★★ Directed by Christian Belz Parenteau Starring Simon Boisvert, Jillian Harris, & Isabelle Moreau Indie Film Review by Chris Olson As the title might suggest, this indie film concerns itself with the enduring theme of relationships. Its central character Mark (Simon Boisvert) finds himself early on in the movie being dumped by his twenty-something girlfriend Stephanie (Jillian Harris), who believes their 20-year age gap will prevent them from having a truly happy relationship. Fortunately Mark recently ran into his old flame Julie (Izabelle Moreau) whom he admits to being the yardstick to which all his girlfriends since have been measured against. An essay to the foibles of human relationships, Christian Belz Parenteau's film, written by Boisvert, concerns itself heavily with its characters. The scenes are dialogue-heavy and fearless when it comes to revealing the weighty emotions of Mark, Stephanie, and Julie. Every conversation is laden with existential wonderings about the nature of monogamy, the effects it has on its players, and the life paths which become determined by those we share our lives with. There is also a considerable amount of self-examination going on, allowing a mild connection to be made between these relatable characters and the audience. Unfortunately, aside from a few nice moments of intimacy and a couple of small chuckles, Love or Lust is pretty turgid. Not a lot really happens, and the endless chatter about being in couples becomes like white noise over countless dinner table sequences and picturesque walks. The whole film has a soap opera feel to it but without any of the melodrama, instead basking in the reverie of middle-aged whimsy. Only the hint of a crippling insecurity within Mark ramps up any kind of tension, which by the end becomes the central theme but is poorly executed. The performances are mostly unremarkable, as wooden as the tables present in almost every scene! Boisvert plays a character who admits to having no “style”, and is therefore a poorly chosen anchor for a film. It is a shame Harris is absent from the main body of the film, as she delivers easily the best turns of the movie. The most enjoyable moments of Love and Lust are where Mark and Stephanie have a bit of banter about the different attitudes towards relationships between their age groups, but this soon gives way to a hefty slice of nausea-inducing pillow talk between Mark and Julie, who discuss (in extensive detail) the marvellousness of their original relationship whilst becoming increasingly paranoid about their existing one. Considering the scope of the characters, which it has to be said are given tremendous attention to detail, it seems a shame a more interesting plot was not offered. Nothing in the filmmaking really stood out as being particularly innovative or daring. A few nice landscape shots punctuated the movie, but the film never really moved away from the character dialogue enough to be creative. The score was also particularly irksome, offering up shallow accompaniment to the scenes with distracting notes and bulky melodies that just didn’t sit well. Fans of classic romance films may be able to find some enjoyment from the characters which are well sculpted, but Love and Lust is nowhere near as exciting as the title suggests. It is a clunky, self-aggrandising love letter to the complexities of relationships from the perspective of middle-aged men. More Indie Film Reviews here. Or Watch Indie Film Trailers. #IndieFilmReviews #IndieFilms #ChrisOlson #WatchIndieFilmTrailers #Filmmaking

★★★★★ Directed by Fisher Stevens Starring Leonardo DiCaprio Film Review by Dean Pettipher Few Hollywood mega stars have gripped hold of a charitable cause, while maintaining consistently critically and commercially acclaimed prominence within the movie business throughout, quite as tenaciously as Leonardo DiCaprio. Indeed, DiCaprio’s extensive philanthropic endeavours suggest that his devotion to entertaining and inspiring through impressive dedication to the acting profession has long since adopted as secondary position to actions more easily defined as those performed for the sole purpose of making the world a better place for all. The journey to date was epitomized by DiCaprio’s establishment, at the age of twenty-four, of a non-profit organization for the passionate promotion of environmental awareness, aptly named the Leonardo DiCaprio Foundation. Furthermore, additional highlights from the journey include chairing the national Earth Day celebration in 2000, making crucial contributions to a global warming documentary entitled The 11th Hour (2007), raising roughly $40 million for the aforementioned foundation at a self-organised fine art auction and consequently hosting the world’s highest grossing environmental charity event ever making it to fruition, awarding about $15.6 million to aid in the protection of wildlife and the rights of Native Americans in addition to dealing with climate change, sitting on the board of various world-renowned environmental organizations including the World Wildlife Fund and Global Green USA, working with orphaned children from the SOS Children’s Village in Mozambique during the filming of Blood Diamond (2006), donating $1 million to help relieve the Haiti earthquake tragedy in 2010, giving another $1 million dollars that same year to the Wildlife Conservation Society at Russia’s Tiger Summit and parting with $61000 in 2013 to help the organization named GLAAD with promoting the image of LGBT citizens in the media. More recently, DiCaprio may most likely be recalled within discussions surrounding a documentary, entitled A World Unseen (2016), released on YouTube alongside his Oscar-winning movie, The Revenant (2016), showing in cinemas. Here, in the former project, while speaking of Alejandro G. Iñárritu’s directorial vision for the latter production, DiCaprio stated, “What Alejandro wanted to do was create poetry in that story. The poetry of what it means to have all the chips stacked against you, to have very little chance of survival [and witness a] triumph of the human spirit and what we can endure.” The essence of such words are echoed in DiCaprio’s latest project, Before the Flood (2016); a zealous, heartfelt documentary that seeks to prove the undeniable reality of climate change, the sheer scale of the problem, the urgency required in order to address concerns before the fleeting final hour passes, offer solutions, and point out the poetical as well as more individual human realities. Above all, the feature appeals to a collective responsibility to stop being so lazy and accept the need for a necessary sacrifice and a shift in mentality in order to do something positive immediately concerning climate change. An urgent call is made to protect, preserve and heal the world as soon as possible, preventing its present gloomy course of direction. DiCaprio even wanted to release the work prior to the US Presidential Elections in order to convince voters of the need to elect leaders who believe in the climate change science and will therefore take action to address the dilemma. Not least for its determination to show the world that climate change is not simply some arbitrary concept with merely some verisimilitude drifting with its immediate vicinity, Before the Flood is an exceptionally-made feature and quite simply a diamond imperatively requiring addition to one’s to-watch list of essential viewing.  The feature flows like the most wonderfully light ocean breeze courtesy of a great pace, supported by some awesome filmmaker techniques seen most frequently in documentary-style productions. Fisher Stevens, the director of the film with a remarkable career story marked by rejection even as an wannabe extra for a television commercial and a gradual rise to both acting and directing stability with credits including a role in The Night Of (2016) and co-directing Mission Blue (2014), sustains total control, slowing down and speeding up towards a overall sobering impact in the wake of dire shock. Stevens and DiCaprio defiantly keep the audience ensorcelled by employing concise explanations, clear messages, a tone that treads carefully atop the tipsy tables of political appropriateness, an intriguing use and seamless integration of famous film clips from the archives of modern political history, a variety of sources and locations, a superb albeit infrequent use of music, as well as great quick-fire presentations of facts and figures. Thus, at the core of the real-life quest recounted on the silver screen lie instances of humour, astonishment and a fundamental call to a state of genuine contemplativeness.  DiCaprio and the arctic combine for the relishing of extraordinary imagery, heightened by vivid azure waters and skies, while accompanied by a use of music and the lack thereof in all the right shots. Once the zephyr gives way, DiCaprio delights in vast jungles with wildlife, showing, with a broken heart, the tarnished beauty resultant from tortured innocence, following the selfish extermination of life. Audiences witness a blunt presentation of the ruthless collateral damage endured by land, sea, air and all life in between, all for the sake of quenching the incessant thirst that they all know as greed. The abuse of various world treasures here never descends to the frustrating state of soppiness seen in so many well-intentioned documentaries and advertisements seen in the past. Yet, the determined efforts to insist that such destruction must finally be taken seriously and ended for good feature a noteworthy number of necessary heartache manoeuvres from both within and without, depending on induvial audience sensibilities. Before the Flood features an extremely humbling cast of major political figures from around the world. Moreover, DiCaprio’s most recent adventures glimpsed by international news networks finally emerge together here to form a coherent work of art that remains sensitive while determinedly seeking to be honest by, for example, asking fairly bold questions in a calm and composed manner that perhaps only one with world-renowned status could ask with any hope for substantial answers in return. Throughout these interviews, DiCaprio shows that he is for certain a humble man in spite of his Oscar-glowing status. Moreover, such a character trait that has clearly not, in this case, been brewed as an alternative self for use in front of the camera.  Due to the loquacious nature of Before the Flood and its chief architects, the work constantly weathers a violent, unforgiving storm fuelled by the interpretation that it is nothing more than a vanity project of shameless self-indulgence from DiCaprio, since his background, life to the present day and personal contributions towards combating climate change all achieve great prominence with the picture. However, such claims are harsh because DiCaprio is undoubtedly passionate, to the most genuine degree, about the climate change cause. There is a need to share his life stories in order to explain this unquestionable reality to the world, so that the fascinating consequences and the further implications of climate change if it is left unchecked are that much more likely to be believed, by bitterly sceptical audiences especially. While DiCaprio fans will relish the opportunity to learn more about their hero and understand him in greater depth, even they will concede that ultimately, through clever links, shocking revelations, determined endeavours and sincere attempts to propose promising resolutions, the problems of the world created by climate change emerge at the heart of the documentary and thus become positioned at the forefront of audience minds when the credits roll. In 2014, DiCaprio was appointed as the United Nations representative on climate change and has given two crucial speeches since, in 2014 and 2016 respectively. At the first event, the UN Climate Summit, he stated, “I stand before you, not as an expert, but as a concerned citizen. This is not a partisan debate but a human one. Solving this crisis is not a question of politics. It is a question of our own survival. This is the most urgent of times and the most urgent of messages.” At the second event, a UN assemblage staged in April 2016, prior to the Paris Climate Change Agreement, he declared, ”As a UN Messenger of Peace, I have travelled all over the world for the last two years, documenting how this crisis is changing the natural balance of our planet. All that I have seen and learned on my journey has absolutely terrified me.” In light of such words and aforementioned actions, no doubt melts the ice or burns the forests of adamant belief in relation to DiCaprio’s honest desire to help save the planet from the climate change destruction and subsequent global depression. Such actions recall lessons often heard but never learned from big-budget Hollywood productions, such as Kingdom of Heaven (2005), during which the protagonist, Balian de Ibelin, played by Orlando Bloom, asks, “What man is a man who does not make the world better?”. Unfortunately, but in the end understandably, such actions will also attract viewing of one’s private life through the often corrupted, distorted microscope of the world’s media, sometimes as if the viewer is just interested in making others suffer, deliberately ignorant of the fact that perfection is impossible. For instance, DiCaprio, who has been known to drive eco-friendly vehicles and power his home with solar panels, has received criticism for his continued seemingly unurgent use of private jets. The environmental analyst, Robert Rapier, remarked, that the star’s lifestyle “diminishes his moral authority to lecture others on reducing their own carbon emissions. He demonstrates exactly why our consumption of fossil fuels continues to grow. It’s because everyone loves the combination of cost and convenience they offer. Alternatives usually require sacrifice of one form or another.” While one would at first struggle to argue with Rapier’s sentiment concerning elitist hypocrisy within the argument, one wonders if he has taken up a rather harsh stance on the actor’s one-day visit from Cannes, France, to New York, USA, to pick up an environmental award. DiCaprio, like every human being on earth, may not be perfect. However, he is trying and the concerns voiced for the environment are no less urgent because of that reality. Not infrequently have ‘experts’ on Romantic Love had their advice followed and analysed for centuries, in spite of their own imperfections made clear to all while they, like their proud followers tried and failed often to wrestle with the concept in order to have at least some control over it. In the end, DiCaprio deserves nothing but gratitude for his documentary: A stark warning that everyone is to blame but everyone can play their part in the change so desperately needed to stabilize the climate change crisis.  In isolation, Before the Flood, Fisher Stevens and Leonardo DiCaprio cannot and do not offer a panacea. Action from everyone certainly could, so long as it begins with those with the power to instil a much-needed drastic shift in the collective psyche of the world. The shift must recognize in its entirety, at the very least, the unquestionable truths about climate change and the possibilities through which it can be dealt with, so that the practical action is finally taken. Nonetheless, to enable the documentary with the best possible opportunity to perform its part in that challenging process, Before the Flood is available to watch for free via National Geographic. At present, the film has been viewed via the organization’s official YouTube channel over ten million times. One only hopes that such attention will not have been a pointless exercise of what the Conservative Member of the European Parliament, Daniel Hannan, recently highlighted when he asserted, “Truly, this is an age that has become moralistic, rather than moral. We are more interested in signalling the right opinions than in doing the right things. And I'm afraid, in this respect, we're getting the politicians we deserve." Hope can prevail, however, in no small part thanks to The DiCaprio Legacy. One recalls the famous scene of breathtakingly poignancy from Blood Diamond, when DiCaprio’s character, Danny Archer, confesses, “Sometimes I wonder. Will God ever forgive us for what we’ve done to each other? Then I look around and I realize… God left this place a long time ago.” In reality, DiCaprio has made a decision; a decision that all must make many times in their lives. That is to say, DiCaprio has adopted the bold attitude that if God is not present, the world and its dramas are going to have to make do with him. The world will have to make do with us. DiCaprio is an inspiration, having made it clear that, “after a while, fame is empty and pointless” and decided, in the wake of such realizations, that he can use his position to do something truly worthwhile. Albeit DiCaprio may represent, for some, an elite section of society with exclusive and considerable advantages, he sets the example by which everyone can at least try to take control of their own little worlds in order to truly and positively contribute to the bigger one that they inhabit with him. Thus, his latest work, Before the Flood, may be free to watch at this very moment, but the documentary definitely remains a worthwhile one for both its powerful, benevolent message in relation to the environment and its quality as a work of art. Nonetheless, never before has the hope inspired by the movies mattered so much more than it does now. After surrendering to the collapse of ignorance or denial following a viewing of Before the Flood, one will never, ever observe the climate change debate through the same lenses again. #FilmReviews #Documentaries #DeanPettipher #FisherStevens #LeonardoDiCaprio #DocumentaryFilmReviews #WatchFilmsOnline

Written & Directed by Sam Jones Starring Rebecca Manley, Matilda Freeman, Vauxhall Jermaine, Luke Pearson and Jennifer Hennessy Short Film Review by Chris Olson There is something captivating about desperation that translates beautifully onto screen. When done well, it is an emotion that is revealed far more through silent expression than dialogue. Desperate characters communicate their vulnerability and fear through body language and nuanced facial expressions, allowing the audience to connect with a physicality rather than any lines they might say. This is probably because viewers do not always trust words. Words come with emotional baggage, prejudices, and implications of self-furtherment whereas body parts are less likely to try to achieve anything out of malice or evil. To see a masterclass in this form of acting one need only watch Rebecca Manley’s performance in Sam Jones’s short film, Lifeline, where every ounce of her screentime is utterly captivating. Manley plays a mother attempting to find help for her son (Luke Pearson) in a post-apocalyptic world where savagery and brutality seem to reign amongst the British urban landscape. As she looks for the titular lifeline in a nearby building, its occupants present themselves with increasingly violent intentions. There is a touch of gritty realism to Lifeline that keeps the film well inside the “enjoyable” camp of this genre. Similar in tone and ilk to movies like Danny Boyle’s 28 Days Later (2002) or David Michôd’s The Rover (2014), Jones proves himself to be more than capable of creating a compelling mise en scène like those films whilst delivering a story that is not concerned with trying to fit inside a neat little box. The plot is rolled out with a thrilling pace, and tension and intrigue build like looming spectres, but the power of Lifeline lies in the execution of these feelings, rather than any trite formula of beginning, middle, and end storytelling. A beautifully haunting score accompanies Jones’s movie, from composer Benjamin Squires, that is the perfect match to the horrific elements that emerge on screen, whilst giving a degree of ethereal hope for Manley’s character at times. This poignant and affecting balance is subtly done, but something which elevates the film above mere horror filmmaking, instead transcending it into a thought-provoking piece about the nature of human endurance and the durability of one’s love for another in the face of absolute turmoil. As hinted, the performances in short film Lifeline are excellent. Manley is a delight to watch, navigating the different locations of her search for help with a formidable presence, and then depicting the crippling fear and anguish she feels later on with remarkable skill. One of the characters she meets along the way, played by Mathilda Freeman, is also fabulous as this violent yet emotionally bludgeoned child. When remarking on the captivating notion of desperation at the beginning of this film review, it needs to be made completely clear that Jones’s filmmaking is anything but. There is an impressive confidence in all aspects of Lifeline that make it one of the best short films of the year. Completely enthralling, brutally gripping, and containing an absolute powerhouse performance from Rebecca Manley, this could be the start of something important for film. Short Film Reviews over here. #ShortFilmReviews #ChrisOlson #ShortFilms #SamJones #RebeccaManley #Horror #FilmReviews

Filmmaker Feature Interview by Chris Olson We recently reviewed the excellence indie film Northern Lights. Star of the film Katie Quinn took some time to talk to UK Film Review about her character, researching anxiety, and what she would say if she were a dolphin... Can you tell us a bit about your character in the indie film Northern Lights? My character’s name is Emma and she is struggling with anxiety. Things become really tough for her when she has to deal with the stress of her GCSE exams. Luckily she finds comfort in her best friend Rob (who is secretly in love with her) and her cheeky little sister Mia. She’s a strong character but sometimes we can see the cracks in her as she has been through a lot in her life. I don’t want to give too much away but Emma deals with growing up in the film and goes through some big milestones in her life. What attracted you to this role? Did you identify with any of the story’s themes? I love a challenge and I felt this role was exactly that. I had to do lots of research into anxiety and how people feel when they have anxiety attacks. I really wanted to do it justice as it was such a great role that Nick (Connor) created. The plot of the film takes you on such a journey that as an actress, I couldn’t wait to draw on every emotion and show how the character changes throughout the story. There is also a big twist at the end and when I read it, I just knew I had to be a part of this film. 
The film is essentially a coming-of-age drama so I could definitely identify with the character's emotions and the struggles of growing up as I have been through those experiences myself. I remember my GCSE’s and how stressed I was. However, there was some themes that, to begin with, I didn’t identify with so I spent a lot of time and effort researching and practicing so that I could identify with them to try and make my performance the best it could be and not let anyone down. How was the experience as a whole? Any particular highlights? One of the best experiences I’ve had. It was long hours and lack of sleep but so worth it. Everyone on set got on like a house on fire which made the experiences even more enjoyable. Some highlights were definitely when the cast and crew would just break out into song (I think we were delirious from the lack of sleep) or when Nick would shout ‘Golden’ every time he loved a take… oh, and the food on set was definitely a highlight. What’s next for your acting/film career? I think Nick and I will continue working together on a few projects. We both suit each other’s working styles very well and it helps that we’re great friends. We’re already discussing other things so watch this space!! I’m going to go on more acting courses and expand my knowledge and keep trying to get into Drama School to train as an actress professionally which I’ve wanted to do since I was about 10 years old. Hopefully more big things to come. Fingers crossed! Do you have any advice for budding actors? Just put yourself out there! If you don’t ask you don’t get. Nick and I were surprised at how much support we got from other people in this industry just by emailing them and asking for advice or help with Northern Lights. We put ourselves out there and it paid off! Keep going to your drama club, youth theatre, singing teacher, summer schools etc. Do everything you can to grow as an actor and make friends and contacts along the way! Do not give up. If acting is really what you want to do then you keep doing it. Remember, Judi Dench was rejected from Drama School 5 times and Kate Winslet was told she might make it as an actress if she was okay with settling for the ‘fat girl’ parts. If they gave up they wouldn’t be shining that Academy Award on top of their mantlepiece now would they? What, if any, are your favourite films and why? I have so many films that I love. One film I can’t skip over if its on is Titanic. I love the story but also the historical element to it. It was also hearing the story of how Kate Winslet got the part of Rose that motivated me to never give up so I have a soft spot for that film. 
I also have a love for old horror films and thrillers. Jaws, Psycho, The Silence of the Lambs to name a few. Being on the edge of your seat as an audience member is what, in my opinion, makes a great film. I’d love to be in a horror movie one day. What would you say if you were a dolphin? Well at least I’m going to stay healthy with all of this Vitamin Sea. Read our full Film Review for indie movie Northern Lights here. #Interviews #ChrisOlson #IndieFilms #FilmmakerFeature #Acting #Interview #KatieQuinn #NicholasConnor

Directed by David Bertran Starring Wyatt Greene, Carissa Bazler, Nancy Daly, & Michael Maino Short Film Review by Lorenzo Lombardi There is that kind of film that serves as catharsis for losing a loved one. Coming to Terms provides it sensitively and soothingly, albeit in an unconventional way that I am still coming to terms with myself. This short film revolves around a pair of young siblings and how they deal with the death of their father. They try to fathom the complicated subject and put their full faith in previously given religious lectures. In turn, they try and find a method in reaching him. Before their journey, we get to see the interesting dynamic of how these characters deal with the situation. Aunty Carol played briefly but stupendously by Nancy Daly, shows sympathetic anxiety towards letting her nephews know about what will happen to their father. After a touchingly executed chat about the afterlife - thanks hugely to Michael Maino’s warm performance as the deceased - the kids are shown to poignantly contemplate the afterlife in the form of a well-written conversation the night after. The main two child stars, Carissa Bazler (Sally) and Wyatt Greene (Eddie) provide mostly what you want from child performances. Their characters are innocent and naïve, believably carrying the film after the adult characters are no longer focused on. A highlight of the film is the value in its craft. DP John Rosario’s cinematography is very crisp. It is also both sophisticated and beautiful, not to mention the lighting gives off a heavenly feel with almost every frame. Bruno Valenti’s score is effectively emotional. For me, that was the most memorable aspect. One of the reasons is because it adds a layer of innocence to an otherwise bleak turn of events. This film could have been completely different if any other type of music was implemented, but the usage of towering violins convey a sense of innocence that fits with the theme of afterlife. What I found baffling then is that, in moments of tragedy, the film plays them off too optimistically. This will leave some to be polarised. As a whole, though, this short is not polarising. Its production values are very much appreciated - from the vivid cinematography to a majestic score - as well as its handling of the tough subject, even if a couple of moments may be too heavy. With some memorable performances to remember the characters by, the short has all-round quality. Coming to Terms is an emotional piece about the empowering struggle that is coping with loss. Come this way for Short Film Reviews. #ShortFilmReviews #LorenzoLombardi #ShortFilms #DavidBertran

Directed by Daniel Harding Starring Chris Clynes & Lindsay Bennett Short Film Review by Monica Jowett Politics, satire and mystery surround short film Killer Bird. Written and directed by Daniel Harding, the movie combines a wry sense of humour and undeniable intrigue to create a solid piece of cinema. The film centres on Michael (Chris Clynes) who, goaded on by his ranting friends about the state of Britain, attempts to capture a killer bird which has escaped and is terrorising people on the South Downs. Michael tries to track down the mysterious creature, all the while hearing about attacks and terror happening up and down the country. On his journey he runs into Linda (Lindsay Bennett) who joins Michael on his search. Linda is not all she seems to be, and Michael’s quest take a surprising turn. From the beginning the story keeps the audience on guard, with nothing quite adding up. The deeper themes of fear and control represented in the film by Michael’s friends and by Linda, show how everyone has something in common with someone else, but we often look for the differences. The film deals with subjects that have a grey area, and Michael struggles throughout the course of the film to do the right thing. While watching Killer Bird, it might be easy to pass over the thematic undertones but they are problems and issues that resonate in the real world. The current and topical story of Harding’s film is quick to make an impact when you have finished watching it. The smooth cinematography with well-designed shots is another way the short film draws the viewer in, and keeps you focussed on the build-up. Clynes is a fantastic lead as the uncertain hero. Though he is often cut short and looked over by his friends in the opening scene and by Linda later on, he is also quick to show his worth and strength against the ambiguity and fear which surrounds his journey. Bennett is the opposite; head strong, and controlling to the point you distrust her every move. The vagueness of the premise of the film is the overall attraction to Killer Bird, and is sure to keep you thinking. It will be interesting to see which direction Harding takes with his future films if they follow the similar themes of Killer Bird. Read more Short Film Reviews. #ShortFilmReviews #MonicaJowett #ShortFilms #DanielHarding

★★★★ Directed by Roger Spottiswoode Written by Tim John & Maria Nation Starring Luke Treadaway, Ruta Gedmintas, Joanne Froggatt, Anthony Head, & Bob Film Review by Amaliah S. Marmon-Halm A Street Cat Named Bob is sure to be a film that will leave you smiling from ear to ear, and thinking “aww, the world isn't so bad after all”. Or if you’re a cat-lover, you will be left in a mushy mess and with their immediate urge to teach your cat to high-five. Based on a true story and a much beloved international bestseller, ‘Street Cat’ is a winner from start to finish. Homeless and a recovering drug addict, James Bowen (Luke Treadaway) is running low on his luck. He’s given a last chance to turn his life around by his support worker, Val (Joanne Froggatt), who helps him to find a bedsit to live in. As James attempts to build a life and future for himself by busking in Covent Garden, he struggles to gain any traction as the London crowd passes him by. Returning home one day, he finds a ginger cat sitting outside his door. Thinking it belongs to a neighbour, he ignores the cat and goes to sleep. Over the next few days, the cat continues to linger outside his door, and James discovers an infected wound on the animal’s leg. He takes the cat to be treated by the RSPCA and from that point onwards, the two lives become entwined. In a rather messed up world, with sadness, Brexit and horrible weather, this is just the kind of film the world needs right now. A film with a good story, a kind, sweet message and a decent layer of hope. Luke Treadaway portrays James in such an authentic way, that you automatically feel attached to his character. Bob is truly the star of the show, that it’s no wonder that the story is named after him. It feels that what Roger Spottiswoode, Tim John & Maria Nation wanted to create with this film was a feature with the heart of an indie short. You're meant to feel for this character and want him to succeed. And with films like I, David Blake being released around now as well, these type of films seem to be fulfilling an audience craving right now. If you're looking for a film that is hard hitting and action packed, then this isn't necessarily for you. This is the type of film you watch just to watch for pure simple enjoyment. It’s just simply a story about a guy down on his luck and in need of a break. Definitely something we can all relate to. More Film Reviews this way. #FilmReviews #AmaliahSMarmonHalm #TheatricalReleases #RogerSpottiswoode #LukeTreadaway #RutaGedmintas #JoanneFroggatt #AnthonyHead #AnimalFilms

Filmmaker Feature and Interview by Amaliah S. Marmon-Halm Hushy Bye – The Springhead Film Company Photos by Poppaea Bicknell In a seemingly quiet house in the middle of a sleepy street in Twickenham, you wouldn't think that a horror short was being made. That’s if you forget to notice the crew dragging tons of camera equipment. Written by Mark Brennan (‘Tea For Two’) and directed by James Webber (‘Soror’, ‘The Prey’) these two indie filmmakers were working on what could be the next horror short hit! ‘Hushy Bye’ tells the story of new father Daniel, as he awakes in the middle of the night to his baby crying and his wife Laura missing. As he consoles his son, he ventures downstairs to find Laura and makes a terrifying discovery. The Springhead team have been enjoying a massive wave of success after the release of their most recent short ‘The Prey’, which leans on the more comical side of horror, so it’s fair to assume that some of that success could spill on to this next horror production. The make-up and design teams do a frightful job of transforming the actors and the house from happy cheery fellows, into something much more sinister. So with the camera and lighting crew setting up along the upside of the house, producers keeping everyone entertained, and the house cats in their own little room, with added ‘Beware of the cats’ sign, it was time to get down to business and make a horror! (No cats were harmed in the making of ‘Hushy Bye’. They were just a little annoyed). Wanting to take advantage of the nighttime setting, this was going to be a very intense shoot, not only for the type of film being made but as this was the only night that the film could be shot. The pressure was on to make sure every scene was perfect! The atmosphere on set was an electric combination of hectic and crazy, with a touch of familiarity between the crew that resulted in a comfortable level of organised chaos. As bringing someone else's script to life was a first for Webber, it was important that the crew was filled with those he had worked with before. In-between takes, everyone would congregate for some much needed banter to help push away any tiredness or to take advantage of the treasured coffee machine. Apart from the odd cat trying to escape for freedom, it was a faultless setup. Usually, as a film reviewer, all that we get to enjoy is the finished product but this was a very interesting opportunity to really get to know what happens behind the scenes during indie filmmaking. For this film and it’s much more concentrated setting, there was a lot to learn and absorb. From setup to Webber yelling ‘that's a wrap’ at 6am the following morning, you really see how much passion, hard work and effort goes into the films that we tend to review and enjoy. James and Mark kindly to let me pick their brains and gave a more in depth look into the story of ‘Hushy Bye’, their growing success and future projects that we can all look forward to. As the writer of 'Hushy Bye', how does it feel to have your script directed by someone else? Mark - It actually feels very liberating. Usually when I've written a script I either go on to produce or direct it too, so to be able to just write something without that part of the brain firing during the process was actually a great experience. Of course, letting go was made all the easier knowing the cast and crew that would be putting it together. James, looking at your Springhead back catalogue, this seems to be the first time you've taken on a film that doesn't use your own script. What made you decide to take on someone else's story for a change? I guess it comes down to wanting to try something different and to challenge myself as a director. Mark Brennan who wrote the script is a hugely talented writer and it was nice to focus completely on direction for once! Although I'm primarily a writer/director, I'd certainly never pass up the opportunity to direct someone else's script if it really spoke to me as a filmmaker. 'Hushy Bye' is quite a dark little horror. What was it about this script that attracted you in the first place? James - After making 'The Prey' last year which was a horror/comedy, I really wanted to do something else in the same genre but this time more serious in tone. I'm a big J-horror fan in particular and the script felt very much in this same vein. The script was also only 3 pages long so I thought it would be an interesting challenge to introduce characters and build a sense of terror in such a short space of time. Your other films, with the exception of Addict, seem to be a bit more lighthearted. What was the inspiration for this horror short? Mark - The idea for ‘Hushy Bye’ came late one night when my baby daughter was absolutely inconsolable. She was less than a year old, it was gone midnight, the house was dark and I was walking her around the kitchen trying to comfort her as best I could. There was a moment I looked from the kitchen into the darkness of the living room and I remember feeling terrified by the thought of my daughter ONLY having me to look after her. My wife, even now (and I suspect always), just seems to know what to do with our daughter and can decipher what it is she needs in an instant. I'm a bit crap in that regard, hence the near-paralysing fear of being left alone with that responsibility. As 'Hushy Bye' reaches the post-production stage, do have any more projects lined up? Mark - I have several other collaborative and solo writing projects on the go. Except for a short, short I produced in July the festival has all but eclipsed all my other projects so far this year so after September I'll be able to roll my sleeves up and get stuck into to new projects too. James - I've got a couple of things I'm working on at the moment including my first feature film 'Solitude Country' which is currently in pre-production. It's been a long journey to this point so it's really exciting to be pushing forward and getting it made! You've been doing very well indeed in the independent film festival circuit. What do you link your success to? James - I think it comes down to a numbers game to be honest! For every festival acceptance a short film gets, it's probably been turned down at another 3! I do think it is important to do your research and make sure that your film is seen in the right places, in front of good sized audiences. The genre festival scene seems to have exploded in the last few years and there are countless screening opportunities that can be pursued so you need to make sure you have a good plan in place. As your latest release was also a horror, how does 'Hushy Bye' compare to 'The Prey' or are they in a league of their own? James - I think both films are completely different! ‘The Prey’ is slightly on the silly side (which is certainly no bad thing) and is hopefully fun to watch, whilst ‘Hushy Bye’ is more serious and atmospheric, with a sense of tension that builds until the ending. As a viewer these are the kinds of horror films I prefer to watch. Although there is a lot visually in common with both ‘The Prey’ and ‘Hushy Bye’, on a technical level especially sound design and music, both move in completely opposite directions. I'm really interested to see how the 2 films are compared to each other. When can we expect to see 'Hushy Bye' to make its grand debut? James - I'd love to have it ready for Halloween but we'll see. The edit is pretty much locked so it's really just the sound, music and grade that needs to be completed. As a lot of budding filmmakers who are trying to make their way in the industry follow our website, what advice can you give them? James - Be ambitious in everything you do and push yourself as a filmmaker. If I don't feel a degree of nerves going into a project then I know it isn't the right project for me! Mark - The best advice I would give to any new filmmaker is to get out of your bubble/circle and meet as many other filmmakers as you can. Go to festivals, help out on other people's films, grow your network and use what you learn when working on your own projects. Be sure to keep an eye out for ‘Hushy Bye’ which will be making it’s debut very soon. Read more Filmmaker Features here. #FilmmakerFeatures #Interviews #amaliahsaramarmonhalm #IndieFilms #Filmmaking #Britishfilmmaking #MarkBrennan #JamesWebber

★★★★ Directed by John Dower Starring Louis Theroux, Tom Cruise, Rob Alter, & Andrew Perez Documentary Film Review by Sarah Smeaton As a massive fan of Louis Theroux’s documentaries and his invasive, outstandingly clever interviewing techniques, I was obviously rather excited by the prospect of him tackling the big screen. But would it be possible for his wit and intellect to keep us entertained for a full feature-length movie? When the film’s sole focus is that of Scientology, yet with Louis not actually being able to secure a meeting with, let alone interview, any active Scientologists, you are left wondering how he will indeed fill the time. Director John Dower wanted to take My Scientology Movie back in the direction of Louis Theroux’s earlier work, to that of the likes of Weird Weekends, and that has definitely been accomplished. The content here is much more light-hearted than Theroux’s more recent work, and he clearly feels comfortable and at home with such a setting as he is visibly relaxed throughout, even at times where he would be forgiven for being more intimidated. For example when Louis and his small crew first film outside the Scientology headquarters, they are quickly and aggressively confronted by Scientology members ushering them off ‘their property’. Theroux uses his natural politeness to an impeccable standard at this point, by good-naturedly asking one of the men (who is holding his own video camera in their faces) what his name is, and in no way acknowledging that there is any kind of hostile situation occurring here. Once again showing not only his class but also his journalistic professionalism to the highest level. Louis Theroux openly admits that he was never going to be able to secure an interview with an active Scientologist - he’s been trying to achieve this since the 1990s – but nevertheless, what we’re left with here is a very entertaining exposé on Scientology. The documentary is bulked out with re-enactments of actual interviews with David Miscavige (head of Scientology) and Tom Cruise. We don’t just have wooden performances here, though. In true Theroux style, we as the audience are treated to seeing something that would not normally be aired. We watch right from the beginning of casting, through to production. And in actual fact what we’re left with in the casting and recruitment process is a reflection of what Scientology represents – desperate people wanting to achieve the pinnacle of happiness and looking to higher entities to fulfil that for them. In this case, Louis Theroux and Marc Headley (ex Scientologist) being the higher entities who have the final say on whether someone’s acting dreams are accomplished or not. John Dower turned My Scientology Movie down three times, before realising its true potential. On paper, it’s obvious why he perhaps was reluctant to take this on, but the finished product is unlike any other cinematography experience you’re ever likely to have seen. What we have is investigative journalism into extraordinary, eccentric people, hilarious casting footage and a frank, terrifying look into what people are willing to do and believe in the hopes of reaching that elusive perfect future - which they are of course happy to pay for with monetary investment. Louis Theroux has excelled himself here, and has most certainly created a worthy feature length film. Here’s hoping for more to come! More Film Reviews can be found here. #FilmReviews #SarahSmeaton #DocumentaryFilmReviews #Documentaries #JohnDower #LouisTheroux #TomCruise #RobAlter #AndrewPerez

★★★★★ Written and Directed by Barry Jenkins Starring Trevante Rhodes, André Holland, Janelle Monáe, Ashton Sanders, Jharrel Jerome, Naomie Harris, Mahershala Ali Film Review by Hannah Sayer Adapted from Tarell Alvin McCraney’s play In Moonlight Black Boys Look Blue, Moonlight follows three periods of an African-American man’s life as he comes of age in Miami. Moonlight premiered in the UK at the BFI London Film Festival in its Official Competition section where it was met with a well deserved standing ovation. The film is a first for its production company A24, as for the first time they are fully financing and handling worldwide distribution of a production. A24’s previous films include indie breakout hits such as Spring Breakers, The Witch and Swiss Army Man, as well as Academy Award winners Room and Ex Machina. From observing A24’s exceptional, bold and innovative track record over the past few years, Moonlight is the perfect film for A24 to launch with as it is an urgent and rare masterpiece that is long overdue. Moonlight, Barry Jenkins’ first film in eight years, is divided into three acts titled “Little”, “Chiron” and “Black” and each section follows Chiron through a different phase in his life: childhood, adolescence and into adulthood. What makes Moonlight so special is that it’s difficult to define to one genre. The film begins with Alex Hibbert playing Chiron as a young boy who is growing up in a rough neighbourhood with his mother Paula, played by Naomie Harris, who is dealing with her own drug abuse as he is also struggling to fit in at school. When a local drug dealer Juan, played by Mahershala Ali, comes to his aid, he and his partner Teresa, played by Janelle Monáe in her first film role, become his surrogate parents of sorts. A defining moment in the film’s first act is when Juan explains to Chiron: “At some point you've got to decide for yourself who you gonna be. And let nobody make that decision.” Chiron has been alienated from his mother and from his self and it is in these scenes that he shares with Juan and Teresa where he begins to realise himself for who he is. Chiron’s struggles with his own identity continue into the second act, where Chiron is now played as a teenager by Ashton Sanders. His mother’s drug abuse has worsened and Chiron’s future seems bleak. However, the film’s defining moment of sexual awakening on the beach forms the tender and extremely personal journey that the remainder of the film follows. Moonlight highlights and encourages discussion of masculinity, sexuality and race and in the process is successful in destabilising stereotypes. This extremely personal study of a young gay black man’s desire and his realisation of his homosexuality is something rarely seen on screen. When the film reaches its third and final act, Trevante Rhodes plays Chiron as a young man who reunites with Kevin, played by André Holland, who he experienced that tender moment on the beach with years earlier. The film is elevated and wonderfully acted by Jenkins’ phenomenal cast. Naomie Harris is remarkable as Paula and she is likely to garner awards attention in the upcoming months for her fierce vulnerability in the role. Even though Mahershala Ali’s Juan is only present in the first act of the film, his performance leaves a lasting impression. The three actors playing Chiron are expertly directed by Jenkins to achieve effective character continuity and development between the acts. During filming, Jenkins didn’t allow Hibbert, Sanders and Rhodes to meet each other so there was no risk of them each trying to mimic the other. By shooting the movie in sequence and directing the actors so that there was a feeling of continuity on screen, Jenkins has exquisitely created a development in Chiron which feels to the viewer as if we are watching the same person experiencing life and growing up. The chemistry between Trevante Rhodes’ Chiron and André Holland’s Kevin in the final act is breathtaking. Moonlight’s scope in the previous two acts of following a boy maturing had a lot of years to cover. The final act zooms in on the action in real time to focus on these two young men reuniting for the first time in years. These moments really resonate and it is what is left unsaid in this deeply meaningful rekindling of the past that is so effectively moving. Moonlight is beautifully shot and James Laxton’s cinematography is uncompromising as the camera doesn’t shy away from lingering on details and moments within the array of impressive and striking images. The result of this is arresting in the moment where Chiron finally experiences his first sexual encounter where the sea becomes a prevalent force throughout the narrative. This moment of silence and contemplative sexual experience is profoundly moving and the imagery of the sea evokes the poetic nature of Moonlight. Nicholas Britell composed the understated subtlety of the score which really brings together a lot of the scenes without being too bold and outlandish. Moonlight is essential for those who don’t feel like they’re being represented on screen and these moments of silence accompanied by this poetic and striking score are truly effective in portraying everything that needs to be conveyed without being explicitly said. Moonlight is an exceptional character study of impressive depth and it transcends merely a cinematic experience. It resonates with you and makes you feel. Its timelessness is unquestionable, yet why are there not more stories like this being told? Everyone can relate to this story of the struggle of trying to find your place in the world and it certainly shouldn’t be a rarity to experience these stories being told on screen. This is filmmaking at it its most striking and tender: a raw and powerful portrait of race, class, sexuality, identity and the human experience. More Film Reviews here. #FilmReviews #TheatricalReleases #LondonFilmFestival2016 #HannahSayer #BarryJenkins #TrevanteRhodes #AndréHolland #JanelleMonáe #AshtonSanders #JharrelJerome #NaomieHarris #MahershalaAli #FilmFestival

★★★ Written & Directed by Kelly Reichardt Starring Kristen Stewart, Michelle Williams, Laura Dern, Lily Gladstone, James le Gros, Jared Harris & Rene Auberjonois Film Review by Dean Pettipher The rising prominence of women in film, both on and off-camera, as well as the increasingly greater accuracy with which they are depicted through the art of the moving image, are without question beautiful, essential and fruitful societal progressions. However, while such developments rightly deserve much celebration and official recognition within all social circles, they must never become immune to constructive scrutiny. An inability and/or an unwillingness to point out clear issues, seemingly due to a fear of appearing to have misogynistic motives behind such claims, is not one of the flames of prosperity at the end of a long, dark journey that is the quest for gender equality in the movie business. Such a sentiment plagues the soul, however, when one observes the overwhelmingly positive critical acclaim given to Certain Women (2016), which has to date included winning the Best Film Award from the 2016 London Film Festival’s Official Competition for “inspiring, inventive and distinctive filmmaking.” The sickness within sensitive minds especially grows greater still when one reads that ostensibly every major film critic offers praise of the most blindly bright and ceaselessly glowing sort for the picture, noting what in many other films would be deemed as weaknesses as profound strengths instead. Fortunately, that illness starts to dispel within both heart and mind when one notes a number of bold voices in the user review section of IMDb for example, for the reviews within such online communities are, mostly, in stark contrast with the supposedly more reputable critics, extremely negative. Work on these platforms evidently features a noteworthy sense of anger in the wake of the notion that there are certainly worse films out there, but few films released this year have been so grossly overrated as Certain Women, for reasons that are in truth unclear but seem, to a certain degree at least, to be fuelled by a political agenda to promote a positive image of women in film at all costs. Finally, there are those firmly held opinions somewhere in the middle. Know that there is no misogyny here. Rather, there is a compelling need to share one’s honest feelings about a movie, which, while clearly featuring much to cherish, is ultimately a disappointing experience that truly could have been so much better. Moreover, there are perfectly reasonable concerns that explain plainly why Certain Women will most likely not reach audiences beyond various national festival circuits. Much of the movie is marred by the ‘talking heads’ disaster, which veteran screenwriters will know must be avoided at all costs. Individual scenes are fantastic, showing both clear and uniquely subtle instances of character development. In the end, though, such developments soon appear to be going nowhere significant, since, quite frankly, not much at all ultimately happens in relation to the plot, which ends up feeling as simple as the collection of short stories, written by the American authoress, Malie Maloy, on which the movie is based. Typically, short stories, at least in the literary world, are known for their impressive capacity to present complex characters with simple plots. This golden rule is, however, taken to the extreme and abused by Certain Women. With so little occurring in terms of suspense, tension, or heightened emotion of any other sort, one chuckles occasionally and ponders over some initially-intriguing surprises in a desperate search for something of substance to finally occur. The problems with the story do not cease there, for links between the three intertwining tales of the film are deliberately not capitalized upon, to the point where they end up feeling so tenuous that they might as well not even be there. Moreover, the payoffs for all of the four major heroines of the picture amount to frustrating anti-climaxes. One particular scene that is meant to amount to the film’s most climactic event instead serves as a key illustration of the film’s emotional depth falling flat onto the road. The scene in focus features Certain Women’s only instance of an orchestral soundtrack playing in the background. Unfortunately, since the build-up has mostly been slow and at times tedious, the unsurprising resolution ends up having so much pressure placed upon it to instil a long-lasting impression with audiences, as well as shed the brightest light on the depressing atmosphere of the story, in the end little sentiment is inspired within audience hearts beyond a gloomy reminder of how boring life can be in small, ordinary town situated in the middle of nowhere. Such a setting is presented here as one of the cruellest killers of dreams, or, from another perspective, a reminder to constantly take responsibility for one’s life for the sake of the potentially worthwhile future outside the prison of one’s lifeless comfort zone. One only wishes that such sentiments could have been presented in a less dreary fashion. In spite of these damning issues, Certain Women remains, without a doubt, a work of art by bounteous artists at the height of their tremendous talents. On the other hand, this very reality only illustrates further that the movie could have been sensational. The acting is outstanding but no one is granted any material to push their capabilities beyond or even close to what audiences will have seen already. For a much better performance from Laura Dern, which, incidentally, also highlights a strong albeit imperfect female character, watch Wild (2014). For a better depiction of a seriously imperfect life lived by a women in small town America from Michelle Williams, which might even get her nominated for an Oscar, buy a ticket for Manchester by the Sea (2016). For Kristen Stewart, aside from her César (French Oscar) Award-winning performance in Clouds of Sils Maria (2014), to see how she is able to adapt to the unique styles of different directors with ease, go check out Woody Allen’s Café Society (2016). In truth, the only performances that are really worth noting in Certain Women are Lily Gladstone’s debut film role and Jared Harris’s supporting role, although even their few gripping, emotionally-turbulent moments fail to compensate for the overall plainness displayed by the other frontline members of the cast. Finally, director Kelly Reichardt has also told much more engaging stories through her own distinctive flair in filmmaking. In previous work, she has been able to employ satisfying amounts of action that leave one feeling aptly fulfilled. The prime examples are Night Moves (2013) and Wendy and Lucy (2008). Thus, no sleep need be lost at all if one is unable to see Reichardt’s latest project, for it is not her finest feature by a long ride. The imagery of the movie is as gorgeous as the four principle women it often graciously lies behind. However, while the astounding presentation of Montana’s natural beauty compels one to take a holiday there, this quality also cannot compensate for what the film lacks and so cannot save the audience from boredom. Combine the minimal amount of action with such imagery and it soon feels as if one is watching a new version of the reality show entitled Big Brother (2000-Present), shot in this case on a slightly larger scale. Certain Women clearly succeeds in presenting an honest depiction of the boring lives of oppressed women in small town America. Surely, though, these various women must all, at least once in their lives, experience a fairly exciting moment that could be brought to life in a movie for the sake of a better story, without the need for gross exaggeration often seen in such art? Indeed, small towns around the world but in North America especially are known for being places where everyone knows everyone, as well as settings that are often hailed as tragically-declining gold standards of living, while they ultimately hide as much ugliness, dullness and pointlessness as any other human settlement. One appreciates the sincerity but this style of filmmaking is too dull and there must be more interesting ways to highlight the trappings of small town life than this.  Not even positive political motivation is an excuse for dishonesty through, for example, the form of great exaggeration in relation to the positive qualities of and the ignorance of the negative points concerning Certain Women. Even lovers of all the artists involved, or of films about small town America, should feel no urgency to see it. Instead, for better explorations of the latter subject, albeit from quite different angles, see Dogville (2003), Dazed & Confused (1993), or It’s a Wonderful Life (1946). One should only go out of their way to see Certain Women if one feels the urge to explore an unusual style of filmmaking that some would call poetry and others might call plain. Gender equality in filmmaking is a wonderful thing but it must also be applied to film criticism. Otherwise, Certain Women and many films will enjoy unfair privileges linked with favouritism and/or idolization that have run rampant for centuries and in truth will never be totally extinguished. Such privileges are best illustrated with Leo Tolstoy’s (1828-1910) novel entitled War and Peace (1869). The literary work features a character named Hélène, who Tolstoy presents as a dangerous antagonist, but first and foremost as a woman who is so beautiful, it becomes “firmly established that she could say the emptiest and stupidest things and everybody” goes out of their way to spend ages over-analysing her words in order to ascertain some small amount of philosophical insight, which they for some reason feel simply must be there somewhere. With this film, there are aesthetically-pleasing elements and moments of emotional depth but truly, in both cases, not as much as many well-renowned critics have lately declared. There is nothing empty here. Nor is there anything stupid. There is just a hell of a lot of frustration with Certain Women because the movie cannot compare with the terribly overhyped image painted in one’s head by various critics. Not much cause is granted in for warranting rage akin to John Goodman’s character, Walter Sobchak, in The Big Lebowski (1998), during that famous scene where he furiously asks, “Has the whole world gone crazy?!” However, there is a great need for balance: Praising Certain Women when esteemed credit simply cannot be denied, while also scrutinizing Certain Women when its faults, for which other films would rightly be reprimanded, are nothing short of unquestionable. Accordingly, what remains, is an authentic and justifiably good but certainly not great movie about ‘real’ women’s roles in small town America. Read more Film Reviews this way. CERTAIN WOMEN is in UK cinemas 3 March. #FilmReviews #DeanPettipher #TheatricalReleases #KellyReichardt #KristenStewart #MichelleWilliams #LauraDern #LilyGladstone #JamesleGros #JaredHarris #ReneAuberjonois #BFILFF #LondonFilmFestival2016

★★★★★ Written & directed by Christian Mungiu Starring Adrian Titieni, Maria-Victoria Dragus, Rares Andrici, Lia Bugnar, Malina Manovici & Vlad Ivanov Film Review by Dean Pettipher With such a fine selection of movies to consider every year at the Oscars and the BAFTAs, temptation compels one to forget the tragic neglect of ‘foreign films’ from the spotlight, as well as the glowing national praise and constructive scrutiny that come with it. The principle aim of such ceremonies to promote American and British films respectively, resulting in only about four films from the rest of the world receiving any significant attention for their merits, means that more casual movie enthusiasts are often missing out on what could be, for them at least, some of their favourite movies of all-time. Graduation (2016) (aka Bacalaureat), a phenomenal addition to world cinema history could, with all but absolute certainty, be one of those films, for the movie is a truly world-class example of fine storytelling through fairly minimalistic methods that most likely played no small part in generating the critical success enjoyed at the 2016 Cannes Film Festival, during which the picture won the Best Director prize for Christian Mungiu, while also being nominated for the prestigious Palme d'Or award. Graduation tells an ostensibly plain tale about a physician, named Romeo, who resides in an elusive Romanian town. The good doctor has an eighteen-year-old daughter, called Eliza, who he hopes will take up the higher education opportunity to study abroad in the UK, once she passes some fatefully important examinations. Such ambitions begin to head towards Hell when Eliza suffers from a sudden, mysterious incident. Thus, Romeo feels left with no choice but to break the various moral codes, beyond the commandments that he may have already personally decided to ignore long ago, in order to keep his dream for Eliza alive, whatever the cost. Without a doubt, the greatest quality of Graduation that propels all of its other elements into a rapid ascension towards the diamond standard is the screenplay. At least from the perspective of relying on the script’s English translation to understand what is happening, never before has dialogue in a movie consistently felt so, so sharp, meaning that not a single word making up the final draft feels unnecessary. Layer upon layer of conflict in particular, proceeding towards more internal conflicts each time, is masterfully pulled back through succinct dialogue that from start to finish always achieves the screenwriter’s guidelines of advancing the plot and/or adding to the characters in some way, until the audience is left with enough deliberate, thought-provoking questions to fuel conversations and even debates surrounding morality for quite a long time. Moreover, one other consequence of the excellent writing and its interpretation through the cinema screen is that Graduation becomes one of the few films not to use any music, save for tunes playing over the radio or phones ringing, in such a way that is so superb, one barely notices, or at least hardly cares for, the absence of what is often the unsung essential blood-flow that keeps the heart of the movie alive. Therefore, it is left to the actors to prove that the emotions within the story are, indeed, deeply felt. All of the performances are more or less equally brilliant, for they all seem to appear very controlled, with the female characters especially coming across as demure but strong-willed presences. Adrian Titieni, Maria-Victoria Dragus and Malina Manovici shine brightest, for they each combine cautious vocal expression with controlled facial motion to present the quintessential states of their respective roles. Mungiu and the crew clearly know how to bring the best out of the cast, not dissimilar to the effect that Paul Thomas Anderson or Alexander Payne, for example, appear to have on the ability of the actors with whom they work to truly and compellingly illustrate their sheer capacity for bringing the purest sentiments of their characters to life in front of the camera. Audiences maintain interest in Graduation principally through great anticipation of the denouement, in spite of the film being very dialogue-heavy in the sense that not much heated, quick-paced action takes place. Mungiu has crafted a masterpiece, using imagery that makes the gloomiest settings appear as aesthetically-pleasing backdrops for his finely-tuned script and cast. No talking heads, therefore, are in sight. If Hollywood or Pinewood were, in the future, to temporarily snap up the film’s talent from Romania or wherever it might presently reside on or beyond the European continent, the thought of what could potentially be brought to the artists roundtable as a result is one marked only by plentiful amounts of excitement. For more Film Reviews - Click Here. #FilmReviews #DeanPettipher #TheatricalReleases #WorldCinema #BFILFF #FilmFestival #LondonFilmFestival2016 #ChristianMungiu #AdrianTitieni #MariaVictoriaDragus #RaresAndrici #LiaBugnar #MalinaManovici #VladIvanov