★★★ Directed by: #Shayaan Starring: #RoryWaltonSmith, #FrankieKenno, #OmarEmfour, #HarryKenno, #EthanBeer Short Film Review by: Alexandra James North Nights is a short film packed with drugs, fast cash, violence and even car chases. A lot was crammed into this short film, it was engaging, action packed and a lot of heightened tension which made for a very dramatic and impactful film. It’s great to see a lot of diverse shots being used and great use of location and scenery which really elevated this film. The film begins with characters Aiden and Jamal, who have been given a huge bag of drugs to shift around their area for their boss. The dark shots and mysterious alley ways and shifty customers establishes this piece as a gritty crime short. It was interesting to see the effects used within this film, it was jarring in places and added another layer to this piece. Its always good to see a wide use of editing techniques and this short reaches into the more unique editing styles which is always a positive, as director Shayaan has managed to display a whole range of skills which is important when searching for your own flare or style to film making. North Nights was edgy and raised a lot of issues which are prominent within society. The heavy drug use which surrounds our youth today is dangerous and can lead to some extremely dark paths. This is clearly portrayed within this short and highlights the fact that there are no winners once you become involved in this game. To really cement this message into the film it would have been beneficial to have the acting be more convincing, this was lacking a lot within the short. The actors seemed nervous in places, and it was hard to envision some of the characters as big gang leaders because that confidence and aggression was just not there to sell that image. When playing thugs or ‘boss’ type personas, there needs to be that level of maturity and toughness to the role in order to convey to the audience that this character is not to be messed with, unfortunately, this was not the case. The storyline was also confusing in a lot of places, there were many characters and the storyline intertwined with others which made it difficult to digest. Especially because the characters had masks on throughout, so it was hard to recognise who was who. A more streamlined story would have been much more satisfactory and allowed the audience to really connect with characters as there would have been a better flow. These improvements come with experience and Shayaan has the basic foundations and skills to produce more cinematic content and iron out these types of issues. However, this is a great contribution to short films, and it will be fantastic to see more.

★★★ Directed by: #TobiasSchlage and #BrentForrest Starring: #Phoney Short Film Review by: Alexandra James Crack is a short, animated film which warns us about the dangers of phone addiction, a film by Tobias Schlage and Brent Forrest. Canadian and German creators who have also produced other shorts such as Like and Follow and Dirty Pool, both animators are now based in Japan. Crack is a quirky and witty piece which tries to highlight issues which are very prominent today. It can be considered a rather negative trait which begins to take over our life, it is our constant obsession to stare at our smartphones! This is the central message of this short animation; however, it is conveyed by using a humorous character known as Phoney. The animation was extremely professional and the character Phoney, was great at showing the audience the troubles which surround society and their fixation and desperate need to keep up with social media, apps, latest trends and updates on smartphones. The narrative played upon the phrase ‘phone addiction,’ and made it so that the character Phoney (who was an actual smartphone) had a serious addiction problem and in need of an intervention. The features of the character itself were very well done and the elements of addiction the character was portraying such as smoking, drinking, excessive eating etc. all were very detailed and took the narrative to a professional level. What was great was that it was not a simplistic animation, as the character was well rounded, and made the storyline flow well. I think it would have been good to make the animation slightly longer, in order to bring it back to the central theme of phone addiction within society. It felt as though the ending was rushed slightly so it would have been good to add an extra 15-20 seconds to really cement this message. The comical character and the twist on the phone being ‘addicted’ was very clever and kept the audience engaged. Crack was an entertaining short which revealed the horrors and victims of those facing smartphone addiction. A lot of hard work and thought was put into this piece, even the voice of Phoney was funny, as it adopted that loud character type and fit with the angry and in denial persona, we often link addicts to. Very amusing and it will be great to see what else this duo has in store!

★★★★ Directed by: #VirSrinivas Starring: #RichardCotter, #ArmanVanShok, #DavidNicoll Short Film Review by: Alexandra James A Proselyte is defined as a person who converts their opinion, religious beliefs or ideologies to another. This short is the story of a priest who must abandon his faith for the greater good. The Proselyte shows a man’s internal battle between his heart and his head. To break away from the Church can bring serious consequences and raises a lot of questions regarding their commitment as a devote Catholic and even to God. This was a great film which highlights the heavy decision-making process which can weigh on our conscience and unravels the ways in which our mind balance right from wrong. The film begins with a priest in handcuffs analysing his hands which are covered in blood, a very strong image to open with. The audience are left in a state of guessing, who is this man? Is he violent? Whose blood is smeared on his hands? This is a great way of keeping the audience engaged as we become more invested in the character and want to seek out an answer to these questions. The film then reverts back to the beginning where we are now in a dark confession box and it is difficult to make out the character’s features, which only adds to this mysterious ambience. This is where we learn that there is a serial killer on the loose who is unable to suppress their intrusive thoughts to kill again. It is the priest who has to hold onto this dark secret and would be committing a grave sin if he were to repeat this confession to anyone. This was an interesting plot as it allows the director to play around with a variety of themes from a religious, moral and human standpoint making the audience choose what they believe to be the ‘right’ passage for the priest to go down. The ominous music playing in the background, hymns and choral music felt almost foreboding and implemented a tension to many of the scenes. However, at times the music seemed too much and was overplayed. It sometimes did not match what was playing out on screen and could have been toned down. It would have been great to have more close up shots of the killer, especially during the scene where the priest was watching his every move. To see the emotion on his face and to put the audience in his shoes would have created more of a thrill, perhaps even see everything from the killer’s perspective to really add to the action. The actor Richard Cotter who played the priest was brilliant, even without dialogue, a lot could be read from the character’s expressions and the worry and angst was embedded into his face. This was an intense short film with a great narrative, it is always fascinating to explore more complex themes such as religion. The Proselyte was thrilling and compelling and certainly exposes the harsh realities of determining right from wrong, making for a stirring cinematic experience.

★★★ Directed by: Kôji Shiraishi Written by: Takashi Shimizu, Kôji Shiraishi, Kôji Suzuki Starring: Mizuki Yamamoto, Aimi Satsukawa, Tina Tamashiro and Masanobu Ando Throwback Film Review by: Rachel Pullen Sadako vs Kayako (2016) Film Review Recently I have been flexing on the old Japanese horror. There is something about how polite and clean everything over there is that helps me forget for a moment about the hellscape that the U.K. is, and not only that but they have a good selection of horror flicks under their belts, no one does creepy ghost girls quite like they do. Of course, the most famous horror films to come from Japan have to be the Ring series and the Grudge series (foolish choice, personally Shutter is where the real joy is!) ghostly girls with long hair wreaking havoc on a bunch of unsuspecting people through a curse because they got upset 100 years ago, yeah that sells big in Japan. And overseas apparently because the remakes of both these franchises popped off over here and, in the U.S.A., So, with that in mind, writers churned out sequel after sequel, and once that had run its course, they furrowed their brows and tapped their heads and screamed….”Eureka! What if we smash both the films together to make some weird hybrid storyline where the two ghost ladies fight each other?”. Yeah it got the green light and yeah I watched it. Sadako vs Kayako is the tale of a bunch of young ladies who cross paths with both the curses from our lady ghosts simultaneously, university students Yuri Kurahashi and Natsumi Ueno discover the tape in an old VCR and one of them watches it. But hold up! Sadako is not splashing around in her normal well, she is on the property ladder it seems, this time appearing in a run-down house…clearly a fixer-upper. Because she is so overwhelmed with D.I.Y jobs to do in her new home, Sadako has cut the curse time down from the normal seven days to a light two, leaving our students in a race against time to lift the curse. They talk to their professor, he gets them some witch lady, she does nothing and gets killed in the process, but does bring a key player into the game, our resident curse defeater Keizo! (I assume that’s what his job title is on LinkedIn). He knows stuff, has a cool leather jacket on, hangs out with a blind psychic child, the guy’s a dreamboat, but most importantly he is like “Let’s lift this curse by making Sadako fight another ghost, that will work.” and everyone is like “Makes sense” and they roll out. Now while all this is taking place, the movie has been running a subplot about a young woman called Suzuka Takagi who after moving to the town, feels drawn to the house where the Grudge curse took place, literally through the movie she just floats around near the house, toying with going in, but not, having straight hair, then not. Really I felt that for a B storyline it was so disassociated from the film itself it was like I was channel surfing between two shows. Later it becomes more tied into one when Suzuka meets characters from the Sadako storyline, but literally, for an hour of the film, it feels unconnected to an alarming degree. Overall, this movie is not bad, it’s not great, it’s just meh, sadly I think the lack of connection between the two storylines up until the showdown at the end kind of took away anything that may have drawn certain fans to see the film. I wanted to see these angry ladies really go at it, taunt each other out, fight for custody of people they want to kill, think Freddy vs Jason, a film which yes, sucked, but is a good example of what they could have done with the characters in this film, i.e. create a dynamic. Other than that, Sadako vs Kayako does not lack the classic spooky scares that Japanese horror brings to the screen, and as always, each moment that either Sadako or Kayako are on screen, the tension and chilling fear is perfectly executed. So, what have we learned this week? Despite the thousands of ghosts, I would rather live in Japan than the U.K. If Sadako can get on the property ladder, there is hope for us all. If you find a VHS player with an unmarked tape in it, just walk away. #RachelPullen Watch the Film Trailer

Back in the day up and coming directors would cut their teeth on TV commercials. More recently the testing ground has become the short film feature. They pass in the blink of an eye and can be anything from four to fifteen minutes in length. Pixar have developed a nifty line in funky shorts with a self-contained narrative. Their super clinical approach always felt tailor made for the format, but have in many ways made it their own creation. The company started making shorts in the 1980s when they were ostensibly an IT company. The shorts later evolved as a promotional tool for feature length films produced by the company. Characters would appear and provide additional content to support the main feature. Pixar shorts now occupy a distinct niche in the film industry that has become a byword for creativity. With chief animator John Lasseter at the helm they steadily grew in prominence despite initial concerns about cost and return. The tone was set as Lasseter would later direct feature length movies including Toy Story, A Bug’s Life and Cars. Although little more than a short burst of creative energy the Pixar short packs a surprisingly deep narrative. It could be a statement of the human condition or a straight forward morality tale. For example, in Geri’s Game (1997) an elderly gentleman plays chess with himself in the park. It was evidently his ‘modest side’ triumphing over his ‘confident side’. I sense it also drew attention to the solitude that confronts the elderly. Either way, it was good enough to win Pixar the Oscar for best short animated feature. A wistful mood often takes hold as the line between dream and reality crosses back and forth. In Red’s Dream (1987) a unicycle sits in the corner of a cycle shop. Red dreams of upstaging a clown before the dream breaks and finds itself still in the shop. In Bau (2018), a woman is preparing a meal for her husband. One of the buns comes alive and she raises it like a child. In reality it’s a dream of her raising her own son with whom she is estranged. A sweet and touching narrative tugs at the heartstrings in the most unexpected way. The enchanting La Luna (2011) lands on Bambino, a young boy who goes on a midnight boat trip with his father and grandfather. Once in the designated spot, a ladder is set for Bambino to climb and set anchor on the moon. Their task is to sweep fallen stars off the moon’s surface. The maxim here is ‘always be yourself and do things your way’. In Lou (2017), a creature hides in a lost and found box at kindergarten. Lou carefully retrieves toys after playtime so the children can find them. However, a boy called J.J. begins stealing toys belonging to his classmates. Lou decides to teach him a lesson and shows him a toy that been stolen from him previously. He will give him the toy on condition he returns all the stolen toys to their rightful owner. Quite aside from the visuals it delivers a simple but effective message ‘if you do good for someone else they’ll do good for you’. Elsewhere they will use a dazzling metaphor to represent a blossoming romance or affairs of the heart. In the Blue Umbrella (2013), the red and blue variety fall in love during a thunder storm in the big city. They pursue each other through a sea of umbrellas as circumstances conspire against them. The continental styling gave the film je ne sais quai even if the sentiment was overplayed. The lilting Hawaiian vibe of Lava (2014) used a song to tell the story of a lonely volcano waiting for his soul mate to arrive. A notable characteristic is the frequent absence of dialogue and removal of all language barriers. The happy consequence is a reliance on slapstick humour which checks in with virtually all cultures. One of Pixar’s earliest successes was Tin Toy (1988), the tale of a one man band and its desperate attempts to avoid a playful and destructive baby called Billy. Another short written and directed by John Lasseter was Knick Knack (1989). This portrayed an angry snowman using guerrilla tactics to break out of a snow globe. Lasseter was influenced by the work of Chuck Jones and Tex Avery (creators of Tom & Jerry) and is much in evidence on both of these films. Perhaps inevitably, the shorts that linger longest in the memory are those associated with a feature length film. The brilliant Lamp Life (2020) features Woody catching up with Bo Peep as she explains her absence between Toy Story 2 and 4. The following seven minutes is crammed full of gags as she elaborates on her gig adorning a table lamp. Pixar shorts were films we often missed as they would be aired at film festivals or remain buried on redundant DVDs. But with a plethora of streaming services at our fingertips we can view them whenever the mood takes us. Now we can appreciate the skill and ingenuity demanded by the format. The ability to fit a coherent narrative into such a limited time frame is an admirable quality. When the Pixar titles go up and that hyperactive desk lamp begins to bounce around we expect something special, it’s a high bar to maintain but they seem to be doing alright at the moment?

★★★★ Directed by: #DannyAAbeckaser Written by: #KostaKondilopoulos Starring: #DannyAAbeckaser, #KatieCassidy Film Review by: Emily Davison Petty criminal Sammy Silver (Abeckaser) struggles to trade his criminal ways for a married life after he falls in love with single mother, Laura Fenton (Cassidy). I Love Us (2021) is an American crime drama, directed by and starring Danny A. Abeckaser as the lead, who also briefly appeared as ‘Deadbeat’ in Martin Scorsese’s hit crime epic The Irishman (2019). This one and a half hour feature tells the story of a thief coming to terms with what it means to love and the premise may be promising, but a manipulative and messy execution unfortunately keeps it from reaching any notable heights. The film begins strongly when we are introduced to the charismatic Sammy Silver, as his cool voice-over narration takes us through a simple jewellery store robbery. He makes a successful, sneaky getaway and suddenly his life changes forever when he scores a date with a woman he meets on a bus and quickly starts a relationship with her, however, there is one matter which makes things complicated. Laura has two teenage daughters; Audrey (Harlow Jane) accepts Sammy with open arms immediately, whereas Rachel (Jasper Polish), who misses her dad, takes a lot more convincing. Sammy continues to perform criminal acts behind his wife’s back, despite his father, Harvey (Robert Davi), urging him to tell her the truth and when tragedy strikes, Sammy is forced to stand up and become a father to the girls, whilst also keeping his work a secret. The movie does struggle to balance the family drama elements with Sammy’s criminal activities, resulting in a confusing and contrived screenplay which does not flow in an engaging manner. The plot suffers from pacing problems, with characters not having much to work with and many scenes set up with the intention of manipulating viewer’s emotional involvement with the narrative, causing many instances of character interactions to feel unnatural and forced. Family drama takes more of a front seat and when the big heist job eventually comes around, which will finally allow Harvey and Sammy to break free of their criminal ways, there are only ten minutes left of the film. The heist itself is overall presented in a cliché, by the books format, with a distinct lack of tension or creative originality and a predictable plot twist. The film’s saving grace does come from its lead performances, with Danny Abeckaser certainly lending some much needed Brooklyn charm and flair to the plot, with a laid back, yet protective demeanour that one cannot help but be attracted to. He works well with all his co-stars, including a nice scene between himself and Katie Cassidy on the bus, with a believable relationship blossoming as the narrative moves forward. Ultimately, I Love Us attempts to offer a unique blend of crime and family drama, however, this trope has been explored more effectively in other films. The movie offers nothing new in story and direction, but does feature an endearing lead who just about chases impending boredom away. #EmilyDavison I Love Us (2021) trailer:

★★★★ Directed by: Aymeric Nicolet, Ellie Hodgetts Film Review by: Jason Knight This documentary focuses on a radio station in Paris that began operating in June 2009. This station is operated by two Eritrean reporters who left Eritrea in order to escape from its harsh government. Eritrea is a northeast African country on the Red Sea Coast. It gained independence in 1993, following a thirty-year war with Ethiopia. That same year Isaias Afwerki became the country's first president and has held that position ever since. However he later proceeded to use his power in order to apply brutal methods on the people of Eritrea. As a result, many citizens leave the country on a daily basis. The film begins with texts, in front of an animated map of Eritrea, that explain a brief history of Eritrea, covering the Eritrean War of Independence and how Afwerki took control. Then it moves to the station in Paris, introducing the journalists who work there. They reveal information about their past and explain how and why they decided to set up the Radio Erena radio station. Currently Eritrea is considered to be the worst place when it comes to freedom of the press. The station broadcasts news and information on a daily basis to the people of Eritrea. Their mission is to keep them informed and by doing so hopefully, one day this will lead to the end the country's suffering. The two reporters come across as friendly and intelligent. Their voice-over is very informative. They reveal how harsh life is in Eritrea and describe unspeakable acts that the military committed against citizens. They make it clear that they are passionate about what they do and truly care about Eritreans. The majority of the film takes the audience inside the station, showing plenty of equipment and the reporters in action. The documentary is well made and also includes a wonderful establishing shot that shows Parisian buildings and the Eiffel Tower. The Arc de Triomphe is also seen and there is an interesting sequence where the camera pans in slow motion through the streets of Paris at nighttime, filming buildings and roads that are out of focus. There is also a heartwarming sequence where the journalists celebrate Erena's tenth year of operation with a birthday cake. The use of music is brief, being dramatic in the opening sequence and gentle during the end credits. This inspiring documentary raises awareness about the terrible struggles that the people in Eritrea have to deal with. Aside from the descriptions regarding the government's brutality, it offers hope that sometime in the future things will get better. #JasonKnight Trailer: Or watch the film here:

Interview by Chris Olson Thanks for speaking with us. What have you been up to in the pandemic? Thank you for having me. My name’s Haider Rifaat and I am a writer, actor and a talk show host. During the pandemic, I was caught up with filming season 7 of my YouTube talk show titled The Haider Rifaat Show. Since the in-person dynamic shifted to a virtual setup, I filmed the entire season in Pakistan via Zoom and managed to produce all twelve episodes of the recent season with ease and commitment. I got the chance to interview high profile guests, including international celebrities, William Moseley, Tasya Teles and Shontelle. Soon after concluding season 7 of my show, I moved to Hawaiʻi to pursue a Master’s degree in Communication from the University of Hawaiʻi at Mānoa. I filmed a horror short while quarantined here called Deeper than Darkness. I am now fully occupied with my work and studies. You have a new short film out, I Wish, for those who don't know what's the story? The title of the film is Kaash, which translates to I Wish in English. The word is derived from my native language Urdu. I really wanted to encapsulate the core of the film in one word, and Kaash seemed to be that perfect title. The film centres on Ali Danyal, my character, who experiences clinical depression further exacerbated by his early life experiences, family and social circle. All his past emotions extend into his present-day life, further taking a toll on his mental health. Ali’s present isn’t bright either. The character also suffers because of his toxic workplace environment, coupled with complete abandonment from his parents. I shot the film myself in Islamabad, Pakistan, where I am originally from. I had no team to work with. I self-produced, wrote, directed, edited and starred in the project. Why did you want to tell this story so much? Mental illness in Pakistan is heavily stigmatized. People fail to recognize it as a real problem. Sufferers of mental health issues are socially labelled and stereotyped as “manic” or “insane”. A lot of shame is associated with mental illness, and even seeking treatment is looked down upon in Pakistan. Things are evolving, but we still have a long way to go. So, that idea inspired me to create a film that captures that essence, and what the end result of constant shame, stigmas and stereotyping could wind up being for a person truly experiencing an extreme form of depression. Mental health is a theme which can evoke a lot of different reactions. How have audiences reacted? People liked the film, if I am honest. They understand that grappling with mental illness isn’t easy. Although, many people would feel the need to depict someone experiencing clinical depression as a survivor, but many times, that isn’t the case. Suffers of mental illness wind up dead. That is a bitter reality. Let’s not turn a blind eye to it. As filmmakers, our job is to create compelling, realistic content that the viewers can relate to. If we keep making films in a robotic fashion, each time the outcome would be predictable. Not every story has a happy ending, and I am glad I got to prove that with my short film. I am also happy to share that I Wish emerged as a semi-finalist in the 2021 edition of the Stockholm City Film Festival. It's an important topic, so glad audiences connected. Where can people see the film? The film is available online on YouTube under Haider Rifaat Films. Simply search I Wish short film by Haider Rifaat and you will find the film free to stream. The film is in Urdu language with English subtitles. There are two versions; one is purely in Urdu language titled Kaash and the other one is I Wish with English subtitles. You can watch the full film for free here: https://www.youtube.com/watch?v=EzBYE4O41Ro Thanks for sharing that with our readers. What's next for you? I have a new acting project underway but I can’t reveal much about it because things are yet to finalize. Right now, I'm fully focused on developing a new podcast series for the University of Hawaiʻi Cancer Center titled Cancer Answers. I will headline the podcast as a producer and host. The series will further the purpose of the University of Hawaiʻi Cancer Center, which is to reduce cancer burden in Hawaiʻi and the Pacific through cancer research. It will be available to stream later this month on Apple Podcast, Spotify, Facebook and YouTube. Sounds really interesting, thanks for letting us know. Why do you make movies? I make movies to build opportunities for myself. As an actor, you want to be a part of compelling narratives, be it fiction or nonfiction. However, when people don’t bank on your talent, it is wise to pursue your passion independently. That’s what I did. I grabbed a camera, and started making short films. Though I’ve been blessed to be a part of some amazing projects, I feel that you can also build your own opportunities if you are an actor and a filmmaker. You don’t need to depend on anyone for support if you have what it takes to make something great. I also create films to tell important stories like I Wish, and sometimes, I just make something for the sake of entertaining people. Many people out there would want you to be a certain way in how you approach your film, but the end decision is yours, and yours alone. If you have a sense of direction and the resources needed to make a film, get up and do it! Don’t wait for it to happen. Filmmaking is an evolving process. You learn, you unlearn, and you learn again! Be proud of what YOU create! #ChrisOlson

★★★★ Directed by: #LouisMaxwell Written by: #CharlotteWaldron Short Film Review by: Emily Davison As Northern Ireland still recovers from the sectarian conflict known as ‘The Troubles’, two young people who identify as opposing cultures are interviewed to discuss the legacy of the conflict. Where Are We Now? (2022) is a short documentary produced by Gracepark Productions, which was founded to create engaging and impactful stories in a creative style. Freelance filmmaker Louis Maxwell directs and edits this provocative film, with writer Charlotte Waldron also acting as a presenter to educate viewers on the socio-political context of the documentary, alongside informative onscreen text which is presented throughout the short. As a result of the 1921 partitioning between Ireland and the Republic of Ireland in 1921, from 1969 to 1996 ‘The Troubles’ occurred with violent protests and riots taking place between two communities. The Unionists want Northern Ireland to remain a part of the UK, whereas the Nationalists want to create a United Ireland. The film is edited and presented in an engaging, pleasing manner, with nice establishing shots of the local area and the use of graffiti reinforcing positive messages of hope effectively cements the desire for peace. There is a thought provoking visual representation of the conflict through repeated shots of UK flags crisscrossing over each other against a blue sky backdrop. A large amount of information is given about the subject in only eight minutes, whether it be through the text, presentation or talking heads, which may be overwhelming for viewers on a first watch, but intrigue always remains. Eighteen year-old Alana Cahoon identifies as a Unionist, whereas seventeen year-old Dermot Hamill identifies as a Nationalist and both give insightful comments regarding their beliefs/opinions on the legacy of ‘The Troubles’. They have grown up following on from the 1998 Good Friday peace agreement and have witnessed segregation and unrest with more violent riots breaking out recently in April 2021. It makes for a stimulating watch, especially as Alana discusses the current suicide epidemic in Northern Ireland as a result of the distress and confusion, however, the documentary ultimately leaves viewers on a hopeful final note as the youth of today unite to achieve peace between the two communities. As Dermot outlines, Unionists and Nationalists may have their cultural and political differences, but they can still relate to one another and unite together to take pride in their heritage and personal identities. Original score composer Tadhg Griffin intensifies emotional involvement with a moving, simplistic piano piece which accompanies the visuals throughout. Overall, Where Are We Now? makes for a compelling, informative watch which certainly fulfils the studio’s aim to create an impactful experience for spectators. The short is inspiring in drawing our attention to the legacy of ‘The Troubles’ and how today’s youth strive for peace, with both Maxwell and Waldron capturing a perfect balance between educating and touching the hearts of viewers. #EmilyDavison Where Are We Now? (2022) trailer:

★★★★★ Directed by: #SteveExeter Written by: #SteveExeter Starring: #ShannonDavidson, #AlastairThomsonMills, #AlexWestwood Short Film Review by: Emily Davison A young Scottish ballet dancer is torn between her passion and fame. Òran na h-Eala (2022) is a British short drama which explores the heart and mind of internationally renowned ballet dancer, Moira Shearer, before and after she agreed to star in Powell and Pressburger’s beloved cinema classic The Red Shoes (1948). The film has gained extensive critical acclaim, winning nine awards, with particular praise going towards lead actress Shannon Davidson; the narrative; the score; the cinematography; dance choreography and costume design. Director and writer Steve Exeter intended to celebrate the original film, as well as present the uncanny parallels between Moira and her tragic alter ego, Victoria Page, the protagonist of The Red Shoes. The original movie tells the story of a young ballerina torn between her passion for art and romance, who ultimately chooses life over fame. In this celebration of a powerful woman’s complex psyche, Exeter creates a stylish and stimulating dreamlike short, exhibiting lush cinematography and stunning use of colour. Practically every shot in this movie could be a painting, with outstanding attention to detail and artistic flair promised through the opening credits, which are a testament to the high quality thirteen minutes of film to follow. The internal struggle of Moira Shearer is at the centre of the piece, with a clash between her lifelong passion for ballet dancing and desire to make a big name for herself causing conflict. When she is approached by filmmakers Michael Powell (Mills) and Emeric Pressburger (Westwood), who are determined to have Moira play the lead in their upcoming film, she is forced to make a difficult decision which will ultimately change her life forever. Exeter makes spectacular use of theatrical direction to represent Moira’s internal turmoil, as displayed by a spinning record player and the foreboding shadowy figures of both directors tormenting her. Flashing film cameras highlighting their silhouettes forces the dancer to face her fears, with remarkable uses of colour throughout these dreamlike, captivating sequences. Red lighting represents her anguish and confusion, with blue utilised for her rival dancer, Margot, who she metaphorically ‘kicks’ out of the way so she can finally shine centre stage in the spotlight. The yellow colour grading also communicates Moira’s admirable strength of spirit, whether it be whilst she gets ready for a show at her dressing table or steps out from behind a theatre curtain. Shannon Davidson is extraordinary as the lead, slipping into the role with ease, not only through her physical likeness to Moira Shearer, but also through her immersive performance abilities in song, dance and acting. The film’s title is the Scottish Gaelic translation of the main original song sung by Davidson herself, ‘Song of the Swan’, an uplifting number which captures both Shannon and Moira’s strong spirit. The narrative invites viewers to become intimate with Moira’s internal voice and it ultimately becomes quite tragic by the end to see how she gained fame for something she did not have a passion for. To conclude, Òran na h-Eala is a spellbinding examination of a young woman’s struggle to come to terms with her own desires and passions, brought to life through vivid cinematography, impeccable direction and an outstanding performance from its lead. #EmilyDavison Òran na h-Eala (2022) trailer:

Ever thought where the Marvel Cinematic Universe started? Or where Batman Vs Superman was pulled from? Well we have you covered. UK Film Review is proud to present to you The Fantom Zone, a new comic book reading club. Discover the pages that inspired your favourite comic book movies and also get inspired to read some lesser known graphic novels. Each episode will be brought to you by our gang of comic book nerds who can help guide you through the themes of the novel, take a deep dive into the art and understand the history of the characters. We will be starting with DC's masterpiece Batman: The Long Halloween and each time we will let you know what comic we will be looking at next. So true believers, jump with us into the pages of comics and journey through the stories that have defined the movie landscape for the last decade. Listen to us here! The Fantom Zone And don't forget to subscribe and share! Batman: The Long Halloween

★★★ Directed by: #VirSrinivas Written by: #VirSrinivas Starring: #RichardCotter, #PeterJDonnelly Film Review by: Emily Davison Architect of the Final Solution, Adolf Eichmann, is finally captured and brought to Israel to stand trail for his crimes. Without enough evidence to prosecute him, Police Captain Avner Less is tasked with extracting a confession from the mastermind of the Holocaust. Orders From Above (2021) is an Australian historical biographical drama, based on real events and is set almost entirely in one sparse motel room as Avner conducts several interviews with Eichmann. The movie has currently been received with a positive reception from critics, having won fifteen accolades at Film Festivals, including: Best Black & White Film; Best Historical Film and Best Jewish Film at the Cannes World Film Festival. Before the film opens, onscreen text appears to helpfully inform viewers who may have little knowledge on the subject, by providing context on Eichmann’s capture. Director Vir Srinivas’ choice of a black and white aesthetic certainly aids the film in its examination of a hugely significant historical event, enhancing the timeless quality of the themes discussed by the characters and addressed by Srinivas’ rich screenplay. The movie does orchestrate a slow, methodical pace as Eichmann is given the time to explain his upbringing and eventual involvement with the SS. Srinivas employs fascinating direction by largely focusing on Avner’s neutral reaction to these stories early in the film and Eichmann often kept out of focus, with his voice constantly anchoring viewers into the narrative. This film does not shy away from the true horrors of the Holocaust and handles its heavy, sensitive subject matter with sincerity. One of the most disturbing scenes which many viewers may find too upsetting to watch comes later on, where Avner makes Eichmann watch graphic documentary footage of the mass burials that took place at the extermination camps. The production team must be admired and respected for their clear honest intentions in bringing this story to life and emotionally engaging viewers, as well as educating them on an important part of human history. The dialogue heavy approach does work in favour of creating a more intimate involvement with the two leads, but its execution is also problematic as it relies on spectators being able to remain engaged for an hour and a half about a heavy, sensitive topic which may be too affecting for many. Srinivas does counter balance this by examining the interesting moral debate on whether Eichmann should be executed without a fair trail and how this treatment of a fellow human being mirrors the barbarity of the Nazis. Although it is slightly distracting to feature two leads who do not have German accents, both give excellent performances. Peter Donnelly plays Eichmann with great charisma, coming across as a self-assured, confident individual who always defends his actions by repeatedly claiming he was simply following orders. Richard Cotter as Captain Avner embodies a silent strength as he acts the opposite of his interviewee, refusing to blindly follow orders and not commit a man to execution without presenting the proper evidence. Orders From Above is an informative, moving portrait of one of the darkest periods in human history. The film does hinder itself with its dialogue heavy approach, but sound direction and performances levitate this dark, historical biopic. #EmilyDavison Orders From Above (2021) trailer: