Directed by Jared Skolnick Written by Kt Baldassaro Starring Kt Baldassaro, Colin Allen, Johnny Donaldson, Robert Savage, Scott Tunderman, & Lorrie Doriza Short Film Review by Evie Brudenall You’d be hard pressed to find a film with a title more literal or telling than Girl in the Basement. This unimaginatively titled flick draws likeness to Room, The Shallows and 127 Hours, three utter crowd pleasers and some of them even awards darlings, but does GitB match their quality or pale in comparison? A young woman called Susan (Kt Basldassaro) is abducted outside her home and kept captive in a basement. However, little does she know that her captor has died of a head injury – directly above her means of escape. Now without a person in the world aware of her whereabouts, Susan faces a race against time to free herself. Within the first two minutes, Girl in the Basement subverts the conventions of its genre by incapacitating the character responsible for the kidnapping. The assumed threat becomes even more dangerous for our protagonist dead than he does alive, reducing her window of opportunity to escape and ultimately survive. However, as an audience, the subversive addition removes a good deal of the tension that robs us of the suspense-filled delights that thrillers have to offer. Instead of clenching our fists and gritting our teeth with fruitful anticipation, we’re left to mellow in a pretty subdued state. Susan’s clinical and methodical voiceover prevents the piece from becoming too internal and provides glimpses of her life before her taking and is even at times humourously honest. Although, it can often do a disservice to the story as it curates the feeling of lowered stakes and becomes a slightly repetitive device to distract the audience from watching Susan do something we’ve seen her do varying iterations of multiple times before. Luckily, Baldassaro’s performance as Susan is wholly captivating as she conveys every despairing emotion that her character is experiencing to perfection. Girl in the Basement acts as a vehicle for her one-woman performance and Baldassaro steers it in the right direction when it begins to show signs of stalling. Like Baldassaro’s performance, the use of location is extremely effective in generating danger as the aura of claustrophobia and inescapabilty is palpable. The most mundane of locations are made to feel laced with peril, reinforced by the match-on-action shots; as the kidnapper plunges a drug in his victim to sedate them, the motion is mirrored as he steams a pot of tea. The recognisability of the latter action is undercut by the abhorrent truth that lurks beneath the floorboards and fortifies the notion that we never really know what happens behind closed doors. The world building may be one of the film’s greatest strengths, but conveying the passage of time proves to be its biggest weakness. Has Susan been in the basement for hours? A day? It’s hard to gauge, and that’s why it’s even more shocking and confusing to witness the extremities that Susan takes. Anchored by a compelling lead performance and excellent production values, Girl in the Basement unfortunately has little else to excite an audience and is devoid of all wishful thrilling. #ShortFilmReviews #EvieBrudenall #ShortFilms #FilmReviews #JaredSkolnick #KtBaldassaro #Thriller #Captivefilms

Directed by Adam Campbell Starring John Hanke & Tsunekazu Ishihara Short Documentary Film Review By Amaliah S. Marmon-Halm The world of virtual and augmented reality seems to be synonymous with the future, all the exciting things that come with the Science Fiction ideal and what we would come to expect from living in the 21st century. Especially if you are a fan of 80s Sci-Fi films. And with more and more tech companies looking into how they can bring AR and VR to the mainstream, we see games like Pokemon Go start to emerge. In What Made Pokemon Go, Adam Campbell looks in the history of Niantic, how they came to be and how it’s founder, John Hanke, went from Berkeley-Haas graduate to taking on the world with CEO of The Pokemon Company, Tsunekazu Ishihara, with quite possibly, the most popular game of the last decade. It was interesting to learn that, in a stage case of foreshadowing, as an April Fool’s Day prank in 2014, Google created the Pokemon Challenge. A more hardcore version of the game that was to become Pokemon Go. And little tidbits, for example, how the Niantic name was inspired by a ship. This docu-short was very good for taking little bit of information and using them as trivia later. However, as a whole, there were times when it was very difficult to focus as the content became a little dull to watch. To create this documentary short film, Campbell used a series of news clips, interviews, YouTube videos and other videos from other sources, Campbell has edited together the rise of John Hanke and his Niantic success. Although it is a well edited piece, there does seem to be some depth missing. Yes, this is an interesting piece and for those interested in the tech world and how a company like Niantic developed, there is a feeling that this is just a cut and paste job rather than a piece of investigation. If there was some narration of some form tying all the clips together, it could have aided in connecting the audience with the content. Despite this, you do really get a grasp of how the company has grown from the idea of wanting to create a gaming experience that gets it its’ users back in to the real world. There are many “treasures” to find in the world and games such as Pokemon Go and Ingress can help make that happen for young and old. #ShortFilmReviews #DocumentaryFilmReviews #AmaliahSMarmonHalm #ShortFilms #Documentaries #AdamCampbell #VideoGameMovies

Directed by Peter Roe Starring Alex Walton, Josephine Rogers, & Dan Gaisford Short Film Review by Chris Olson Stylish and subversive, short film Repression from filmmaker Peter Roe is a taught psychological thriller that combines fluid camera work and complex storytelling. Set entirely within the apartment of Daniel (Alex Walton), we are greeted with Daniel awakening in his bed fully dressed, and see him seamlessly slip into his dining room and carry on with a dinner party with his partner Lily (Josephine Rogers) and her brother James (Dan Gaisford). This theatrical movement is carried on throughout the short film, with scenes of Daniel's life being played out like a carousel of drama, and as the plot is revealed like a slowly revealing image, the harrowing nature of his situation becomes realised in spectacular fashion. There is a degree of bold capability about Roe's film, which he wrote, produced and directed, that sets it apart from other psychological thrillers that attempt to blend drama with cognitive function. This is largely down to the choice to have fluid sequences and camerawork which mean the audience is given no respite in which to question what they are being presented with. This lends a pacing that is fierce and unrelenting, amping up the tension brilliantly. It also complements the mental state of Daniel, capturing the frenetic energy of his thoughts and the seemingly brutal process he is experiencing. The central performance from Walton is superb, delivering a myriad of emotions without jarring the flow and keeping the intrigue about his character until the final frame. His heartbreaking scenes with Rogers are done with beautiful pathos and keep the film grounded, where it could easily have floated off with the continuous scene method being used. A final scene with Gaisford is particularly enthralling, delivering the knockout punch the movie needed and deserved. Minor criticism should be noted on the lighting. At times the tone we hugely complemented by the lighting, creating a stark contrast between light and dark that was foreboding. However, some scenes lost their momentum due to the characters disappearing into the darkness. That being said, audiences will still be glued and a second watch is most definitely recommended. Overall, Repression is a short film that manages to bridge many genre gaps whilst being intricately entertaining. It is tense, dramatic, bold and daring and yet keeps a heart through its characters that prevents the style overtaking the substance. #ShortFilmReviews #ShortFilms #ChrisOlson #FilmReviews #PeterRoe #AlexWalton #JosephineRogers #DanGaisford #PsychologicalThriller

★★★ Directed by Stephen Gaffney Starring John D’Alessandro, Aaron Blake, Callan Cummins, Sohila Lindheim Film Review by Rachel Pullen Not a decade into his directing career Stephen Gaffney has built up quite the back bone of dark gritty hard hitting dramas, be they in short film format of full length indie features such as Class A. With storylines and styles close to those of Shane Meadows, Gaffney is at home tackling the storylines that make us the audience unnerved and on edge, forcing us to look at the lifestyles and scenarios we spend our day to day avoiding. Class A wastes no time fulfilling these roles, the indie film follows ‘’Vinnie’’ a medium level drug dealer in his home town who spends his time making transactions and being the voice of reason among his less level-headed co workers and friends. His role is to guide us, the audience through this world that has been built up around him, almost acting as a narrator to the plot of the film, Vinnie allows us a firsthand look at a world that is unforgiving and desperate at the hands of drug addiction, the money available from selling drugs and the consequences that come along with these actions. Through a small cast of characters we are able to watch these consequences unfold, each plays a pivotal role in delivering the experience that comes with the involvement of drugs, not only in a direct manner but also its effect on those around us. Class A could be held guilty for fulfilling stereotypes when it comes to the types of roles we see in drug or gang based films; we have the single mother struggling with addiction, the one trying to break free of the lifestyle, the one who gets high on his own supply and of course the crazy one, and yet while all these exist in ‘’Class A’’ they are delivered in a fashion that still allows us to be engaged in their storyline and what they have to tell. Although Class A delivers a strong storyline with compelling characters, the movie often is hard to follow, this is an Irish film which uses its environment and heritage to assist with its deliverance, and whilst that is important in the construction of the film it also can make it difficult for those of a non Irish heritage to understand a lot of the dialect and slang terms that are used by the cast. A lot of the script is lost within these accents and despite all of the actors being very competent and delivering good performances, I fear that a lot of the audience will lose sight of the story because of the inability to understand the language. Class A is an indie film which explores the working class world of drug dealing, outside of the Rolls Royces and piles of cocaine we have become accustomed to from classics such as Scarface, it suits its low budget and despite not having a Hollywood pay check, the use of good actors and a powerful script can allow for a intriguing and compelling piece of cinema to be born. #IndieFilmReviews #FilmReviews #RachelPullen #Crime #Gangsters #StephenGaffney

Film Festival Feature by Amaliah S. Marmon-Halm LSFF – Creative England i-Shorts Showcase Hackney Picturehouse 11/01/2017 Shamas In a packed out screen, on the top level of the cinema, we all waited to see what the latest offering of shorts curated by Creative England had in store. These 6 shorts showcased a mixture of work from budding filmmakers based outside of London, all wanting to prove that they are the future of British filmmaking. As usual, this selection didn’t disappoint. The Crossing by Jack King Terry hasn't had the easiest time. He’s just found out that he’s infertile and he’s failing to cope with the breakup of his relationship. Top that off with constant nightmares he’s been having and a profound uncertainty about his future, his life isn't in the best of places. When a chance meeting with his ex-girlfriend occurs, he decides that it’s time to face his fears head on.Terry’s internal torment is highlighted by a reoccurring dream of a little girl on a beach as well as memories from his broken relationship. Very moving, as the topic of loss and confusion is so relatable. And how our own mind can tear us to shreds as well as bring us back to reality. TRIGGA by Meloni Poole Growing up is hard and wanting to grow up as a horse can make life that little but harder. Especially is you have a gang of bullies tormenting your every move. Trigga is a well-composed story that reminds the audience that despite the challenges you may face, you always win in the end if you choose to be yourself. Chippy Tea by Will Herbert Friday night’s chippy tea is a tradition for the Railton girls, but this particular Friday would change things forever. An unexpected guest and family secrets will all be brought to the surface. The 90s comedy feel of this short is reminiscent of films like About A Boy, with a touch of Spaced. A very delicate touch of nostalgia that adds a nice sense of familiarity. Wash Club by Simon Dymond As a journalist, sometimes the struggle to find that story is a hard one. But what you don't expect is create the story yourself. Well, that’s exactly what happens in Wash Club. Based on a true story from the late 90s, a journalism student tries everything he can to investigate a secret society after hearing one of his flatmates friends boast about his venture with them. Shamas by Myriam Raja Shamas tells the refugee narrative from another perspective. Set in England, in an alternative present, against the backdrop of a mass refugee crisis, people struggle to survive. Separated into groups of low and high priority, resentment and often danger lurks around the camp. Amongst the chaos and uncertainty of what lies ahead, is one young man who must question his own humanity when his need to survive takes precedence. How far is he willing to go? A thrilling short film of struggle with a very strong narrative. Belle and Bamber by Alex Forbes If Sesame Street, Labyrinth, Drop Dead Fred and Chucky had a weird film baby, this would probably be it. A twisted comedy about a young girl and her increasingly homicidal imaginary friend. Belle is a 10 year old girl with a thirst for adventure, he, an imaginary blue monster. They are the best of friends. They want nothing more than to spend their days playing but when Belle’s mother tires of Bamber’s influence, she pressures her to grow up and forget her friend. But this makes Bamber very upset… Weird, funny and really quite dark, this is a very entertaining short that still has those all important moments that make you say “wait, what?!”. Read more Film Reviews here #LondonShortFilmFestival #FilmFestival #FilmFeatures #LSFF #LSFF2017 #AmaliahSMarmonHalm #CreativeEngland #ShortFilms

The LSFF: Night of The Living Dead Docs Mon 9th Jan 2016 Picturehouse Central Film Festival Feature by Amaliah S. Marmon-Halm Back for it’s 14th year, the London Short Film Festival is in full swing and showcasing some of the best of the best in the short film world. In the first of two parts, Night Of The Living Dead Docs brings you shorts that make you feel, make you laugh, make you question and just plan to shock. Each of these films are designed to leave it’s mark in some way. AUTOMATIC DREAMS by Florence Kennard In a tale of all things twinkly and musical, Automatic Dreams pays homage to the humble and often forested joy of a music box. Following the makers in Rouge Factory in Switzerland, we watch the process of making the combs for the music box and how they are tuned. Watching the machines cut and work, it is almost as if they are dancing through the film. Through different perspectives; the maker, the collector, the restorer, we see the magical charm a music box can offer. SHEFFIELD GAS by Grace Harper In quest for happiness, a quest we are all too familiar with, a mysterious man with a red beard takes us on a journey in his world of illegal highs. Just as the drug is about to be made illegal, this delivery man tries to explain what he brings to the people of Sheffield. Describing the drug as giving you that feeling of joy – the fun of getting ready for a night out and by doing this, he’s fulfilling his own need to be happy and spread happiness. LA DERIVA DEI CONTINENTI (CONTINENTAL DRIFT) by Pietro Novello The desire to escape hardship and persecution will make a person do anything to survive. Many people have already made that life changing choice and in La Deriva Dei Continenti aka Contintental Drift, the scale and trauma is all too evident. We follow Aziz, a former immigrant, who uses his own experiences to help others like him. He has now become a key member of the operations of rescue and disembarkation in one of the provinces most hit by the phenomenon, Siracusa. This film is a heartbreaking and poignant short that details many of the experiences still occurring today. SWAN by Lindsay Brown April is a young girl, bursting with life and energy. She would love nothing more than to listen to music, dance and bounce on her trampoline. Her mum would do anything to make sure she lives her life to the fullest, and as April reaches her 16th birthday, she battles to maintain a sense of stability for her vulnerable daughter. This snapshot in their lives is a story that goes right to your heart, even if you don't have a relative with disabilities. ONE LAST DANCE by Will Rowson Heartbreaking from start to finish, and told from a daughter's perspective, we see the pain of loss and dementia through her father's eyes. One Last Dance explores how it felt watching her father slowly forget everything he knew. The watercolour animation only adds to the feeling of fragility and beautifully illustrates this story of loss. LAND OF DREAMS by Jamie Edmundson Paul is very proud of his home but lives in one of the most deprived areas of Glasgow. In an effort to make his home more attractive, he works to make an open space on the outskirts more attractive for all. THE RAY CAT SOLUTION by Benjamin Huguet “How to create a symbol that travels through time?”. That was the question being tackled by semiologists. As the US government were thinking of ways to dispose of nuclear waste which can last for a millennia. However, stone, symbols and language can fade beyond recognition. In 1981 semiologists proposed the idea of a cat genetically engineered to change colour in the presence of radiation. Now, thanks to the power of the internet, the ‘myth’ is taking hold, and science may follow suit soon enough. IT'S ALL ABOUT THE DOTS by Carol Lynn & Michael Gardiner Ferank Manseed is obsessed with dots. Completely and utterly obsessed with dots. To create his art, he uses the ancient method of hand poking tattoos with a needle and a stick. Specialising in spiritual motifs, swastikas, and sacred geometry, all his pieces share the same unique quality – they are made up of thousands of dots. INK, COCK & ROCK'N'ROLL by Matthew Harlock One of the more controversial offerings in this selection, graphic artist Steve Martin is being interviewed about his alter ego. A crazy, perverted lounge lizard monster that is known popularly as Krent Able. From his day as an alt-rocker to comic master, he uses his work and love of dick-jokes to shock, amaze and leave you asking “what the hell did I just read?”. This short’s main mission is clear – to establish where does Krent stop and Steve start, or are the lines more blurred than we think? #FilmFestival #LondonShortFilmFestival #AmaliahSMarmonHalm #LSFF2017 #LSFF #DocumentaryFilmReviews #Documentaries

★★ Directed by Martin Scorsese Starring: Andrew Garfield, Adam Driver, Tadanobu Asano, Liam Neeson Film Review by Kieran Freemtantle The religious historical drama Silence was a passion project for the legendary director Martin Scorsese, taking 25 years for it to be made; it has received critical plaudits. Despite this acclaim and the talent involved, Silence ends up being one of Scorsese's dullest films. In the 17th Century Catholic priests and their followers are being persecuted in Japan and have been driven underground. Father Cristóvão Ferreira (Liam Neeson) was a priest who was tortured during the inquisition and rumoured to have denounced his faith. Two of his former students, Sebastião Rodrigues (Andrew Garfield) and Francisco Garrpe (Adam Driver) do not believe what they hear and go to Japan to find their teacher and prove his innocence. When they arrive in the alien country they become the only two priests in Japan and become the spiritual focal point for the nation's Christians whilst they hide from the authorities. Silence is considered the third part of Scorsese’s unofficial religious trilogy and is one of two religiously themed films that Andrew Garfield stars in (the other being Hacksaw Ridge). As expected Silence is thick with Christian image and metaphor as priests and their followers suffer for their faith with the inquisitors distorting Christian beliefs, getting tied to crosses and being tortured in elaborate ways as they are forced to reject God, Jesus and the Virgin Mary. Whilst in one scene a character betrays the priests and is given silver coins which had obvious Biblical connotations. Silence has a striking opening of priests being 'baptised' with boiling hot spring water and being tied to the cross, refusing to submit. It carries on in this vein and characters do comment on the parallels between the trials of Jesus and the suffering the Japanese Christians undergo. As anyone who knows their history can see, the similarities between the suppression the Japanese Christians suffered is similar to other religious minority groups - from Catholics in 16th and 17th England, the Huguenots in France, Christians in the Roman Empire, and the Jews in Europe. Despite these striking visuals and the rich material of the religious suppression, Scorsese somehow made Silence as boring as possible, turning a film about torture, turmoil and religious doubt into a tedious collection of theological debates. He was channelling his inner Terrence Malick and his divisive Tree of Life where audiences were split between thinking the film was an art-house masterpiece and pretentious twaddle. There is no question that Scorsese is one of the best directors around, but with Silence he is deliberately at his most subdued - this is a film where people are drowned, scolded and buried alive and somehow it's dull and not engaging. It is understandable that Scorsese wanted to make a more sedate film because of the spiritual themes but the drama can still be dialled up. It is easy to argue that Scorsese was trying to understate the torture because it was routine for both the persecutors and the victims but the film is being seen through Rodrigues and Garrpe's eyes: they are outsiders to this world, it's an extreme to them. There should have been more shock when they see the violence and how Christian stoically face these trials. It was the opposite extreme to Mel Gibson's The Passion of the Christ which relished every blow - Silence’s treatment of the torture should have been somewhere between the two. The inquisitors are also absolutely sadistic, finding ways to prolong their victim’s suffering and even if they renounce their religion their suffering is prolonged to break other believers. Scorsese is more successful with the technical aspects of the film - mainly the cinematography and art direction. Taiwan doubled for Japan and that island's mountainous landscape serves as a perfect substitution for the Land of the Rising Sun. The sets for Japan, from small villages to 17th century Nagasaki, were brilliantly recreated. There was a contrast between the extremely poor village where people are living in rags and the priests can only operate at the dead of night, whilst the people in Nagasaki were dressed in expensive period dress. Scorsese doesn't sugar-coat the setting - as well as the tortures the peasants face, their lives are incredibly hard and there are great small details, like the peasants having crooked, yellow teeth, something most historical films ignore. The basic plot is similar to the novel Heart of Darkness, which was the basis for Apocalypse Now. All three are about someone going into a dark mysterious land to find someone who has gone rogue and believed to have gone native. Apocalypse Now was a war film so had more action but Silence could have had more drive to it, some urgency. When Rodrigues and Garrpe enter Japan they become the only priests in the country and they had a mission to keep the faith alive in the Land of the Rising Sun. When Rodrigues and Garrpe enter Japan there is an obvious culture shock but there should have been an emphasis on how Japanese villagers interpreted the gospel and how Japanese and Christian ideas would have mixed. It would have added weight to Ferreira, when he is properly introduced, and given his arguments more weight. Garfield was the main man in the film - his character was the one with the biggest crisis of faith, wondering how the Japanese Christian could endure such hardships and stay loyal to the religion. Yet the religion does make a virtue out of suffering. Garfield's Rodrigues constantly narrates his inner doubts but when he faces the inquisitors himself he refuses to give in: what he thinks and how he acts are very different. His compassion was never in doubt but his faith was put to the test. Driver's Garrpe is more pessimistic and advocated a more cautious policy and their early actions in Japan are mired by their moral and personal arguing. It is great to see Liam Neeson move away from his recent action stardom and work again with a celebrated director. Silence can be describe as being easier to admire than enjoy. The technical acumen is there and Garfield gives an excellent performance in the central role but Silence is a film that requires the patience of a saint. #FilmReviews #KieranFreemantle #TheatricalReleases #MartinScorsese #AndrewGarfield #AdamDriver #LiamNeeson #TadanobuAsano

★★★★ Directed by Garth Davis Written by Luke Davies Starring Dev Patel, Nicole Kidman, Rooney Mara, Sunny Pawar, Abhishek Bharate, David Wenham & Divian Ladwa Film Review by Dean Pettipher As alluringly clear as the most valuable of diamonds was the fact that American Express played the role of the 60th BFI London Film Festival’s (LFF 2016) principal sponsor made known to all with even the slightest capacity for inquisitive observation. Thus, along with the excitement that sweetened the air during one of the grander and more extravagant red carpet events of the LFF 2016 came an undeniable sense of anxiety. The understandable degree of anxiousness was rooted within the pressure placed upon a film because it had been specially chosen to represent arguably the most significant partnership behind the festival. Fortunately, the risk paid off, for even if Lion (2016) does not manage to seek out the top spot reserved in audience hearts for the best film of the year or indeed the finest production of the LFF 2016, the unquestionably affecting family drama will definitely find a home within those same hearts as a spectacular film that simply needed to be seen. Lion is a roaring delight, not least because of it is based on an astonishing true story that has been elegantly adapted for the silver screen, featuring many crucial reminders about how miracles can and do really happen. The acting at the forefront of Lion, particularly from Dev Patel and Nicole Kidman, is arguably the most heartfelt witnessed in recent memory. Patel’s gentle, sincere and evidently deeply felt interpretation of Saroo Brierley is superb, in no small part due to his excellent employment of a believable Australian accent with a Tasmanian dialect. Additionally, Patel utilises carefully considered hand gestures, striking facial expressions and well-judged tonal shifts in his uniquely eloquent voice. Kidman once again shines as a major supporting character that requires a noteworthy change in appearance, most notably in relation to her hairstyle. Her new look maintains Kidman’s commanding beauty centred within her majestically azure-blue eyes. Her role in Lion proves to be as significant as her supporting role in The Railway Man (2013), albeit the love explored throughout the latter movie with Colin Firth is of the truly romantic sort, as opposed to the love between mother and child within the broader context of family that the former film examines principally via Kidman’s contribution. Not far behind Patel and Kidman lies the role occupied by Divian Ladwa, which, while small in terms of screen-time, allows for mind-blowing moments of artistic prowess that take full emotional advantage of key turning points that consequently result in very suddenly heated scenes. Should Ladwa receive more prominent supporting roles or indeed some leading roles as a result of his work in Lion, he may quite likely be one to watch with great anticipation in the near future. One final critical note regarding the acting is the extraordinary contribution made by Sunny Pawar as the young Saroo Brierley. One would think that Pawar might have already mastered method acting through his passionate performance that suggests he is a very worthy recipient of the role. Incidentally, Pawar won the part following a casting process, which, according to the line producer, Pravesh Sahni, involved the auditioning four-thousand boys. Pawar works brilliantly with his co-actor and fellow newly-discovered child star, Abhishek Bharate, as they together keep audiences profoundly engrossed throughout the first act of the movie. Lion marks the first feature film directed by Garth Davis, who is perhaps best known for his directing work on the television series entitled Top of the Lake (2013-present). Davis fantastically compares and contrasts the two countries visited in the movie, India and Australia. Both settings feel very much alive, as if audiences have been transported beyond the fourth wall and are present with Saroo on a journey of self-discovery, which, by the end, punches almost as hard as any Dickensian variation of the tale ever could. The authenticity provided by the filming on location in these two settings is complimented by the decision to employ a plot structure charting Saroo’s life chronologically rather than through moving back and forth with flashbacks for instance. Such a technique has been similarly used in the atrociously underrated drama entitled The Good Lie (2014). For both movies, the technique serves the story with a vital sense on controlled stability, through which the director and the team can easily speed up and slow down the pace of the story when necessary, while maintaining a firm focus on its central themes. Thus, heart of the tale is never lost to unnecessary complications that could cause audience confusion or boredom. Patel has stated that the screenplay for Lion is the best one that he has ever read. Without intending to overhype Luke Davies’s script, which is adapted from Saroo Brierley’s memoir entitled “A Long Way Home” (2014), it is supremely superb. Davies’s final draft achieves a fine balance between an essential sensitivity towards the source material and the crucial fictitious variations required for a compelling cinematic story. What Davies does particularly well is employing succinct supers for dramatic effect. That is to say, Davies very carefully selects words and short descriptions, which are briefly superimposed on the screen for a few brief moments of audience attention, in order to make certain essential details abundantly clear. Such a device is not used here to dumb down the story but rather to gracefully emphasize key information, without which, the full significance of certain events would never be truly felt. As writer of novels and poetry, Davies shows once again, following on from his work for Life (2015), how he is a truly versatile writer who ought to be writing more screenplays, be they adapted or original. The music of the film is mostly made up of beautiful and poignant piano melodies that could quite easily entertain the grandest of concert halls. The tunes are not as easy to remember and recall for life as the main themes from Star Wars (1977-present) for instance. However, once they are heard again for the first time in awhile, they soon reawaken whatever pleasant sensibilities were felt during the previous listen. The duo behind the original score, Volker Bertelmann and Dustin O’Halloran, illustrate how collaboration between two veteran composers can prove to be just as fruitful as when the composer works solo. The union of German and American talent frequently gives way when necessary to periods of silence or nightclub music, always returning with poise at arguably all of the most significant moments within the story. Finally, regarding the soundtrack, there is an awesome song performed by Sia and produced by Greg Kurstin, during which one just cannot leave his or her seat. The greatest concern with the film Lion is that while the picture offers some impressively insightful investigations into the relationship between Saroo and his adoptive mother, Sue Brierley, the same level of emotional depth is not descended to regarding Saroo’s relationship with his adoptive father, his adopted brother, or his girlfriend. As result, audiences are left with just a faint sense that some questions have been left unanswered. Moreover, some major rifts in character connections feel as though they have been brushed over and left to be forgotten in their unhealed states. Thus, the significance of those characters within the context of Saroo’s journey seems like it has not been fully appreciated. On the other hand, not one character is two-dimensional and not one character looks as though he or she should not be there. Additionally, the most vital questions are answered by the time the credits roll, just before some lovely post-credit footage that reminds audiences of the true story behind the movie’s magic. Not so long ago, the nominations for the 2017 Golden Globe Awards were announced. By now, One may have frequently sat in a silent state of complete and utter bemusement over the years in the wake of some of the often politically-motivated or otherwise recurrently incomprehensible decisions made by the Hollywood Foreign Press Association. The most recent illustration would be when The Martian (2015) won the 2016 Golden Globe Award for Best Motion Picture – Comedy or Musical. Even the film’s director, the legendary Ridley Scott, dared to declare, “Comedy? But anyway I’m very grateful for that.” Scott’s science fiction masterwork was of course worthy of the most prestigious forms of recognition but not to the extent where powerful individuals were able to so blatantly pretend that the picture was something it so plainly was not. Another good example would be the year when Leonardo DiCaprio was nominated twice for the same Golden Globe Award entitled Best Actor – Drama. DiCaprio left the ceremony in 2007 without either of his fantastic performances in The Departed (2006) or Blood Diamond (2006) being crowned the winner. Since DiCaprio’s selection for two of the tragically few slots available for that particular award category did not go on to win, meaning that other actors lost out on recognition of their superb work that year for nothing, one could not help but wonder, “what on earth was point of that?” For Lion, however, the Golden Globe nominations are accurate and well-deserved. Whether or not the movie wins the trophies for the best drama picture, the best leading actor for Dev Patel, the best supporting actress for Nicole Kidman, or the best original score, all of these elements have been rightly pointed out as pillars of excellence. Truthfully, the competition this year will be fierce and Lion may become lost amongst the other, more hard-hitting contenders like La La Land (2016), Manchester by the Sea (2016) and Hacksaw Ridge (2016) to name but a few. Nonetheless, Lion will live long at least faintly in memory as an incredible work of art and storytelling about the power of love in its universal familial guises. Lion will roar passionately within one’s heart not least because it is wonderfully adapted from an inspirational true story that needed to be shared. Furthermore, Lion will lie safe within one's soul because it joins the ranks of the admirably brave projects risking commercial success in order to champion diversity within the film industry for the sake of a good, well-told and above all authentic story. #FilmReviews #TheatricalReleases #DeanPettipher #BFILFF #LondonFilmFestival2016 #DevPatel #NicoleKidman #RooneyMara #GarthDavis #FilmFestival

Film Festival Feature Now in its 14th year, LSFF is recognised as the premiere showcase for cutting-edge UK independent films. Critically lauded for its provocative cross-arts programming, the festival has become synonymous with unique, zeitgeist capturing experiences and events, making it a mecca for creative talent and an important moment in the UK film calendar. This year’s festival mantra comes from Huggy Bear’s 1992 single Her Jazz, one of the rare UK representatives of riot grrrl in the early nineties. Based on the song’s ethos ‘this is happening without your permission’, LSFF 2017 has embraced this ideology, showing a huge wealth of diverse and challenging content, especially in the light of the events and news of 2016. The festival will show a huge selection of UK short films across music, comedy, LGBTQ, fashion and culture. Highlights of this year’s festival include a programme that tells the story of the birth of riot grrrl, which resonates with today’s disillusioned youth. Using confrontational imagery, a generation of female filmmakers also paved the way alongside their punk counterparts, looking to the scene for inspiration. David Bowie Sound & Vision, a series of screenings at 19 Picturehouse cinemas across the UK, captures the story of his career, taking in three decades, from his experimental beginnings of the sixties to the golden era of the seventies to his world of domination in the eighties with a series of critically acclaimed films that have rarely been seen cinematically. LSFF will also look at the rise of social media culture, as this year’s comedy strand will see 600 of Glaswegian comedian Limmy’s vines screened today for the first time. This 14th edition of the London Short Film Festival is as always a showcase of the best of British talent with around 350 short UK shorts selected from 2000 open submissions. The festival continues to highlight international talent for a 3rd year, as well as an ongoing dedication to documentary short film. LSFF aims to inspire its audience, bringing back voices and images from the past. Whether it be through the exploration of the work of late US short story writer Raymond Carver or the ground-breaking nineties LGBT work of London filmmaker Annette Kennerley, LSFF gives new generations the opportunity to reflect on social and cultural issues questioning whether progress has been made over the years. The festival takes in all forms and styles of moving images, a highlight being the 16mm film and analogue synthesizers used as part of the LSFF 2017’s launch event, in collaboration with Moog Sound Lab, Savages and Analogue Recurring. 2017 also sees the launch of With Teeth; a long-term short film commissioning fund, with an aim to become a solid support base for the most exciting emerging cinematic voices and auteurs, supported by Arts Council England National Lottery Funding. Grace LaDoja, Alex Taylor and Alnoor Dewshi are the first recipients who will premiere new work, commissioned via the fund, at the festival. The ICA and Hackney Picturehouse continue to be the festival’s lead venues, hosting the Industry, New Shorts and Special events programmes. This year also sees the introduction of Picturehouse Central, as well as Hackney’s Moth Club, who will host live music performances and events. Music This year’s music strand will look at riot grrrl to see how women took hold of the music scene, creating film, zines and other artforms in its wake. The White Trash Girls, Gun Girls and Riot Girls programme brings together riot grrrl influenced film and its directors; attendees will receive a specially commissioned zine, drawing on the content and ethos of the films, putting them in the context of the contemporary DIY scene. To complement the programme, LSFF 2017 is screening Tamra Davis’ noughties cult classic, Crossroads, starring Britney Spears, Zoe Saldana (Avatar) and Taryn Manning (Orange Is The New Black). LSFF 2017 also looks at other youth and subcultures past and present, from Bowie to grime to black rock. David Bowie: Sound & Vision, is a celebratory screening on the first anniversary of his death, showing short films from across three decades at 18 Picturehouse cinemas across the UK. Picturehouse Central will host a Q and A with directors Alan Yentob, Michael Armstrong and Julien Temple, with 50p from every ticket sold donated to Save The Children. Other highlights include A Black Rock Symposium, culminating in a live set from Big Joanie and a screening of Begotten, accompanied with a live score by The Begotten, and Bands That DIY Together, Stay Together, is a history of music videos through DIY bands from Skepta to the Pixies, with a live set from The Rhythm Method. Long Live the New Flesh, which opens the festival, features the Moog Sound Lab, will see Fay Milton and Ayse Hassan from Savages experiment with analogue sound-scaping, synthesis and effects, alongside live drums, with 16mm visuals by David Leister & Bea Haut (Analogue Recurring). LGBTQ LGBTQ content is led by New Queer Visions: Roots Manoeuvre, a diverse set of tales, that raises but doesn’t necessarily answer a panoply of questions about crossing borders and identities taking shape. This is followed by New Queer Visions: A Special Relationship a richly diverse series of shorts and documentaries telling stories from across the US of A, taking in everything from anime, sharks and country music. A percentage of ticket sales will be donated to the UK Lesbian & Gay Immigration Group and the Queer Kampala International Film Festival. Another highlight, Club Des Femmes’ Smoulder and Curl…, is a unique and deeply personal body of 16mm films that explore the emotional ebb and flow of lesbian relationships and sexuality. The screening will be followed by a live Q&A with Annette Kennerley, hosted by Club Des Femme’s Selina Robertson. Fashion and culture At the heart of LSFF 2017’s fashion and culture programming, Youth Decades is a selection of documentaries spanning the decades, examining the dreams and aspirations of each generation’s ‘youth’ past. Where possible, these classic films are being screened from original formats including 35mm, presenting a rare chance to see these hard-to-catch films on the big screen. This essential double-bill of short docs: Part One: Fifties, Sixties & Seventies, and Part Two: Eighties, Nineties, Noughties and Beyond culminates with the LSFF With Teeth commission by Grace Ladoja, celebrating the youth subculture in London 2016. The Sound Of Fashion chronicles the birth of the fashion film, a relatively new arrival to the short film festival scene, described by some commentators as the new music video. Following the screening Leonie Cooper (ex-London College of Fashion student and Senior Staff Writer at NME) will lead a panel discussion with Katie Baron (author of Fashion Creatives Shaping Pop Culture) Fashion VJs! Live filmmaking! Grime! and Glamour! Fashion In The Sonic Landscape is a programme of live multi-sensory visual projections curated by the London College of Fashion and Domino Recording Co will re-create the spontaneity and immediacy of the fashion world through fashion film, interactive live editing and intoxicating beats. Performance artist and filmmaker Harriet Fleuriot and artist Sarah Cockings will showcase their project Plasma Vista in a remixed state, showcasing its episodic art, design products, furnishings and clothing and pushing these back into a self-rendered dysfunctional experimental piece of moving image. WBW Awards photographer of the year 2016, Olivia Rose, will present her photographic work for This Is Grime, the definitive book on Britain’s most provocative music genre (written by Hattie Collins) as live projections, accompanied by a suitable DJ soundtrack from Domino Records including artists such as Range, Mr Mitch, Kwes and Rags Originale. International 2017 is the third year of LSFF’s international film programming. A highlight is Another Kind of Girl a film made in response to the often negative reporting of the Syrian refugee experience. Filmmaker Laura Doggett travelled to Za’atari, organising workshops that engaged Syrian girls in artistic and technical training in video to reflect on and tell their own stories in first person. This is a rare chance to see all seven film in the collection followed by a panel discussion exploring the portrayal of refugees in the media, and projects that endeavour to challenge mainstream rhetoric, chaired by BAFTA nominated producer of A Syrian Love Story, Elhum Shakerifar. LSFF is screening Raymond Carver: Short Cuts, and Raymond Carver Short Stories, both in association with MUBI. These three short films (Whoever Was Using This Bed?, Tropical Fish and Want To See Something) will highlight the short story form adapted to the cinema, and will be followed by a panel discussion featuring director Chris Rodley. With Teeth This year LSFF announces the With Teeth commissioning fund. Intended as a long-term bi-annual award, With Teeth differentiates itself from more traditional avenues of funding as it aims to nurture diverse and unconventional independent short filmmaking, underscoring LSFF’s commitment to supporting innovative moving image. The awardees of the inaugural With Teeth commissions, supported by Arts Council England, are Alex Z. Taylor (Spaceship), Alnoor Dewshi (77 Beds) and Grace LaDoja (creative director, Skepta). Each have directed a film to premiere at the LSFF 2017. Alex Z. Taylor’s Lily Goes to Kiss Land draws on themes and obsessions with outsiders and teenage subcultures. It will be screening alongside Taylor’s loose and improvised short films that blur the lines between documentary and fiction. Grace LaDoja’s Evolve will be premiered alongside a showcase of Grace’s work, which spans the worlds of music, art, fashion, and street culture. From creating music videos for peers including Skepta and FKA Twiggs, to directing campaigns for global brands, her films always return to a single theme: telling the stories of true individuals, and doing so in the most authentic way possible. Alnoor Dewshi’s Kickbox Hijabi will be screened with a retrospective of Alnoor’s work alongside other proponents of the ‘get-out-there-and do-it’ school of thought. LSFF will screen an early work by Shane Meadows and an abridged gallery piece by artist filmmaker Rachel McLean, followed by Alnoor in conversation with fellow provocative veteran DIY filmmaker Andrew Kotting. If you are interested in attending the London Short Film Festival 2017, visit the website below: http://shortfilms.org.uk/lsff2017/events #LondonShortFilmFestival #FilmFestival #FilmFeature #ShortFilms #LSFF2017 #LSFF #Filmmaking #FilmmakerFeature

Directed by Dastan Zorab Short Documentary Film Review by Owen Herman The Plight of Freedom wastes no time in plunging the viewer into the distressing world of refugees. The short documentary, from director Dastan Zorab, is an intimate look at a Middle Eastern migrant camp filled with refugees from Syria and the surrounded areas. Zorab presents a very stripped back documentary short film, filled only with informal interviews with the refugees themselves. The stripped back approach and the short runtime allow Zorab to really get to the heart of the problem. The refugees are full of despair for lost love ones and a deep hatred of their new way of life, they rant about both sides, how they are seemingly stuck in the middle of this brutal war, and they show their depressing and inadequate living conditions. However, there are touching moments of bravery, particularly from the kids, as people learn to live with their desperate situation. The Plight of Freedom aims to show the human side of a story that is mostly covered for its economic and political implications. It certainly achieves this through its blunt and honest approach There are no clever graphics or clips apart from what was filmed by the crew, it is purely the experience of the refugees, told by the refugees. It is indeed an important story that needs to be told, particularly as it is happening right now, but The Plight of Freedom fails to add anything new to this, or bring up any unique ideas. It shows the pain and suffering of the refugees in powerful yet simple ways, but it remains, like plenty of other reports of life in these camps, very general. One example would be one man’s tale of how he was told he would only be out of his home for a day, yet a year later he was still in a camp. This could’ve been explored with much more depth, showing us a problem that has been reported far less. Although the tales the documentary tells are unsurprising, they are told in beautiful way. Zorab and director of photography Abdul Salih capture everything from the breath-taking scenery just beyond the camp’s fences to the sadness in the eyes of the refugees. There is some excellent cinematography on display, which lifts The Plight of Freedom above similar documentaries and reports. Overall The Plight of Freedom is an impressive and important documentary that covers an extremely relevant topic well. It doesn’t quite explore its subject matter with enough depth, but it tells some powerful stories that are well worth hearing. #DocumentaryFilmReviews #Documentaries #OwenHerman #DastanZorab #ShortFilms

★★★★★ Directed by Gareth Edwards Starring Felicity Jones, Diego Luna, Alan Tudyk, Ben Mendelson, Donnie Yen, Jiang Wen Film Review by Kieran Freemantle Star Wars! It is one of the biggest franchises around, spreading its tentacles from films to video games to animated series to books. However, the films have been a dynastic saga about the Skywalker clan, until now with Rogue One being the first spin-off film in the series and a bolder film than The Force Awakens - which was a repeat of A New Hope. Jyn Erso (Felicity Jones) is a young girl who saw her father (Mads Mikkelsen) being captured by the Empire and her mother killed. 15 years later she had become a criminal with no allegiances until the Rebels free her so she can do a mission for them, meet a rebel extremist and Jyn's former guardian, Saw Gerrera (Forest Whittaker) who has vital intelligence about the Empire's new weapons from Jyn's father. Rogue One is a direct prequel to A New Hope, tying into the events of the first film and the writers, director and producers who were able to pull off a marvellous trick of making something fresh and original, expand the universe for people who only experienced the onscreen version of Star Wars - whilst telling a story that most audiences know the outcome to. Director Gareth Edwards perfectly recaptures the look of the original trilogy in its set-design and costumes and puts his own directional stamp on the series: he uses location title for showing the different planets. Rogue One takes away the famous opening crawl and trademarks like the screen swipes: it was a risk and it paid off. Rogue One was what the prequel trilogy should have been - it was a darker tone like the prequels were meant to have and there is a clear emphasis on the 'Wars' part of the title. It told a story where audience members knew the outcome, but still felt unique and not a carbon copy of other Star Wars film plots. It is an original story that is cleverly tied to A New Hope thanks to the screenwriters Chris Weitz and Tony Gilroy. The film also expands the mythology and science in the universe without being completely stupid i.e. midi-chlorians. Rogue One showed more of the culture and religion of the Jedis, with the Empire raiding their temples. Watch the official Movie Trailer for Rogue One: A Star Wars Story above. Another risk of prequels is that they could be seen as nothing but fan service. The Hobbit: The Battle of the Five Armies and Fantastic Beasts and Where to Find Them were examples of being films obsessed with fan services and references for the sake of it. Rogue One had references to the series as a whole - some are recurring lines that are said in all the films, references that are tied into the wider series, like a certain Jedi and a few little nods by fans for fans. They are not forced and some even have a dramatic purpose. Rogue One also marks the first time that a live-action Star Wars film has been composed by someone other than John Williams: Michael Giacchino. Giacchino is one of the most celebrated composers around, working on films like the Mission: Impossible series, the rebooted Star Trek films and many Pixar films and he was able to recreate Williams' sound - it could easily work within the other Star Wars films. The Star War series is a brand that supersedes any big name actors and Rogue One cast a collection of actors on the edge of hitting the big time: respected character actors and genre actors. Jones was cast after she was nominated for an Academy Award for her role in The Theory of Everything and along with her roles in Inferno and A Monster Calls she has had a terrific year. She was convincing in the action scenes and being the jaded young woman who isn't that interested in the rebellion, but deep down has got a good heart. One of her biggest moments was when she sees a message her father left for the resistance and sees him for the first time in 15 years. She was overwhelmed just by a hologram. The big stand out performer was Alan Tudyk as a reprogrammed droid K2-SO. He had a dry, sarcastic delivery that was sometimes pessimistic and always biting. Tudyk sounded similar to Anthony Daniels and his character came across as a more confident version of 3-CPO. Despite his pessimism, K2-SO was loyal to Cassian Andor and was quite the badass in battle. One of the biggest controversies about the film was using technology to bring Peter Cushing back from the dead - some commentators have said it was in poor taste despite his family allowing the film to use his likeness and the effect is seamless. The use of Cushing's Grand Moff Tarkin was used sparingly. Whilst the film could have used a new character - but it does add to a sense of continuity in the series - as well Jimmy Smits to reprising his role as Bail Organa from the prequels. There were rumours that Rogue One was a troubled production - it was reported that there was a lot of reshoots and that director Edwards was kicked off the project. If any of these rumours are true it doesn't show in the final product. Edwards is establishing himself to be one of the best sci-fi directors around - having already made Monsters and Godzilla and is easily one of the best special effects directors around. He was able to recreate the look and feel of the original trilogy and put his own stamp on the series - making a darker war film that uses some WWII imaginary. The final battle can easily go down as one of the best in the whole franchise. Whilst Rogue One had a great opening and closing act it was in the middle where the film suffered from a saggy middle. The film was just stalling to extend its runtime, trying to add some extra emotional drama. Rogue One works both as a sci-fi fantasy action for casual moviegoers and as an extension to the Star Wars series: showing that the films can move beyond the Skywalkers and Solos. It was truly an epic space opera. #FilmReviews #TheatricalReleases #KieranFreemantle #StarWars #5StarFilm #Scifi #GarethEdwards #FelicityJones #MovieTrailers

Directed by Ross Adgar Starring Dean Sills, Carley Motley and Ross Marshall Short Film Review by Catherine Pearson Megan is an ambitious short film that throws its audience into a dystopian future of fear and isolation. It is the summer of 2016 and there are public information broadcasts playing on every available TV screen; the F214 virus is becoming widespread and citizens of Great Britain are urged to wear protective gloves at all times and wash their hands following contact with any other person. Having watched the warnings together at the local pub, Megan (Carley Motley) pleads with her boyfriend Callum (Dean Sills) to promise to kill her if she becomes contaminated with the virus. Unable to consider this possibility, Callum avoids providing an answer. Intercut with scenes from 2016, we see Callum in the spring of 2021, setting up camp in an unknown outdoor location having just buried something beneath the soil. He appears to be fighting for survival and Megan is nowhere to be found. Ross Adgar’s short film boldly creates a parallel Britain living a dystopian reality with a great deal of help from the use of a black and white filter and some really great location shooting. In stark contrast to the colour shots of what is presumed to be the ‘present day’, in which Callum is seen burying something in a grassy area, the rest of the film plays out entirely in black and white. This is a simple yet effective technique of creating an atmosphere of bleakness and isolation and highlighting how desolate and sparse the landscape is as Callum trudges solo through the wilderness in 2021. The areas chosen for the film are ideal, with one particular shot of a bunker covered in graffiti and surrounded by leaves really stressing the loneliness of the film’s central character. There is evidence that people were once here but now he is very much alone. As a film, Megan is at its best when there is no dialogue. This is not a slight on the actors, whose physical performances do exactly what is required for the plot, but it would likely have been even more isolating and affecting if it were a silent film. Great portions of Callum’s journey in 2021 are depicted in silence and it is almost a shame when some words are uttered when the images are able to say more. The dialogue is a little stunted, particularly when Megan declares very plainly that she would rather die than contract the virus, and we are only offered a fleeting glimpse of Megan in 2016 before Callum sets out to find her in the future. It can therefore be difficult to invest in her character; the titular character that is essentially a stranger. The film does, however, have a fantastic sequence before Callum collapses to the ground in a scene in 2021. The flashing images of officials wearing masks – a tried and tested means of evoking fear – together with blurred images of Callum and Megan together and a beautiful shot of Megan looking directly into the camera really brings the pieces of story together, helps the audience empathise with Callum’s plight and showcases some excellent camerawork all at once. Not without its flaws but hugely ambitious, Megan is a short film worth experiencing with some great visuals. The title image of what appears to be a virus under a microscope is both unsettling and strangely mesmerising and an excellent image with which to start and end the film, even if the ending is less unnerving than the simple shots of the barren landscape. #ShortFilmReviews #CatherinePearson #Scifi #Dystopianfilms #BlackandWhite #RossAdgar #DeanSills #CarleyMotley