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Carmen film review by UK film critic George Wolf. Starring Melissa Barrera, Paul Mescal directed by Benjamin Millepied. HOME | FILMS | REVIEWS Carmen Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 17, 2023 Directed by: Benjamin Millepied Written by: Loic Barrere, Alexander Dinelaris, Lisa Loomer Starring: Melissa Barrera, Paul Mescal For this latest reimagining of the classic story, director Benjamin Millepied credits inspiration from Prosper Mérimée’s original novella from 1845, and Alexander Pushkin’s poem “The Gypsies” from 1824. Flashing more modern vibrancy through culturally rich music and dance, this new Carmen arrives as a wonder of visionary composition that struggles to find an equally compelling connection to its characters. The writing team of Loic Barrere, Alexander Dinelaris and Lisa Loomer crafts a surface-level tale of lovers on the run. Aidan (Paul Mescal) is a troubled Marine veteran volunteering on a night patrol along the Mexican border, while Carmen (Melissa Barrera) is trying to cross after the death of her mother. A violent altercation leads to casualties, and the two are soon trying to stay one step ahead of authorities. Millepied (choreographer and co-star of Black Swan ) knows his way around a dance number, getting an assist from flamenco specialist Marina Tamayo for sequences that sport some thrilling fluidity. The acclaimed talents of cinematographer Jörg Widmer (The Tree of Life, V for Vendetta ) and composer Nicholas Britell (Moonlight, If Beale Street Could Talk ) are also on full display, rounding out a veteran stable of technical skill that consistently lifts the film’s imagery and scope. Mescal (Aftersun ) continues to show a gift for quiet nuance, Barrera (In the Heights, Scream , Scream VI ) finally breaks out of her reliance on posing, and the veteran Rossy de Palma (various Almodóvar projects) steals scenes as a savvy nightclub owner, but the script seems content to keep depth at a distance. Pushkin’s centuries-old themes of noble savages and the tragedy of life are too often given a heavy hand, needing a rescue by the visual poetry on display. This Carmen tells us “dancing will you heal you.” Indeed, it’s one of the cures for what ails a less than passionate romance. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Parasocial film review by UK film critic James Learoyd. Starring Joseph Jeavons, Sam Teague, Jordan Mook directed by Joseph Jeavons. HOME | FILMS | REVIEWS Parasocial Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Mar 22, 2025 Directed by: Joseph Jeavons Written by: Joseph Jeavons, Owen Swift, Bala Brown Starring: Joseph Jeavons, Sam Teague, Jordan Mook Parasocial is the second film by director Joseph Jeavons I’m discussing – the first being Wrists Tied – and I would argue that this is the superior of the two. As enjoyable and bonkers as Wrists Tied was, there’s a cleanness; a comic succinctness present in this one which is just outstanding. Parasocial is – and I kid you not – a laugh-a-minute comedy. This is an unashamedly dense movie, joke-wise, but it’s also not just the humour which makes this a great, low-budget short. Jeavons demonstrates a constant sense of play and chaos which really makes the whole cast feel endearing. This also lies in its structural ability to have each scene be a stimulus, or space for new jokes – as opposed to a scene meant to simply explain the plot. The film follows the character of Ricky (played by Jeavons): an innocent, easily manipulated young man who just wants to find a best friend in his roommate Dylan (Sam Teague). Dylan is a criminal investing in “illegal meats” (horse meat), stringing Ricky along for the money and the apartment. Eventually, Dylan involves Ricky in his escapades, leading to an amusing cop double-act getting involved, and an eventual shootout. Both central performances are big and fantastic and really make the movie. These performers understand comic timing; even if the jokes are simple and infantile, it still works because the viewer can clearly see how much fun they’re having. These films feature an extensive cast of performers, which is rather impressive for a no-budget work made by young people at the beginnings of their careers as filmmakers. Already they demonstrate such a willingness to collaborate with others, using film as it should be used in the early stages, a fun space in which to bounce ideas back and forth and come up with something wholly unique. Continuing with the theme of collaboration, I should also mention that Parasocial was written by three individuals: Joseph Jeavons, Owen Swift and Bala Brown. Some might argue that too many cooks spoil the broth, but quite frankly, I would say that doesn’t apply to comedy – particularly not in this instance. In the same way that Edgar Wright requires a little sprinkle of Simon Pegg to make his sensibility truly engaging, this script operates in a way that just gels together. You can tell that these jokes have been tested, for they land nicely, and with practice. For instance, one bit which is consistently funny involves Ricky turning to the camera – Malcolm in the Middle style – and saying something like “I wish Dylan was my best friend”. Dylan, of course, then hears what he says and reacts accordingly, as if Ricky’s gone mad. It’s a simple bit, and one concedes it’s been done before, but it’s great because of the rhythm, the editing, the sincerity of performance. Parasocial has a clear premise and a tight structure. Despite once again taking from the Bottle Rocket handbook of criminality = comedy, and to also endear us to the characters, this film in fact demonstrates that Jeavons has a unique vision and an artistic clarity. I’m excited to see more from these filmmakers. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

Anora film review by UK film critic Matt Weiner. Starring Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov directed by Sean Baker. HOME | FILMS | REVIEWS Anora Film Review average rating is 5 out of 5 Critic: Matt Weiner | Posted on: Oct 31, 2024 Directed by: Sean Baker Written by: Sean Baker Starring: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov Sean Baker doesn’t shy away from seamy subcultures, and the worthiness of people trying to get by outside of conformity. Yet it hasn’t been until his Palme d’Or winner Anora that he has found one group without any redeeming qualities. This shocking and depraved group of people is, in this case, the jet-setting global elite. Anora “Ani” Mikheeva (Mikey Madison) is no stranger to high rollers at her luxe Manhattan strip club. But there’s wealthy, and then there’s wealthy . When a party of Russians ask for a dancer who speaks their language, Ani becomes an object of desire to Ivan “Vanya” Zakharov (Mark Eydelshteyn, pitch perfect as a manic boychild whose naivete can turn on a dime from charming to something nearing sociopathic disinterest). Vanya has taken up residence in his Russian oligarch parents’ Brighton Beach mansion. He is in America to study, but spends his days playing video games and his nights partying into oblivion—anything to avoid being sent back to Russia to join the family business. His relationship with Ani quickly escalates, from sex work outside the club to becoming an exclusive escort to an impromptu Vegas marriage. This being a Baker fairytale, Ani’s whirlwind rags-to-riches marriage is only the beginning of her Cinderella story. What follows is a comically grotesque odyssey through the Russian-dominant Brighton Beach, as Vanya eludes his new bride and a superb supporting cast of family fixers and toughs sent to get the marriage annulled before more shame is brought on the Zakharov family. With the callow Vanya on the run, Baker instead focuses on the chaos and damage (both physical and emotional) left in his wake. And while this is a deserved star turn for Madison, who is electric and enthralling, she is just one of the victims of Vanya’s selfishness. She joins—or rather is dragooned into—the evening’s hunt for Vanya by a trio of Russian and Armenian strongmen, led by the beleaguered Orthodox priest Toros (Karren Karagulian, a Baker mainstay in his best role yet). For much of their night together, Baker pulls off a risky balance between outright comedy and what is, essentially, the kidnapping of a sex worker by three large, powerfully connected men. None of this would work without Baker’s characteristic empathy for everyone. And it certainly wouldn’t feel so easy-going were it not for the relationship between Ani and the silent strongman Igor, played by Yura Borisov with a standout turn that nearly rivals Madison’s. Baker’s most memorable characters are often wrestling with the American dream, and Baker himself seems like a Rorschach test for your own baggage: both pointed critic and secret optimist. Even at his most hopeful, though, there’s always a catch. Save the very few who can buy their way to hedonic bliss, carving your own real-life fairytale ending won’t look like it does in a Disney movie. About the Film Critic Matt Weiner Theatrical Release < All Reviews Next Film Review >

Perfect Days film review by UK film critic Hope Madden. Starring Koji Yakusho directed by Wim Wenders. HOME | FILMS | REVIEWS Perfect Days Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Feb 22, 2024 Directed by: Wim Wenders Written by: Wim Wenders, Takuma Takasaki Starring: Koji Yakusho Wim Wenders is having a year. Though his epic 3D documentary Anselm somehow regrettably missed out on a Best Documentary nomination from the Academy, his unhurried slice-of-life Perfect Days caught their attention. Nominated for Best International Film, Wenders’s lovely drama tails Hirayama (Koji Yakusho, perfection) through about two weeks in his life. Hirayama doesn’t have a lot to say, but he misses nothing in his days driving from public restroom to public restroom with Tokyo Toilet written on the back of his pristine blue jumpsuit. Tools in rubber-gloved hand, Hirayama is meticulous as he works. He has a routine that suits him—brings him joy, even—and Wenders cycles us through that routine day after day after day. At a full two hours, Perfect Days begs your indulgence with this montage of minutely changing events. The cumulative effect is, at first, lulling. As days pass, some small change draws attention and we try to predict a plot—will this turn into a love story, will that create financial chaos, is a tragic backstory of abuse about to come to light? Not the goal of this movie. The film actually began as a commissioned short film meant to celebrate Tokyo’s pristine public toilets. I swear to God. It blossomed from there into a lithe, meditative character study shouldered by an impeccable Yakusho. Though there are moments in the film that feel orchestrated—today, this happens; today, this happens—but not one breath, smile or nod of Hirayama’s head betrays the fiction. His is a mainly solitary, nearly silent life that can be surmised as a middle-aged man’s intentional creation. Hirayama has left something behind, has stripped himself of something, and what remains is what he finds vital: work where you can see a result; floor to ceiling shelves of books; a tidy and enormous collection of cassette tapes; a room full of tiny plants taking root, thanks to his tender care. You could fit Hirayama’s dialog on less than a single page, and there are times when his silence feels forced and almost comedic. But Yakusho’s brilliantly nuanced, heartbreakingly felt performance makes up for any flaws in the film. Wenders punctuates scenes with joyously on-the-nose song choices—minus the cassette hiss—and the final few singalong minutes showcase one actor’s transcendent work. About the Film Critic Hope Madden Theatrical Release, World Cinema < All Reviews Next Film Review >

Yellow film review by UK film critic Jason Knight. Starring Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas directed by Elham Ehsas. HOME | FILMS | REVIEWS Yellow Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 16, 2023 Directed by: Elham Ehsas Written by: Elham Ehsas Starring: Afsaneh Dehrouyeh, Ahmad Jan Mano, Elham Ehsas In August 2021, the Taliban overtook Afghanistan. This short drama explores the aftermath. It is a busy market in Kabul and a young woman (Dehrouyeh) is looking to purchase her first chadari. He enters a clothing shop and requests one from the assistant (Ehsas). He helps her make the right choice, gives her advice and is quite helpful. She does not seem to be fond of the garment and appears to realise that her life is changing. This film is about a turning point in a woman's life, following the Taliban's conquest of Afghanistan. It is obvious that it is the first time she is wearing a chadari, as she does not know how to put it on, which highlights the change that she is going through. Through her eyes, the audience sees a procedure that many women in Afghanistan are going through: getting a chadari for the first time and entering a new stage in their life. The screenplay calmly examines the procedures that the heroine undertakes in order to obtain a chadari and thus (in some ways) go through a transformation and become another person, a person who the Taliban approve of. The film dramatically points out some of the effects of the Taliban takeover. One is the degradation of women, which is explored through Dehrouyeh's character and a television news broadcast about the strict laws applied by the Taliban regarding women wearing a chadari. Another is the banning of music, which is briefly shown through Ehsas' character. One part that stands out is a dance scene that feels almost magical thanks to slow motion and creative editing by Ehsas and Ross Leppard. Director of photography Yiannis Manolopoulos does a great job with the cinematography and commendations go to Jessica Holme for the costumes. An effective point-of-view shot places the viewer in the heroine's position, helping them feel how she feels. This film is a poignant and hard-hitting commentary about the Taliban's seizure of Afghanistan, how it affects the people of that country, particularly women. It provides an insight into the current situation, painting a bleak vision of the future. About the Film Critic Jason Knight Short Film, World Cinema < All Reviews Next Film Review >

The Seeding film review by UK film critic Patrick Foley. Starring Scott Haze, Kate Lyn Sheil, Alex Montaldo directed by Barnaby Clay. HOME | FILMS | REVIEWS The Seeding Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Aug 16, 2025 Directed by: Barnaby Clay Written by: Barnaby Clay Starring: Scott Haze, Kate Lyn Sheil, Alex Montaldo Being victimised by rapid teenagers is the worst nightmare of every middle-aged man. Though getting abuse at a bus stop or eggs thrown at your window pales in comparison to The Seeding , Barnaby Clay’s unnerving folk horror set in the desert. Wyndham Stone (Scott Haze) is transversing the desert when he comes across a lost young boy. Refusing Wyndham’s offer of help, the boy runs away – and during pursuit Wyndham trips and finds himself waking up at the home of the mysterious Alina (Kate Lyn Shell). Alina seemingly lives alone in an inescapable canyon, and takes care of Wyndham whilst he recovers. But when a savage pack of boys reveal themselves living on the canyon’s overlook, Wyndham senses there is more of connection to Alina than she is willing to say. The Seeding is a folk horror that is strong in design, atmosphere and depth, but misfires a little in delivery. Its unsettling central theme is the fear of disposal and replacement, with Wyndham constantly outwitted and mocked by the younger generation he is at the mercy of. His only solace is Alina, who shows him kindness but withdraws when he asks for help. The theme of masculinity runs through their relationship, as Wyndham feels an obligation to act as Alina’s caregiver even as it slowly becomes evident to all but himself that no one could coexist with her brutal neighbours without cooperation. Wyndham is unable to extract his traditional outlook of the world he knows in one that operates under very different rules. However whilst its themes are evident, the glacial pace of the film means they unravel slowly – too slowly to satisfactorily come together in a way that feels insightful or engaging. It helps the viewer get a sense of time passing whilst Wyndham is trapped, but not always in a positive way. Long sequences between him and Alina only sparsely develop their relationship and drag, whilst confrontational interactions between Wyndham and the boys are the source of horror but end up repetitive. It doesn’t help that many viewers will quickly gain a sense of where the plot is heading and get there long before the film does. The film has fantastic production values and looks great, particularly in how it creates the ambiance of a sweltering desert setting. The heat alone is enough to make this a horror, and the reoccurring raised perspective we get of Wyndham as he contemplates escape mean we are reminded of the burning and shining sun he is at war with as much as the boys who torment him. His hair and clothing remain intact a little too long for ones liking given the time he is trapped, but this is a forgivable faux pas. Scott Haze is another strength, giving a brilliant leading performance as a man whose pride is his downfall. Wyndham feels he can win the boys around with leadership, adult authority and acts of strength – blind to the violent society they have created where brutality is the only force. He expertly portrays Wyndham’s growing madness and acceptance of this world, and excels in scenes of torment and suffering (his likeness of a certain Vice President is a little bonus for the viewer…). The Seeding is an imperfect film but one that’s strengths shine. Its themes are interesting but explored in more inventive and striking ways by contemporaries like Men, and a slow narrative means some viewers will lose interest as the film drags in its second act. But a worthy central performance and strong production stand out and make it worth checking out for fans of folk horror stylings. About the Film Critic Patrick Foley Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

Tomorrow film review by UK film critic William Hemingway. Starring N/A directed by Aryasb Feiz. HOME | FILMS | REVIEWS Tomorrow Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2024 Directed by: Aryasb Feiz Written by: Aryasb Feiz Starring: N/A A young boy and his new found friend must face down the wrath of an angry shopkeeper in order to acquire some much needed medicine. In writer/director Aryasb Feiz’s short film animation, Tomorrow , we meet an unnamed young boy as he travels the streets of the city. We find out in the opening shots of the film that he is a thief, stealing from a street cart as he cuts about his business and finds somewhere to loiter. The boy’s favourite perch is by a tree which looks onto a small road containing an antique shop. He witnesses a small exchange between the owner and a customer and has an idea, however, the purloined food which he still has in his hands has now earned him a new furry companion. Distracting the dog with the food, the young boy heads into the antique store for a little light robbery. He seems to know where the stash is hidden and heads straight for the small ampoules of liquid stored on the underside of the chair. It’s no surprise that the burly shopkeeper catches him and gives him what for, but then the boy’s new friend comes along to help save the day. The two of them run away home, until the boy gives the poor dog the slip and it has to use its nose to find him again. Once they are reunited, we find out what the whole commotion was about and we see that the boy’s father needs the medicine to stay alive. Sadly, one ampoule only gives relief for a day and the next morning the young boy is back outside the antique shop looking for a way to get in and get some more medicine. This constant worry of only having enough for today, and needing to keep repeating the cycle in order to survive, is what leads Feiz to ask the question – What about Tomorrow ? Throughout the story there’s a lot of minor threat and a smattering of intrigue, with the medicine not always being in the same place and the dog getting caught in the basement and other comic capers going on. The animation itself is cutesy and endearing, helping to invest the viewer in the relationship between the boy and the dog, with there being shades of Dug from Up (2009) coming through as well as a ‘Disneyfied’ feel to the whole film. However, there’s a lot to be played for going on in the background, and the sombre yet beautiful music from Fereydoun Bahrami keeps the tone of the film where it needs to be. There’s plenty to enjoy as the narrative runs through the scenario, but strangely it never feels as though we’re getting anywhere. Despite there being three storywriters involved with the project, it seems that neither of them got around to introducing a theme or a moral or a message to the film. There’s the odd situation that an antique dealer seems to have a stranglehold on the supply of medicine instead of chemists or clinics or hospitals, and it’s unclear by the end of the film whether we should be on the boy’s side or not, as he is an obvious thief. Getting a message across is also hindered by Feiz’s decision to film without any dialogue. What must have been a conscious choice to try and save the universality of the film, has ended up costing the filmmakers in terms of truly delivering what they wanted to say. There is so much muddied in with the story of Tomorrow that it seems Feiz and his friends forgot to take a stance. There’s nothing else there apart from the immediate storyline and by the end of the film everything is back to square one. Whilst this may in fact be Feiz’s main idea, nothing has been learnt upon the way, and the reoccurrence of every Tomorrow is only because nobody moves on – so what’s the point? As it stands though, the one-time story from Tomorrow is fun while it lasts and the immediate relationship between the dog and the boy is entertaining enough for the seventeen minutes that we’re watching for. If some of the action wasn’t so obviously violent, and the guiding principle was better expressed, Tomorrow looks as though it could be an intro animation shown before a Disney feature film. However, there needs to be more underneath the story to really give this animation something worth talking about. About the Film Critic William Hemingway Short Film, World Cinema, Animation < All Reviews Next Film Review >

Influenced film review by UK film critic Jason Knight. Starring Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins directed by Asad Panjwani. HOME | FILMS | REVIEWS Influenced Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Dec 8, 2022 Directed by: Asad Panjwani Written by: Asad Panjwani Starring: Olesia Nikolaiets, Ciaran Cochlan, Asad Panjwani, Sarah Collins An online celebrity is pursued by an obsessed fan. While walking home one night, social media influencer Amber (Nikolaiets) is approached by Dane (Cochlan), a man who claims to be one of her followers. He proceeds to speak to her and offer her chocolates and refuses to leave her alone, causing her to panic and run to her house. He runs after her and enters her property by force. What follows is a nasty confrontation that goes from bad to worse. This short is a stalker thriller that explores the world of internet personalities, particularly the bad side of it. It suggests that social media celebrities can affect certain individuals the wrong way and that can have very unfortunate consequences. It also points out that sometimes influencers can be double-faced and pretend to have a certain personality, in the interest of gaining followers. The film is tense and has plenty of nail-biting moments. Dane chases Amber through a street and the two of them get into a physical confrontation inside her home. Things get more and more out of hand and become life-threatening. However, there are also comedic moments, such as when the crazed fan removes his shoes once he has entered Amber's property. It is not clear whether the story is also meant to be a dark comedy, however the comical feeling is there. The acting is not the best, but that does not spoil the film. Nikolaiets plays an internet celebrity whose job has ended up getting her more than she bargained for. Cochlan is the one who steals the show with his vivid portrayal of a disturbed individual who is obsessed with Amber. Praise goes to the dynamic, tense and sinister score, which works rather effectively during the opening, where Dane is introduced, making it clear that he has sinister intentions. Special mention also goes to fight choreographer Holly Prentice, who makes the hand-to-hand fight scenes tense and vicious. The stylised closing credits also deserve commendations. This short is definitely interesting and keeps the viewer on the edge of their seat. It is a story about obsession, mental health and the dangers of being an online celebrity. The fact that it ends on a cliffhanger may be unsatisfying for some, but may be approved by others. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Back to Black film review by UK film critic George Wolf. Starring Marisa Abela, Eddie Marsan, JackO'Connell directed by Sam Taylor-Johnson. HOME | FILMS | REVIEWS Back to Black Film Review average rating is 3 out of 5 Critic: George Wolf | Posted on: May 16, 2024 Directed by: Sam Taylor-Johnson Written by: Matt Greenhalgh Starring: Marisa Abela, Eddie Marsan, JackO'Connell Since Walk Hard gave the music biopic genre a well-deserved skewering nearly 20 years ago, new entries have scored with ambitious fantasy (Rocketman ), pandered with crowd-pleasing safety (Bohemian Rhapsody ) and curiously turned a superstar into a one note supporting player (Elvis ). Back to Black ‘s biggest drawback is a failure to commit to one vision, rightly giving Amy Winehouse agency for her own destiny, but pulling some important punches that could have deepened the impact. Marisa Abela (Barbie ‘s “Teen Talk Barbie,” TV’s Industry ) is sensational as Amy, ably capturing the wounded soul and the defiant train wreck while laying down some impressive lip sync performances. Her chemistry with an equally terrific Jack O’Connell (as Blake Fielder-Civil) fuels the film’s best moments, as the tortured lovers navigate between heartsick devotion and toxic co-dependency, sometimes reminiscent of Sid and Nancy . Biopics usually benefit from narrowing the focus, but director Sam Taylor-Johnson and writer Matt Greenhalgh reach outside the romance for a rushed look at Amy’s journey to stardom and some seemingly sanitized takes on her relationships with Dad Mitch (Eddie Marsan) and “Nan” Cynthia (Lesley Manville). Anyone who remembers the Oscar-winning doc Amy will notice a much different treatment of Mitch Winehouse here. How much of this was required for the family blessing is unclear, but the film does benefit from a depiction of Amy that finds a balance of forgiveness and accountability. Taylor-Johnson’s hand is steady but fairly generic, with a tendency to revisit some obvious visual metaphors. And though you end up wishing Back to Black could have confidence enough to sharpen its edge, stellar performances flesh out the sad tragedy of a gifted life spiraling out of control. About the Film Critic George Wolf Theatrical Release < All Reviews Next Film Review >

Genocidium film review by UK film critic Alasdair MacRae. Starring Eva Langlet, Alexandre David Lejuez directed by Alexandre David Lejuez. HOME | FILMS | REVIEWS Genocidium Film Review average rating is 1 out of 5 Critic: Alasdair MacRae | Posted on: Jul 14, 2022 Directed by: Alexandre David Lejuez Written by: Alexandre David Lejuez Starring: Eva Langlet, Alexandre David Lejuez CONTENT WARNING: Rape, Suicide. When Angèle (Eva Langlet) leaves the house one day without a face mask she is kidnapped by a killer known as The Dictator (Alexandre David Lejuez). Once held captive in his dingy loft The Dictator then forces a mask onto her and proceeds to torture and rape her. In the intervals between torture, Angèle fantasizes about her death, be it by her own hand or by her captor. What director Alexandre David Lejuez presents here is anti-mask, anti-vax rhetoric in a wrapping of misogynistic violence. He seems to conflate the needs of the public health system with genocide, religious persecution, and martyrdom. The film opens with a quote from political philosopher and Holocaust survivor Hannah Arendt, as if the Holocaust and wearing a face mask are comparable!? From there Lejuez, fittingly both playing The Dictator and being the film’s director, forces Angèle to be sick in her own mask, beats her repeatedly, and engages in a prolonged rape scene that lasts for five whole minutes. Then after seeing Angèle die many violent deaths we are left with the closing image of Christ on the cross. Staggering. To be clear Genocidium is not challenging or culturally significant like the films associated with New French Extremity. Nor does it have the constructs of a Lars Von Trier or Michael Haneke film. And it does not meet the grade of lo-fi pulp that is associated with Rob Zombie. It is simply a flimsy and insulting allegory shot mostly at a Dutch angle and accompanied by classical music in order to disguise itself as being capable of containing a credible idea. Watch the trailer here . About the Film Critic Alasdair MacRae Indie Feature Film < All Reviews Next Film Review >

Lamb film review by UK film critic William Hemingway. Starring Aoife Duffin, Eanna Hardwicke, Evie and Faye O’Sullivan directed by Sinead O’Loughlin. HOME | FILMS | REVIEWS Lamb Film Review average rating is 3 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2023 Directed by: Sinead O’Loughlin Written by: Sinead O’Loughlin Starring: Aoife Duffin, Eanna Hardwicke, Evie and Faye O’Sullivan The title of writer/director Sinead O’Loughlin’s short film, Lamb is detailed part way through the story by its chilling antagonist Paul (Hardwicke), explaining as he does that, “If you want a ewe to go somewhere, you don’t bother with her, you take the lamb,” and this rather brutal but pragmatic insight is the perfect microcosm for the rest of what we see on screen. On this fateful given day, Sarah (Duffin) is taking time out at home with her baby daughter, Lucy (O’Sullivan). Everything seems to be pretty regular and mundane with the toast being burned, the smoke alarm going off and the door being opened to allow us to see the exterior of this small, lonely cottage tucked away in a leafy corner of the countryside. With character and setting duly established it’s not long before some sort of plot/conflict turns up in the form of Paul, sneaking in as he does through the open door and lurking in the out of focus background until it’s time for him to fully enter the frame. Once firmly embedded in the scene, Paul quickly makes himself at home and sits down at the breakfast table for some toast and some tea. Unsure as to what’s really going on, and whether her home intruder is actually a threat or merely a little bit lost, both mentally and physically, Sarah then tries to placate him as best she can. It doesn’t take long though for Paul to play his hand and bare his teeth as he ramps up the tension and lets slip that he’s picked his timing perfectly after having Sarah under surveillance for quite some time. So, following in the footsteps of a plethora of home invasion movies from Straw Dogs (1971), to Funny Games (1997), to Us (2019), Sarah has to figure out how to deal with the situation while simultaneously trying to keep her and her family safe. With only fifteen minutes for the entire scenario to play out she doesn’t have long and in the end it’s O’Loughlin’s canny writing which saves the day, along with some really strong performances from the two leads. O’Loughlin’s direction is solid and sure, moving with and facing the characters as and when the focus is needed, while the cinematography from Dan Keane keeps plenty of light in the frame as the darkness creeps in through their movements and expressions. The sound design and minimal score from Die Hexen works well with the scenario but it’s really Eanna Hardwicke’s performance as Paul which sells Lamb to the audience. There’s nary a foot put wrong throughout the entire runtime save for maybe some baby cries which obviously don’t match with the infant on screen. There’s a lot to recommend Lamb to the viewer with all technical aspects handled well, but sadly there’s not an awful lot to stand it apart either. At fifteen minutes the plot remains fairly basic and the seasoned audience member will already know the familiar feeling of tension from other, similar films. The story goes almost exactly where you expect it to with the dialogue taking a familiar route towards the denouement, just tweaked here and there to offer an Irish lilt. While Lamb is definitely strong in what it does, it does what it does and doesn’t go any further than that. About the Film Critic William Hemingway Short Film < All Reviews Next Film Review >

Farewell Symphony film review by UK film critic Chris Olson. Starring Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou directed by Xiwen Miao. HOME | FILMS | REVIEWS Farewell Symphony Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Feb 14, 2022 Directed by: Xiwen Miao Written by: Xiwen Miao Starring: Qunxi Wang, Joy Sung Kim, Anne Ruttencutter, Jianshe Zhou “Brave women always pay a higher price.” Having recently interviewed filmmaker Xiwen Miao , I jumped at the chance to watch (and review) one of her short films. Farewell Symphony is a sumptuous and aching portrayal of life’s journeys and the loyalties we have to face, and break, if we are to ever find happiness. Qunxi Wang plays the younger version of the lead role Yang Yang, a talented cellist whose family expects her to toe a life of preordained expectations. When she defies them and moves to New York to pursue her dream of playing music, we can see the sacrifice still troubling her decades later through the life of older Yang Yang (played by Joy Sung Kim). Farewell Symphony is full of beautifully short music sequences, such as younger Yang Yang furiously playing her cello after a disastrous dinner with her family, or the older version playing solo on a stage without an audience. These scenes are the true highlight of the short film, Miao seems completely capable of mesmerising her audience with a few simple ingredients. The scenes between the older Yang Yang and her partner Maria (played brilliantly by Anne Ruttencutter) are perhaps the most emotionally affecting. With Maria’s ailing health clearly provoking a multitude of buried hurts for our protagonist, it is their loving affection for each other that becomes a much-needed antidote to the cruel abandonment shown to younger Yang Yang by her parents (Yuebo Wang and Xiaolan Wang). But the crossroads that our lead finds herself in seems just as crushing as her one decades ago, whether to continue to pursue her musical career at the cost of leaving those closest to her. It’s a film that deftly touches upon expected gender roles and social conventions without ever needing to spell it out for the viewer. Yang Yang’s numerous dilemmas create instant empathy from an audience who will understand to varying degrees the expectations thrown on to them by their own family members. The migration that the central character takes is also key. The idea of uprooting one’s self to another country in order to pursue a dream is hard enough, let alone when her loved ones condemn her for it. This severed connection plays out particularly brilliantly with the Grandpa character, expertly played by Jianshe Zhou. Farewell Symphony is a subtle family drama with a rich musical tapestry that makes it engrossing for the audience throughout. There are a few bum notes along the way, such as some wooden dialogue being performed in the dinner scene but these are far and few between. Largely, Miao composes a generously engaging story and then delivers it spectacularly on the parallel stages of young life and older life. About the Film Critic Chris Olson Short Film, World Cinema < All Reviews Next Film Review >