies and manipulation techniques. Unfortunately, a looming peril presents itself in the form of an old enemy called Cosgrove (Stephen Murray), who may turn this Christmas into one to remember for all the wrong reasons. Black and white aesthetically, the story is anything but. Ball is a definite anti-hero, often using his silver tongue to trick women into fancying him, but one whose desperation is certainly tragic and we feel sympathetic towards his situation. The maelstrom of bleak locations perfectly suit his shadowy being, especially when events start blurring between fiction and reality, reinforcing a nightmarish atmosphere. Forder is a phenomenal on screen presence, doing absolute justice to this morally dubious character by making him captivating and unpredictable. Cromwell is also excellent, offering more than just passing comedy, he provides a worthy companion to Ball's recklessness. All of the performers benefit from a script which is sharper than a butcher's knife. Cinematically, The Nightmare of My Choice is a beautiful film, which is a tough feat considering the darker nature of story. Moments of filmmaking flair are dotted through the piece like little gems sparkling on a dirty riverbed, there for the audience to indulge in but never detracting from the overwhelmingly compelling tone which has been created. A few sequences are genuinely startling when the camerawork and editing start to reflect the dangerous psychology of the main character. There was a little incoherence with the plot which viewers may find difficult to forgive. It's not a simple A to B to C film, but the events which unfold felt a little random and messy. That being said, there always existed a threatening sense of menace that was foreboding each scene, that if you were able to feel comfortable with what was going on you might have lost this terrific mood surrounding you. A genuinely remarkable film for establishing such a high quality tone and aesthetic, Keats and Poynton take you on a baffling journey of deceit, seduction and violence that is ultimately brilliant. #IndieFilmReviews #ChrisOlson #IndieFilms #BlackandWhite #Filmmaking #MatthewJKeats #VanPoynton #RossForder #StephenCromwell #StephenMurray

★★★ Directed by Kuvera Sivalingam and Nelson Sivalingham Starring Hannah Farmer and Ramesh Vethanayagam Indie Film Review by Phil Slatter The Rajini Effect is a rather unique blend of indie documentary mixed with a quirky, slight comedy all wrapped up amidst themes of childhood dreams catching up with the reality of adulthood. For the most part, the movie from filmmakers Kuvera Sivalingham and Nelson Sivalingham, works well. The Rajini of the title refers to Rajinikanth, a Tamil film star whose appeal spreads far and wide. We learn much of the effect of his work through real-life talking head interviews while simultaneously following the fictional exploits of two hapless filmmakers (Jonathan Truong and Ramesh Vethanayagam). They have dreams of making the next big Tamil film and set about making their masterpiece for an upcoming competition. Love and life soon get in the way though. The script by Kuvera and Nelson Sivalingham (who also direct) may follow a familiar path in some respects but they have a clear affection for the inspiration behind their source material. The film is littered with some excellent comic beats, with Vethanayagam getting many of the best comic moments and stealing every scene he is in. Sadly on occasion some of the acting falls flat and this tends to coincide with the occasional drop into stilted dialogue. As things reach the conclusion an additional sub-plot also felt like an unnecessary addition. However, there is an awful lot to both admire and enjoy here. Elements of the script touch on recession era Britain and the casual racism that is still a part of life in the UK. The excellent score punctuates some of the more poignant moments well and the theme of staying true to your dreams as life unfolds may not be overtly original, but remains relevant and true all making for a well-meaning and largely enjoyable film. #IndieFilmsReviews #IndieFilms #PhilSlatter #KuveraSivalingam #NelsonSivalingham #Filmmakers

★★★ Directed by Benjamin Rider Starring Daniel Garcia, Matthew Hartley, Alice Pitt-Carter, Yuna Shin, & Rebecca Tromans Indie Film Review by Chris Olson The multi-narrative movie is a difficult one to pull off. The complexities involved in interweaving several plot threads mean that the pitfalls are multiplied, making the storytelling that much more likely to fail when it comes to engaging the audience. Indie film Forever Tomorrow, written and directed by Benjamin Rider, avoids all those pitfalls with a story that is simultaneously disconnected and intertwined, but does stumble on some of the fundamentals of filmmaking. Telling separate tales of alcoholics, all of whom attend or are connected to an Alcoholics Anonymous (AA) meeting, Forever Tomorrow is a movie about the cost of addiction, and also the necessary human spirit in order to overcome, or at least control, it. Many of the alcohol dependents have very different lives from each other in Rider’s film, with their addiction affecting their day-to-days in varying degrees of destructive chaos, but one constant remains - that a significant part of their character is determined by their cravings. Through the use of long soliloquies during the AA meetings, and external plot threads in the outside world, the audience is shown dramatic, and often poignant, moments that these characters experience. Noble in spirit (excuse the pun) and affecting in many moments, Rider’s indie drama is an evocative film. Regrettably there are a few elements which drag it down from being a more powerful movie, aspects that could have been avoided. The first is the performances. During the moments in the AA meeting, there are some outstanding turns from the various cast members, who are given such an emotional clarity in their lines from Rider, and the time on screen to be fully fleshed out, that I could have quite happily watched ninety minutes of them! One of which, from Yuna Shin, was simply sublime. There were others too that were wholly enjoyable and compelling. Contrast this with the sequences that take place away from the meeting, and it is like watching two different films. Sadly the film leans too heavily on Daniel Garcia, who plays a rent boy called Aaron, whose wooden delivery often leaves him completely outmatched in his scenes with various patrons, such as Rebecca Tromans who is pretty decent. The second element is the music. At times it was perfectly suited to the tone of the scene it was complementing, however, there were more than a few sequences which were utterly jarred by loud, scraping violins, or ridiculous techno music. It seems like the filmmaker was trying to add chaos to the scene to reveal the character’s tumultuous experiences, but all it did was rob the scenes of their pathos. The most affecting scenes, as mentioned, were the AA meetings where there was no score. Cinematically the film was intimate and raw, which was to its credit. Close up shots were used to get awkwardly close to these characters so it felt uncomfortable, such as an aging alcoholic giving life advice to her daughter (Alice Pitt-Carter), or Aaron in bed with one of his many clients. The movie also captured the themes that were swirling around well, keeping the audience in an unrelenting state of anxiety by using a fast pace and numerous locations. Rider deserves worthy mention for tackling heavy themes in a way which is complex and intelligent, doing justice to the seriousness of the affliction. At times the film’s occupants failed to keep up with this loftier ideal, but overall Forever Tomorrow is an impressive collection of subtle stories and voices that join together to create a cacophony of cravings that is engaging and dramatic. #IndieFilmReviews #ChrisOlson #IndieFilms #Addiction #Drama #BenjaminRider

★★★★ Directed by Kevin Resnick Starring Kevin Resnick, Sarah Navratil, Robb Hutter, Dariana Alvarez, Maritza Brikisak, Robert Greene, and Nicholas Thurkettle Indie Film Review by Chris Olson "I've gotta see a man about a horse." Just one of the euphemisms used by Lilly (Dariana Alvarez), daughter of main character Ben (Kevin Resnick), to denote her need to visit the bathroom in indie film Cloudy With a Chance of Sunshine. The reason why it appears at the beginning of this film review is that it is the perfect combination of dry humour and delicate human sensibilities to fittingly reflect this excellent comedy from director Resnick. Following the romantic endeavours of hapless but likeable Ben, this is a romantic comedy in the classic sense of the word. Our hero is a shy, single father who is awkward when it comes to matters of romance, but witty and droll when it comes to bantering with his awful boss (Robert Greene) about his awful job. Having stared at a woman called Sunshine (Sarah Navratil) he fancies for six months, he finds himself thrust into a traditional rom-com plot when he comes home to find her, uninvited, in his kitchen, cooking dinner for him, his daughter, and his live-in, uncouth father (Robb Hutter). Okay so it's not actually much of a classic story, but that is very much to its credit! There are so many comedy beats strewn across Cloudy With a Chance of Sunshine, that you could be forgiven for doing a little jig to all of them. This is a genuinely feel-good film that is also acutely funny. The jokes are more risqué than you might expect, and the humour borders on inappropriate at times, that this felt like the beautiful heyday of romantic comedy filmmaking, like a modern When Harry Met Sally. It also has more than a few televisual connotations, with witty banter being thrown around like an episode of The Office. Watch the official movie trailer for Cloudy With a Chance of Sunshine above. Cinematically, Resnick offers up an enjoyable array of warm and fuzzy scenes that let the comedy lines breathe life into them. There is nothing hugely daring, no huge set pieces of physical comedy. Instead, audiences are treated to character driven moments of tender, funny, and at times moving, sequences that are developed into an affecting tale of life, love and loss. As a genre piece, it was pitch perfect. Even the indie soundtrack was cleverly done, an element which made the film feel more modern when it could have lapsed into dated comedy territory. There does exist a little padding which made the film feel a little baggy, with plot threads being introduced for no real cause. Such as a little too much focus on the exploits of Ben's father, who enjoys a variety of flirtatious conquests throughout the story. It did offer some nice moments of levity though, especially when he has a run in with a neighbour and a call girl. Also, even though there were these deviations, it did not really affect the pace. Everything felt tightly controlled which is essential in a comedy movie. Done with a penchant for comic timing and well developed characters, Cloudy With a Chance of Sunshine is all the things you love about romantic comedies. #IndieFilmReviews #MovieTrailers #ChrisOlson #IndieFilms #RomanticComedies #KevinResnick #SarahNavratil #RobbHutter

★★★ Directed by Tim Phillips Starring Bob Barker, Jorja Fox, Jan Creamer, Tim Phillips Documentary Film Review by Rachel Pullen Blackfish, The Cove, The Elephant in the Living Room, are but a few of the many eye opening documentaries which explore the world of animal cruelty as well as animal captivity, and that’s not even looking at those who investigate the meat industry. To call the market over saturated is unfair, it’s simply that we as human beings can be pretty disgusting when it comes to respecting and caring for our fellow mammals. As a devout animal lover, spending my free time volunteering for an animal rescue centre, being one of those vegan people who you have probably heard so much about on the internet, I’m not new to the world of animal documentaries, in fact I have seen all the ones listed above...but no I don’t wear hemp and have dreadlocks before you even start to wonder. So when I sat down to indie documentary Lion Ark I was prepared to be emotionally moved. Lion Ark follows the story the Jan Creamer and Tim Phillips, founders of Animal Defenders Intl, who travel to Bolivia to rescue 25 lions from a range of different circuses, dubbed operation "Lion Ark", they put together a team in order to make this feat a reality and deliver they lions to a sanctuary in Colorado. Travelling from circus to circus the audience is exposed to appalling living conditions as well as treatment these lions have had to endure, some never leaving the confines of their cages for over 10 years, some never even running on grass or seeing the sky. The distress that these animals are going through is apparent from the start of this film, and yet Lion Ark’s hook within the field of other documentaries of this nature, is that the audience are connected to these animals by watching every stage of their journey; we are exposed to the dramatic changes in behaviour and personality that the lions display when shown a little compassion, and in a delightful scene whereby they are given simply some hay to stimulate them, the lions cannot hide their enjoyment in having such a pleasure. Yet Lion Ark in comparison to other documentaries lacks in dramatics, due to law changes most of the circuses are willing to hand over the animals, and so the documentary does have the feel of trying to generate drama in order to lure in the audience. Personally I feel that this is not necessary, for anyone interested in wildlife, this will be an interesting and eye opening watch, but the documentary could do with being narrated by someone with a more interesting voice, however competent Creamer is at rescuing lions, being the lead narrator in a documentary is certainly not her thing. #DocumentaryFilmReviews #RachelPullen #Documentaries #IndieFilms #IndieFilmReviews #TimPhillips #BobBarker #JanCreamer #AnimalFilms

Directed by Alejandro Montoya Marín Starring Kika Magalhaes, Marty Lindsey, Daniel Pattison & Amy Baklini Short Film Review by Chris Olson An astonishing short film, Leslie is an absolutely breathtaking story about life and dreams, and the courage it takes to endure relentless setbacks to achieve artistic fulfilment. Following the haphazard life of a musician called Holly (Kika Magalhaes) attempting to 'live the dream', but who actually spends most of her time barely scraping by, we are introduced to Holly at the beginning of the short film inside a tired looking bar begging its manager for an advance on her pay. After travelling back to her unremarkable apartment, picking up a fast food burger on her lonesome along the way, and stuffing the remaining dollars in a jar, we quickly ascertain that our heroine is quietly losing, both in financial terms and success. The story then takes an emotional path once we learn that Holly is facing a huge, emotional fork in the road that will force her to question her future, possibly alone, as her unhelpful sister (Amy Baklini) and aloof boyfriend (Daniel Pattison) offer little comfort. There is something exquisite about Alejandro Montoya Marín’s movie, that captures a heartbreaking moment in this character’s life whilst delivering a film that is utterly gorgeous to look at. The filmmaking is nuanced and subtle, then vamps up to an emotional crescendo involving a hospital scene that is quite literally one of the most affecting pieces of cinema I have had the honour of watching this year. Magalhaes delivers a perfect moment as her character reaches the very pinnacle of her dilemma which is tear-jerking and moving. Watch the official movie trailer for short film Leslie above. It was wonderful to watch a film that remained tonally consistent throughout, leveraging the deep pathos that surrounds Holly as she contemplates sacrificing her artistic endeavours, against the visually pleasing framing of an urban street, or the exterior of a car window with rain pouring outside. The soft lighting added a warmth to an otherwise cold story, and the flashback sequences were wonderfully dreamlike without feeling too detached. Everything felt well sculpted, and hugely impressive. As mentioned, the central performance from Magalhaes is excellent. She navigates the close, personal journey of her character with a skilled poise and elegance, whilst turning in huge dramatic moments that were deeply troubling to watch when needed. Her set pieces with Baklini are also some of the most enjoyable sections of Leslie, offering a take on a believable sibling rift without any of the usual amatuer dramatics, instead relying on relatable motivations and sensibilities. Another superb section happens when Holly’s car breaks down and she is rescued by a friendly cab driver (Marty Lindsey); the two have an enjoyable discussion about her musical prospects, and it was lovely to see life being breathed into her simply through some kind words about her talent. One of the strongest elements of Leslie, as a story, is how much someone’s personality can be defined by the creative aspirations they have built the foundation of their character with, and how tragic it can be when ‘life’ attempts to force one to abandon them. Poignant and beautifully filmed, Leslie is a film for the artist - in whatever shape art or creativity takes in your life. This is a story about the hardships, the hurdles, and the heartbreak which inevitably gets weighed against the hope. #ShortFilmReviews #ChrisOlson #ShortFilms #MusicFilms #MovieTrailers #Filmmaking #AlejandroMontoyaMarín #KikaMagalhaes

★★★★ Directed by Shaun Robert Smith Starring Morjana Alaoui, Mel Radio, Craig Conway and Stephanie Thomas Indie Film Review by Bailey Claringbold John (Mel Radio) is at the 'turning point' of his life. After a severe accident the ex-musician is left tetraplegic, finding it difficult to deal with his life. His new carer, Evie (Morjana Alaoui), is unsure of whether she can keep helping him, struggling to sleep at night and being constantly tested. It's only a matter of time before somebody cracks. Indie film Broken took me completely by surprise. The performances were absolutely incredible, especially from Radio and Alaoui. The pair played off each other very well, which helped to draw me in at the intense and painful moments, and made me laugh at the lighter moments scattered throughout the story. Radio gave one of the strongest turns I've seen recently. He managed to convey the torment and agony John felt perfectly. Alaoui's performance went hand in hand with Radio's, with some tear-jerking monologues and line delivery. Although the supporting cast only had a few minutes of screen time, they fleshed out John's character and the story. Broken's screenplay was just as powerful as its performances, with some truly terrifying and heart-wrenching scenes, offering twist after twist. Following the course of a week, the structure of the narrative helped to push the film along, whilst keeping it grounded and made you feel for Evie and understand the constant battle she faced. Although the week long structure wasn't particularly fresh it was something that set it apart from other movies, the spin made it feel original somehow. The story managed get more and more compelling as it went on, which is not easy to achieve. The cinematography was beautiful. Every shot was carefully planned to elicit the most emotion, which made for some genuinely frightening and gripping moments. The use of over-the-shoulder shots and close-ups were effective in showing the character's feelings and their relationship. I enjoyed how the scenes with darker themes warranted darker lighting and tones, taking place at night time, as opposed to say the opening credits which are much more vibrant and light. In terms of the soundtrack, it mirrored the emotion of the scenes throughout. Although it wasn't especially memorable it did go along with the film well. The opening track was definitely the best one as it started off relatively bouncy and cheerful, which was the initial tone of the film. Broken is one of those unexpected hidden gems, with a chilling story and exceedingly good performances. I can only nit-pick its flaws, as it is a nicely crafted and technically superb film. Broken did not disappoint. #IndieFilmReviews #IndieFilms #BaileyClaringbold #PsychologicalThriller #Thriller #ShaunRobertSmith #MelRadio #MorjanaAlaoui

★★★★ Directed by Mickey Reece Starring Jacob Ryan Snovel, Cate Jones, Alex Sanchez, John Selvidge, Michaelene Stephenson, & John Scamehorn Indie Film Review by Chris Olson Part mockumentary biopic, part film noir, part black comedy, part fantastic existential crisis, Mickey Reece’s Alien is arguably one of the most bizarre imaginings of Elvis you will ever see. Written and Directed by the titular Mickey Reece, his indie film encapsulates so many aspects of classic filmmaking, that one simply cannot be immune to its entrancing seduction, gracefully knotting together an orchestra of cinematic elements to create something quite brilliant. Shot (almost) entirely in black and white, the movie takes a punt at an alternative reading on the latter part of The King’s (Jacob Ryan Snovel) career, with a particular focus on his relationship with Priscilla (Cate Jones). Covering a few threads of the enigmatic life he supposedly led, audiences are treated to creative licence run amok, with Elvis being a cantankerous bully with domestic violence tendencies, Priscilla being a mopey groupie, and the Colonel (John Scamehorn) sounding like Jabba the Hut reading a bank robber’s ransom. Without going too much into the plot, a development occurs which sees Mr Presley in need of a road trip, whereby he may have to come face to face with a product of his misdeeds. There is something hugely cinematic about Reece’s film, that transcends any one genre, and instead delivers a movie that is made up of the best part of many. From classic noir films of the ‘40s, to early gangster cinema, to modern black comedies and thrillers, there is a passion for good filmmaking which seeps from the screen throughout. This is then bolstered by phenomenal performances. Snovel in the lead role is completely marvellous to behold, he embodies The King in a way never before seen, that still felt totally grounded and engaging. Jones is a tour de force on screen, regularly battling it out with her on screen husband for the scene-stealer award, and often coming out victorious. Her deadpan delivery and soul-sucked demeanour is one of the best onscreen performances of the year. Kudos also to Alex Sanchez who plays Elvis’s buddy Joe Esposito. There is a sequence early on in the film at a dinner party with Tom Jones (John Selvidge) which is brilliantly delivered, with a razor sharp script and intense atmosphere it revealed so many character foibles within such a short space of time it was dizzying...in a good way. Nicholas Poss turns in a superb musical score, with numbers that captured the banality of the scenes whilst turning them into dark and threatening moments of thrilling cinema when needed. In a film about Elvis, the music was always going to play an important part, and Poss knew when to tread lightly, or conversely budge his way in, which shows a great deal of poise and skill. Aside from being a little on the light side in terms of plot, offering a story which is left slightly underdeveloped, it would be fantastic if more biopics were like Mickey Reece’s Alien. It has all the charm and wit that its central character deserves, but is a stylistic masterpiece that boldly deviates from the popular cultural norm of gratuitous plaudits. #IndieFilmReviews #IndieFilms #ChrisOlson #Biopic #MusicFilms #Mockumentary #BlackandWhite #MickeyReece #JacobRyanSnovel #CateJones #AlexSanchez

Directed by Nick Rowley Starring Ninja Sky, Connor Ninja, Lasseindra Ninja, Short Film Review by Chris Olson Part of the Shadow and Act programme at this year’s BFI Flare Film Festival, short documentary Still Burning, directed by Nick Rowley, is a piece of extraordinary physical cinema, capturing an intense ferocity through its central character’s desire to express himself. The dance form voguing is a demanding combination of catwalk moves and self-expression, notably borrowed by Madonna, but has its roots in gay culture among black Americans in the 1970s. Like a rap battle for dancers, voguing is a competition between participants who are judged on several aspects of their dancing. One such dancer living and performing in Paris, Ninja Sky, forms the entryway in Still Burning, who is also welcoming his brother to the scene. Both are originally from Guadeloupe, where their homosexuality conflicted with the culture. Now, their fierce moves are being honed for the upcoming “ball”. With a pounding dance and techno soundtrack and raw visuals, there is a commitment to tone in Rowley’s film that is commendable. Capturing the sheer physicality of the Ninjas, many sequences are shot using roving camera movements, almost as if to keep up with their protagonists, or simply as a byproduct of being in a room with them. There is an energy to Still Burning which had to be created and maintained, whilst still allowing the emotional moments to puncture it. These were delivered by Sky Ninja’s heartfelt interview moments, where he reveals the importance of voguing to him, the transformation it has allowed him to experience, and how he is literally witnessing the same thing happening to his brother. Many films use dance as a starting point for their narrative. The theatricality it can provide is often more than enough visual stimulation for an audience to be engrossed into a movie, allowing the characters to then be unravelled with dance as their foundation. Rowley adopts this method in a similar fashion, but instead keeps dance as a formidable entity throughout, never letting it drop from the limelight, like it is as much of Sky Ninja as his words, experiences, or anything else. Sky Ninja himself reveals how powerful the movements have been for him. This is important, as it reveals the tender relationship between persons of social exclusion, and the cultural lifelines they find which can become essential parts of their survival. Still Burning is a celebration of these outlets, showing the immense gratification which can be found in communities which promote anything that makes you and others feel good. Staying stylish throughout, and leaving the audience feeling breathless by the end, this is an explosion of movement and expression that keeps its focus on the extraordinary fulfillment being offered to a most select group of outsiders. This is as much body as it is mind, but also full of soul and joy right until its last step. #ShortFilmReview #ChrisOlson #LGBT #FilmFestivals #UKFilmFestivals #BFIFlareFilmFestival #DanceFilms #NickRowley