Directed by Jonathan Brooks Starring Natalie Sexton, Lucy Mepsted, & Neil James Short Film Review by Chris Olson Vivid and heart-warming, Jonathan Brooks's animated short film Ghostboy is a marvellous achievement with some fantastic characters, comedy, and coming-of-age themes. Alfie (Natalie Sexton) is a young boy going through that always turbulent event of moving to a new house. Troubled with countless unknowns, one of the major predicaments he faces is which room is to be his new fortress of solitude. After some minor exploring and finding numerous terrors occupying the rooms of the house, he comes across Ghostboy. The question is whether Ghostyboy is friend or foe. Similar in story and style to Casper the Friendly Ghost, Brooks is playing with some familiar motifs here. However, his short film is completely endearing through its use of charming stop-motion and a script that is teeming with great, universal comedy. In particular Alfie's mum (Lucy Mepsted) is a delight to watch as her matriarchal duties consume her, her distraction allowing for Alfie to journey into the mysteries of the new house. Along the way our hero bumps into a spider and fly (both voiced by Neil James), who offer arguably the best scenes as the former torments our protagonist whilst the latter attempts to warn him, encouraging him to escape. The score from Harry Kirby and sound design from Kirstie Howeel is rousing and tense, capturing the spooky nature of certain scenes and then revealing the vibrancy of youthful discovery in the next. This goes well with the animation which also has to balance these light and dark themes without ever forgetting its target audience. It is with great pleasure that I can report a job well done. Fans of children's animation, especially to throwback stop-motion like Wallace and Gromit, or even newer stop-motion films which have been incredibly popular with audiences like Kubo and the Two Strings, will find a fantastic short film to explore in Ghostboy. There is an intelligence to the timing which is absolutely key in executing this kind of film. When you see the bit with the grandma on the stair-lift you will know what I mean. It is everything an entertaining story needs to be; fun, funny and a little bit freaky. More Short Film Reviews this way. #ShortFilmReviews #ChrisOlson #JonathanBrooks #Animation #AnimatedFilmReviews #Stopmotion

★★★★ Directed by Sebastian Armesto Starring Andrew Keatley, Jacob Casselden, David Acton, Carolyn Pertwee and Sophie Roberts Indie Film Review by Jack Bottomley “Graceful” Truth is stranger than fiction it is often said but the nature of truth is not always so easy to accept. In various documentary features and factual short films directors seek out people or subjects that – whether big or small – stand as evidence of just how beautiful, complex and indeed bewildering truth can be. There is a whole world out there and everyone has a real story to tell, however sometimes the best stories are told not with reality but with a blurring of the real and the fictitious. However the best films that blur these boundaries, are the ones that still emerge with an honest, genuine and yes truthful story to tell and that is For Grace. Opening with a, more astute than you initially expect, quote from the Adventures of Pinoccio, For Grace is a mockumentary without the ‘mock’. Telling the story of Ben (Andrew Keatley), who was adopted as an infant to loving parents, the film sees the now father and husband urged to seek out his biological parents, as a result of the recent birth of his own daughter Grace. This journey takes him to some unexpected and illuminating places. There are many depths to For Grace beyond its documentary trappings but believe me the less you know going in, the stronger the experience will be. So very often cinema attempts to tell stories of this ilk and either lather on the Hollywoodish sugar or misstep the characterisations but For Grace makes no such mistakes and is a warm, friendly and heartfelt journey that will speak to the souls of many real people who have experienced similar things in their lives. Written by Andrew Keatley, as well as starring him, this film is an emotive and engaging joy, that manages to attain such a heightened sense of realism, not just because of the aesthetic but because of the belief you have in the characters. True the film does get over eager in presenting its central twist (with an initial scene kind of giving it away a couple of minutes prior) but it is hardly less shattering and lump-in-throat as a result. In writing a story like this you have to be so careful to avoid emotional manipulation or over stepping bounds but Keatley’s (largely improvised by the cast) script is honest and has a heart of gold, with an inclusive message that refutes the “you can’t choose family” saying. Sebastian Armesto has clearly attempted to blur lines here and he does so very effectively with even those knowing the film is a fiction feature sure to be utterly caught up in the narrative. This is largely down to some fantastic performances, with Keatley offering a very believable, stubborn and determined lead in Ben and he is matched beat for beat by an astonishing Jacob Casselden as Peter (a deaf character integral to the film but we are not saying why #NoSpoilers), who is absolutely sublime in presenting a strong man with a heart that we come to discover. There are also welcome turns from David Acton and Carolyn Pertwee as Ben’s loving adopted parents David and Harriet and Sophie Roberts as Ben’s caring and most insightful wife Sophie. It is this spellbinding strength of the performances that has you utterly gripped by this emotional journey, that is a most human and accomplished piece of filmmaking. Even if it is a bit shorter than we would like, with the resolution being quite instantly coming about, this is but a minor quibble in a film that is simply heart swelling and with many brilliant messages about the power of family and connection, even in the face of crushing truths. Brilliantly edited by Joseph Brett and Sebastian Armesto, very thoughtfully directed by Armesto and with some fantastic cinematography and settings, perfectly sourced by Directors of Photography Iris Lebrun and Scott Norris, this is an impressive piece of work. And be it the initially unusual (but it comes to have a relevance) score by David Brett (who also has a small part in the film) or the heartbreaking twists, superb characters or inspiring themes of turning disability into ability and loss/separation into happiness and family, For Grace is a film that is for many people out there and one we recommend most highly. More Indie Film Reviews this way. #IndieFilmReviews #JackBottomley #IndieFilms #Mockumentary #SebastianArmesto #AndrewKeatley #RaindanceFilmFestival

★★★★ Written & Directed by Rodrigo Reyes Starring Daniel Muratalla & Anna Maria Muratalla Indie Film Review by Dean Pettipher Somewhere within the shiny, colourful, neatly arranged pages of the sixtieth BFI London Film Festival programme, California’s calling. The call comes not from the heavenly visions of sparkling white palaces and glistening azure-blue swimming pools surrounded by elegant palm trees dancing in the light breeze, which have come to embody the film industry of Western civilization within the collective psyche of her citizens. Instead, the source of that cry leads those who choose to follow it into the much more deprived section of society occupied by an underclass of America, trapped within, and fighting tirelessly against, damning circumstances forced upon them from birth. Moreover, it is an underclass grossly misunderstood as a group of monsters or pitiful victims, even though they demonstrate in practice repeatedly that the vast majority of their communities are decent people desperately trying to earn a living for themselves and their families. With Lupe Under the Sun (2015), director Rodrigo Reyes and his team of collaborators share an overall highly compelling glimpse into their world through which an authentic channel for their voice is skilfully created, consequently allowing its unique tones to be heard as clearly as the art of the moving image can manage. The imagery of Lupe’s California pulls off a remarkable feat in relentlessly capturing the results of years of seemingly endless neglect and deprivation, while simultaneously showing off the glamour that somehow remains unspoiled, most notably in the form of the golden natural landscape forever kissed by the sun’s raging and unforgiving heat from above. Such beauty endures a clear tainting from various human-made wreckages, which include the more obvious residential ruins, as well as the misfortune that the protagonist suffers at the hands of forces both from others and from himself. The film enjoys a poignant rhapsody with clear and tasteful Mexican influences. One would only wish that such melodies were more prevalent throughout the picture, for the mood invariably dulls in its distressing absence, at times towards sleep-inducing levels. Courtesy of an expertly controlled and evidently heartfelt performance, Daniel Muratalla creates a likeable and sweet protagonist with Lupe. What follows this presentation is a robust connection with the audience, which encourages them to instantly appreciate Lupe’s epiphany that compels him to return home at all costs. Moreover, audiences can relate only too well to Lupe’s despair in coming to terms with his fugacious youth, now drained to its last drop at least on the outside, and then employing his awareness of such a development as personal motivation to make significant changes to an existence. One that has reached incalculable levels of mundaneness he can no longer tolerate. Lupe’s story features an interesting take on the framed narrative, for it begins and ends with a younger relative representing the family that Lupe left behind, ostensibly out of necessity. The technique addresses the gaps in the character’s backstory left behind by Lupe not being a particularly loquacious character. Additionally, the technique aids the establishment of considerable emotional investment from the audience in Lupe’s quest. Such an outcome proves vital while the tale gradually develops towards everything falling to pieces and Lupe, at a glance, maintains his sanity, thus inspiring great admiration for his inner strength of character.  Beyond the fourth wall, Lupe is constantly under threat from a consistently slow pace, marked mainly by a plot with very, very little action and a fragmented backstory. The former dilemma appears, to its credit, to ultimately tackle harsh, harmful stereotypes linked with the Mexican migrants living in the USA that Lupe represents. However, the cost is a frequent seeping in of the boredom alluded to earlier. Thus, the slightest hint of humour or high drama is leaped upon by the audience, in the form of a giggle or a gasp, as if those hints were drops of water leaking from a broken tap in the middle of a vast desert that a thirsty traveller had just discovered by divine chance and devoured almost instantly without a single fully formed thought. The latter dilemma results in just enough information to keep the audience routing for Lupe but risks a conclusion to his tale that is far from satisfying because of a great number of mysteries that seem unsolved, which rather than being complicated plot webs, are rather just simple questions that are left unanswered. In their wake stands and ending as frustrating as it is thought-provoking, even if only because the audience want the best for Lupe’s bruised but defiantly gentle soul. In the end, in spite of a few trips and sleepwalks along the way, Lupe Under the Sun emerges victorious, with high expectations for the director and cast, should they continue their journey in the film business. The prevalence of the film’s often deliberately repetitive imagery over its very succinct employment of language especially encourages tenuous but nonetheless clear links with the filmography of Terrance Malik, particularly The Tree of Life (2011) and To the Wonder (2012), albeit Lupe’s world is understandably less flamboyantly depicted. Regarding its impact on a much grander scale, the movie serves as yet another reminder to be weary of the hateful dust on the horizon. To address the concerns associated with Mexican migrants in America for instance requires not the construction of walls, or the unkind labels that permanently associate an entire group with monstrous acts, but rather practical and credible action rooted in charity that slowly but surely eases the difficulties without causing collateral damage. More immediately at least, Lupe Under the Sun symbolizes the fruits for both sides possible from successful implementations of Mexico-USA co-operation. The underclasses of a nation, whatever their exact background, have been given, even if not in the most literal sense, time under the spotlight, as a gentle reminder that their voice must never be extinguished. 60TH BFI London Film Festival show times: Thursday 6th October 2016 at 21:00 in the Ritzy Cinema and Friday 7th October 2016 at 13:30 at BFI Southbank More Indie Film Reviews this way. #IndieFilmReviews #FilmReviews #LondonFilmFestival2016 #BFILFF #DeanPettipher #IndieFilms

Directed by Jed Hart Starring Barry Keoghan, Grace Hogg-Robinson, & Dean Christie Short Film Review by Chris Olson What could be more romantic than young love at a fairground? Well, a lot of things really. This tragic and affecting short film from Jed Hart operates in the bleak department of teenage romance stories, where the two characters are bingeing so much on freedom that their undoing is surely only one more poor decision away. Set in a travelling amusement fair, Shane (Barry Keoghan) is a listless yet relatively appealing character. Spending his time conning naive fairground attendees whilst drinking and smoking like he's a veteran, even though he is only a teenage lad. After rescuing Jasmine (Grace Hogg-Robinson) from some would-be thieves, the two enjoy the throes of attraction for a short time. Jasmine appears to be running away from some kind of angst in her past, and in Shane she finds a new path to walk. Likewise Shane is emboldened by Jasmine's presence, and even gives the middle finger to his abusive guardian (Dean Christie) by stealing his car. However, this kind of reckless merriment is sure to be short lived. Poignantly filmed, there is a bleak tone to Candy Floss as a short film that allows the foreboding nature of the story to sink in subconsciously. Whilst a degree of hope and promise are alluded to, the helplessness of the atmosphere is continually solidified by the plot, as these characters make the typical mistakes of people inexperienced with the realities of choice. There is an urgency to the film, a frenetic pace which perfectly suits the characters and this burst of life they are enjoying. It also sets the audience on edge and culminates in the stealing of the car and the subsequent journey. The performers are particularly great, Barry Keoghan throwing up another sturdy turn worthy of a performer triple his age. He was excellent in short film North and the feature film '71. Hogg-Robinson is incredible as the angst riddled teenage girl, cleverly revealing the cracks in her life throughout the run time through nuances and facial expressions. It could have been very easy, and forgivable, to fall down on the casting of this film. It is a weighty demand to place on young performers, but Candy Floss is able to utilise two fantastic actors who compel and challenge the audience. Many of the short films at the Raindance film programmes were heavy in tone, but few delivered the same level of intelligence, tone and character as Jed Hart's film. It's a powerhouse film, loaded with compelling realism and standout performances. This way for more Short Film Reviews. #ShortFilmReviews #ChrisOlson #RaindanceFilmFestival #BarryKeoghan #JedHart #ShortFilms #FilmFestival #FilmReviews

★★★★ Directed by Sean Blacknell and Wayne Walsh Starring Gray Scott, Aubrey de Grey, Zoltan Istvan, Rudy Tanzi, Vivek Wadhwa, & Will Self Documentary Film Review by Chris Olson Battling a dialogue that is as exponentially terrifying as it is increasingly utopian, documentary film The Future of Work and Death is, as you might guess, a film of two halves. Not only do filmmakers Sean Blacknell and Wayne Walsh have to traverse a complicated narrative concerning the implications of technological advancement, but also balance the arguments in terms of outlooks, themes and prejudices. A film concerning work and death seems inherently morbid. However, these are themes, as the documentary shows, which consume our lives. We spend huge amounts of time doing the former and apprehensively awaiting the latter, so much so that a film about these concerns will not only strike a chord with a large audience, it is also essential viewing. Blacknell and Walsh construct a fervent, thriller pace to the movie, which uses talking heads, animations (provided by Walsh), pulsing techno (provided by Blacknell), archive footage and much more to put together a collage of computer-aged conundrums. The main threat being technology advancing at such a rate that humanity is ill-prepared and dangerously incapable of handling such a responsibility. Put this into the everyday context of work and death, and a compelling film doth it make. Both filmmakers admitted to being frustrated by other attempts to tell a story such as this, that such films didn't ask the questions which they wanted to hear. They also admitted to having huge amounts of footage that had to be cut in order to slim theirs down to a svelte running time. All of which connotes a massive conversation into which they boldly go. The result is an undoubtedly forceful piece that delivers a coherent commentary on one of the most apparent yet ignored subject matters of our times. The frenetic pace and short run time is the perfect complement to a story about technology and life, adding an urgency to it that is thought-provoking and compelling. A few visual flourishes, especially in the thrilling opening sequence, are worth seeking out a big screen for but this film can largely exist on the small screen. If watching with a group, you may want to book in a bit of time after the film to allow for the inevitable philosophical debates which will ensue. Like all good documentaries, The Future of Work and Death does not attempt to answer the questions it posits, instead basking in the harrowing nature of the discussion taking place. Very little conclusions are drawn and even among the scientific, anthropological, futurist speakers which appear, no sense of specific thread really emerges, except that we all need to start thinking more about it this. Aside from a bit of missing representation (although Blacknell and Walsh apparently tried to get more female interviewees), the film does an incredible job of lobbing a grenade in front of the audience and not being afraid to leave some of the mess it leaves. The sharp commentary and biting themes are massively engaging. Come this way for more Film Reviews. #FilmReviews #ChrisOlson #Documentaryreviews #Documentaries #RaindanceFilmFestival #FilmFestival

A Quest of Discovery That Must Never End: Reflections on the China Industry Forum (22nd September 2016) Film Feature by Dean Pettipher “Life is finite, while knowledge is infinite.” These were words declared and recorded in writing by the Chinese philosopher of more ancient times, Zhuang Zhou. Of all the proverbs and sayings of world-renowned wisdom, the aforementioned notion, without a doubt, best encapsulated the most immediate sentiment of this year’s China Industry Forum, which took place on what has come to be formally known on the Raindance Film Festival calendar as China Day, a date in the diary that ultimately and proudly testifies to the boundless depths of potential for success and prosperity linked to the rapidly and positively accelerating Sino-British relations in the modern age, most notably, on this occasion, concerning the film industries of both nations. The event opened with an introduction by the Minister Counsellor for Culture from the Embassy of the People’s Republic of China in the United Kingdom of Great Britain and Northern Ireland, Mr. Xiang Xiaowei. The VIP-led opening was followed by a presentation from the Chief Editor of www.chinafilm.com . The talk was principally about the China Film Group Corporation, as well as co-production and co-distribution between Chinese and British film companies. Next came presentations from representatives of companies that included Tiangong United Pictures, a media production and distribution organization known for championing 3D field shooting technology in film. At the forefront of their pleasant and informal presentation, paced perfectly with frequent invitations for the audience to ask questions and share thoughts, were insights into 3D and Virtual Reality (VR) technologies. Not a minute was wasted as the proceedings swiftly flew into the Raindance China Signing Ceremony, which featured the formal signing of various agreements aimed at strengthening China-British film relations by opening numerous doors to varied and fruitful opportunities. With the added presence of Mr. Elliot Grove, the Founder of the Raindance Film Festival, to an already unsung star-studded ensemble, the significance of the ceremony came to rival that of the co-production treaty signed in April 2014. That particular treaty, which was negotiated for the UK by the British Film Institute (BFI), through a process that involved China’s Film Bureau, the China Film Co-Production Corporation, the Department for Culture, Media and Sport (DCMS) along with UK Trade and Investment in Beijing, made it possible for qualifying British and Chinese co-productions to enjoy national benefits that included financial support and an easier pathway to the crucial destination that the film industry depends upon for its very existence, aside from the love of great art and storytelling – audiences. Finally, the forum concluded with an ‘Open Floor’ session; budding filmmakers were given an opportunity put themselves in the spotlight and see what happened next. Even if, on this occasion, only one movie artist, a young aspiring actress, took up the opportunity to share a fairly vague but nonetheless intriguing speech about what she was up to at present in the pursuit of her dreams, the scent of humble appreciation remained defiant in the air, since here was the clearest example of key figures behind the event putting their values into practice. That is to say, there was evidently a sincere belief that anyone who was both brave and passionate enough, no matter what their background, deserved a chance to be given a platform and have their voice heard, hopefully as a stepping stone on their journey towards making a living in the movie business. Thus, the often all too dominant fear that the film business is made up entirely of an elite club that welcomes only those either wealthy enough to pay the entrance fee or fortunate enough to essentially be born into it, as if it was a royal family, was at least in that moment, with the beautiful girl stood upon the stage in front of a handful of amateur directors, production assistants and journalists, to name but a few fellow dreamers, defiantly tackled. That self-belief and undying faith in one’s abilities, required to survive and still take pleasure out of such a competitive field, proved that day to be a truly universal phenomenon. By the end of the forum, there was plenty to be excited about and even more luscious desert for thought to be explored further. For instance, as China and the UK continue to seek out ways in which to share their expertise and opportunities with each other, what impact will such developments have on their respective film industries? What impact will such actions have on the broader political platforms beyond the movies? While Hollywood and the UK’s equivalent, (whatever that is), find themselves feeling increasingly more welcomed by the Chinese box office, could Chinese movies also establish a firm and more prominent position within the mainstream of Western cinema? With one of the major assertions of the forum being that China will always give freedom to the artist, will the upcoming big-budget picture, The Great Wall (2016), due for release in the UK in February 2017, deliver on such a pledge and still manage to live up to the enormous artistic, political and financial expectations? What does the future hold for truly 3D films? That is to say, those films that are shot in 3D, as opposed to those films that are converted from 2D format – the so-called real 3D movie. What does the future hold for VR films, which, incidentally, were noted during the forum as having a long way to go before they even reach the present state of 3D cinema in fulfilling the purposes of education and entertainment? Was the next Yimou Zhang, the next Ziyi Zhang, or the next Roger Ebert sat in the Vue Piccadilly cinema screen that day? Only time, patience and hard work will tell. In the meantime, China Day 2016 was granted a mighty send-off with a private boat party that gracefully drifted along the River Thames into an elegant sunset and then a sparkling night lit up by the Shard and its mistresses. Unfortunately, before one got too excited, he or she would only be very disappointed to learn that the celebrations on the water were invitation only. However, even in mourning, after missing out on the bountiful champagne and friends reception, the poignant music and the lively dances, one received some much-needed optimistic relief for the future of both one’s self and Sino-British relations, courtesy of viewing the day’s events in light of the flowing Chinese proverb – “If you always give, you will always have.” #RaindanceFilmFestival #FilmFestival #DeanPettipher #FilmmakerFeatures #FilmFeatures #ChineseFilmIndustry

Directed by Alexander Edep Starring Stevie Hopkins, Tommy Sullivan, & Kyra Aguilera Short Film Review by Monica Jowett Short film Wannabe follows the story of an American high schooler who becomes a superhero vigilante. A superhero drama with a dash of comedy, this is a brave short film from a young filmmaker, Alexander Edep. Peter Anderson (Stevie Hopkins) follows in the footsteps of his comic book heroes who help change the world. After continuing robberies committed by a gang, Peter turns to fighting the crime as a superhero nicknamed ‘Wannabe’ along with his friend Mitchell (Tommy Sullivan), not knowing his girlfriend Katie (Kyra Aguilera) has got mixed up in some dodgy business herself. The concept of Wannabe is good, taking leave from films like Kick-Ass and Super, the former being a clear influence for the character too, with a poster for the film hanging in Peter’s room. With such an influx of superhero movies in recent years, this short film sadly falls flat on pulling off an original twist. Peter/Wannabe is a hero who just wants to make the area he lives a better place, and in the suburbs, it is often just helping neighbours out with dogs. Director Edep has a great eye for filmmaking. The cinematography is aesthetically pleasing, and provides a good contribution to the narrative. He makes good use of framing and lighting from scene to scene, utilising the space within each sequence. The actors sadly cause the film to lose its edge, though are clearly giving full effort to the story and characters. While the script from Edep and co-writer Michael Kennedy is good, the delivery of the dialogue is stiff, causing the dramatic moments, or what should be a big reveal, to have little emotional impact. Much of the humour in the film falls on Mitchell, Peter’s goofy and overdramatic best friend who tags along with Peter and pops at random moments. After discovering a burner phone among Peter’s souvenirs he has kept from a previous heroic moment, Mitchell and Peter discover a bigger plot. Wannabe is a short film that shows an eagerness and aptitude for filmmaking. Though the premise might be a little weary, the visuals make the short film one to enjoy watching, and give way for a young filmmaker to watch for too. More Short Film Reviews over here. #ShortFilmReviews #ShortFilms #MonicaJowett #Superheroes #FilmReviews

Forever Fearless: Reflections on The Film in My Mind: Women Filmmakers Forum Film Feature by Dean Pettipher Almost one year since the day Jennifer Lawrence wrote her heartfelt essay regarding gender inequality in Hollywood, focused more specifically on the pay gap tragedy, one wonders what might have changed as a consequence of this stern call for justice. Additionally, the following questions become increasingly less blurred in front of the camera for at least a brief opportunity for keen eyes to catch a worthwhile glimpse of them: Just how bad is it? How entrenched within the film industry are the challenges uniquely and, by most appearances, eternally faced by women? Can such inequalities ever be truly and fully addressed? There remain at present no simple answers to these queries, or at least there still stands defiance amongst those in power, who, out of personal comfort within the present system, or as true believers in the notion that women are fine where they currently sit, seem content with doing nothing, if not little beyond nodding along in apparent agreement in order to avoid unwanted confrontation, while, in practice, taking no practical action to back up the sentiment lazily put on display to world. Only one question, asked out of sheer frustration and despair, has a clear answer: No. You are most certainly not alone. In the aforementioned essay, Lawrence wrote, “I don’t think I’m the only woman with this issue,” and asked, “Could there still be a lingering habit of trying to express our opinions in a certain way that doesn’t ‘offend’ or ‘scare’ men?” Even though, in a moment of humility or perhaps just simple awareness of her circumstances, Lawrence conceded, “It’s hard for me to speak about my experience as a working woman because I can safely say my problems aren’t exactly relatable,” the Women Filmmakers Forum at the 24th Annual Raindance Film Festival, which took place on Thursday 22nd September, highlighted that many, if not all, women, even those in comparatively far less high-profile and financially lucrative positions within the movie business, do endure the quintessential gender inequalities to this day. On a more uplifting scale, such women are no less afraid to at least hint that more needs to be done to address those concerns. Furthermore, they remain no less determined to continue doing what they love, whether the issues are dealt with or not. The panel featured Georgina Bednar as its host, who is known for her work as a producer for multiple art forms, a curator, an artist and a member of the Women’s Equality Party. By her side sat three women who were all well-established names in the business of film, theatre and/or television. From left to right sat Marnie Dickens, an up-and-coming screenwriter best known for the film entitled Thirteen (2016), Suhalya El-Bushra, a scribe for the theatre and the silver screen enjoying a great degree of success in both fields with the National Theatre and the BBC respectively, and Nicky Bentham, a film producer whose most notable credits include Moon (2009). Together, they formed a charming ensemble that sought to celebrate success stories in the wake of difficulties faced by women alone and both genders, while noting the troubles that are far from over in a manner that remained sensitive and understandably light-hearted throughout the discussion. Such a tone was not too dissimilar to that witnessed with Kate Winslet, who consciously distanced herself from the public debate over the gender pay gap in the film industry, while making it clear during a 5 News interview in 2015 that she is certainly a supporter of equal pay in principle, noting that every situation is different, by stating, “I understand why people feel strongly about it, especially if they’ve been in a position where the situations have been so extreme and perhaps differences in pay have been extreme enough for them to feel as though they have a right to say something. Good for them for speaking up for themselves. Absolutely.” For many reasons, including the fact that neither Kate Winslet nor the panellists at Raindance alone have the power to address gender inequalities like the pay gap and might unfortunately risk the careers that they have worked tirelessly to build if they dared step even an inch too far in standing up for themselves on such issues, as well as the notion that simply talking about it in public will not fix the problems either, the crucial point to make while more practical solutions slowly form in the background is to never forget that the inequalities still exist. So long as the debate maintains even a shred of honesty about what really takes place behind the glamour and the glitz, there remains hope for a definitive solution. The discussion warmed up with each member of the panel sharing a brief recollection of how they broke into film, theatre and/or television, which unsurprisingly came down to working one’s way up the career ladder either through the academic course of University or the more practical route of starting out as a Runner. Both routes appeared to rely upon persistence and collaboration with a host of individuals, with a particular focus on agents and creative mentors. Once the baseline was established, the questions posed by Bednar led more towards topics specifically linked in the collective psyche with women in film. Notable mentions, albeit they are not unique to women working the movie business alone but of course other industries too, included having a family while holding down a career. A consensus was quickly established over the importance of the support from family and friends that undoubtedly helped to fuel the drive towards keeping the artistic ambitions alive. Family would never cease to be a major consideration in a balance that was unanimously noted by the panel as a constantly shifting one that can quite easily plague the mind with feelings of extreme guilt in the wake of the potential cost of even the tiniest necessary sacrifices, resulting from anything an avid filmmaker could think of; whether it be travelling a great distance with the production company on a temporary basis, or being bound by enormous pressure to dedicate a great deal of time to writing and refining the perfect screenplay. As the Q & A session drew near, the panel carefully acknowledged that while there was a will to change circumstances resulting in vast gender inequalities for the better, the barriers amounting to an unconscious bias and even outright discrimination against women remained defiant. Nobody shared any substantial specifics, nor did any of the audience members ask for them. All knew in silence what they were, or at least what they could be. All that mattered was that such concerns were not forgotten, forever known, forever taken seriously. Ultimately and rightly so, audience questioning veered towards praising and taking whatever counsel they could from a group of inspirational women who faced amplified uncertainties every single day and were still here in the cinema, taking a moment to reflect on how far they had come with others, in the hope of illustrating that success as a woman in film was possible, before returning to the pursuit of what they loved to do for a living, no matter what tried to stop them. There was no doubt that they would continue to seek out ways to play a leading, integral and hard-earned role in giving life to great works of film, theatre and television. Forever determined. Forever fearless. #FilmmakerFeatures #DeanPettipher #WomeninFilm #RaindanceFilmFestival #FilmFestival #FilmEvents

Directed by Darren Scales Starring Nathalie Cox, Robin Kirwin, Ben Shahin-Scales, & Shane Rimmer Short Film Review by Chris Olson A well crafted sci-fi short film, Darkwave: Edge of the Storm boasts some fantastic visuals and a pulse racing storyline. From director Darren Scales, DEOTS is the story of a couple (Nathalie Cox and Robin Kirwin) attempting to survive in a dystopian New Earth, where they hope to elude a powerful regime whilst protecting their specially gifted son Ben (Ben Shahin-Scales). Posed as a franchise, there is a lot of promise to this piece. The world that is built is believable, threatening, and fascinating, not to mention containing some brilliant landscapes and visuals. The use of VFX with practical is well balanced, and a couple of moments using gory makeup are particularly startling. Scales proves himself more than capable of handling the science fiction aesthetic, which is by no means easy. More stories in this world would definitely be welcome. Edge of the Storm, as a singular story, is a little lacking when it comes to dialogue. It's a tad clunky at times and some of the performers have a hard time reaching the emotional depth needed for audiences to really invest in this film or connect with the characters, which is always a trial in a short film. That being said, Cox is most definitely worthy of mention. Her character is easily the driving force of the movie, especially during her emotive scenes with her father (Shane Rimmer). This is another example of where more stories from this world would be welcome, exploring their past and relationship would be great. Any good sci-fi film needs a talented composition. The score very often being crucial in settling the audience into the world being presented to them, as it is a subtle way of influencing their viewing experience. Darkwave: Edge of the Storm has a superb score. The music compliments the adventurous tone of the story, as well as the poignant loneliness of these characters in a dangerous and tumultuous setting. Throughout the film, never once was I jolted out of the movie by a misplaced note or poorly chosen instrument. Scales's film reminded me slightly of Midnight Special which came out earlier this year, which is no bad thing. Although not competing in the same league as that film in terms of script, there is definitely an audience for this type of action/adventure/thriller which boldly dares to be visual in an increasingly difficult genre to please. And that is where Scales is really successful. A little more nuances in the script, and some deeper character development, and the Darkwave franchise could prove to be a force to be reckoned with. This way for more Short Film Reviews. #ShortFilmReviews #ChrisOlson #Scifi #FilmReviews #ShortFilms

Interview by Chris Olson Director of short film Lookouts, David Bousquet, recently sat down with us to talk about making his epic fantasy film. How would you sum up your short film, Lookouts? Face your monsters. Overly dramatic as it may sound, we took on a very “do, or die trying” approach to this film and that is fittingly reflected in the climax of the story. Pehn’s final trial as a Lookouts scout is to face his greatest fear, but Pehn isn’t a hero and he chooses to run instead of fight. When he’s left without hope, without faith, and without the security of his protectors, only then does he choose to turn (despite all odds) and face the Basilisk. People say it ends as a cliffhanger, but for me, the story ends when he stands and turns towards the beast. The hardest decision has been made and what happens as a result isn’t important. In my mind, he’s already won. Can you tell us how you came to this project, and what the motivation was behind telling this story on screen? Penny Arcade created the first Lookouts comic back in 2009 along with a sci-fi short entitled, “Automata.” Both stories used bold, visual language, and ended with a wonderful hook that really got me. When my wife Kristin (LOOKOUTS’ Producer) and I decided to make a short film just for the love of the art, we wanted to celebrate a story from a group of creatives who actively post free content online every week. At the time, PA had not converted any of their properties into motion and we were excited to create an inspired work, which we could offer back as thanks for all the years of entertainment. You are also DoP on Lookouts. The film has a fantastic aesthetic. Did you have any particular styles, influences or goals you were bearing in mind during the filmmaking? The “art” of filmmaking is HOW a story is translated into visuals. That’s the point of choosing this medium over any other story-telling art form. It’s visual. The look and feel of LOOKOUTS was immensely important in deciding which story we tell and how we tell it. One quick example is the “Cull” scene at the end of the film where the Ranger passes on his final words of warning and support. Earlier that year, I saw a Bacardi commercial that blew me away, visually. Its mixture of blistering red light and atmospheric fog was exactly the backdrop I wanted to separate the Ranger and his group of scouts from the village festivities going on in the distance. In addition to the bonfire and torches we positioned in the scene, we also rigged a series of road flares that gave us that intensely saturated red light that contrasts the overhead M90 “moon light,” which hung from a condor crane. The Lookouts comic uses a variety of colour washes to boost the sense of fantasy in each panel and I think the way in which our fog bled vibrant light throughout the scene mimicked that “colour wash” effect from the comic. The casting of the film was important in this story, especially with the lead child actor. Short timeframes allow for minimal character development. Caring about Pehn and connecting with his struggle was the real challenge of this film. We couldn’t build a complete relationship with the character in 10 minutes, but we knew we could introduce existing relationships with the people closest to Pehn. If the audience buys into those, hopefully they’ll buy into Pehn. Pehn is a difficult character to write and to play. He needed to be timid but not frail, un-heroic but not weak. You have to believe that he’s capable of picking up a dagger and running at a monster, while fully believing that he’d probably rather drop the blade and run away. Managing those contradictions in a character’s personality would be difficult for any actor, especially an 11 year old. I continue to be impressed with how patient and collected he (Kelton Roney) remained while delivering a range of emotions throughout the whole filmmaking process. Truly a young professional. How was it working with the performers? The boys were great. Give some sticks and costumes to a group of young boys in the forest and they instantly become method actors. They never leave character. Because this was a short film, we really had to focus on Pehn, but the personalities and dynamics of the whole troop would be fascinating to explore. Chris Cleveland and Stefanie Estes we’re a joy to work with. Stefanie contributed so much heart and emotion with so little actual screen time, I couldn’t be happier with her approach to Kliea. Chris is a powerhouse. The voice he developed for the Ranger floored us from day one of his audition to the final shot of production. He’s the type of actor you can’t look away from on screen, just fantastic. What, in your opinion, is the toughest aspect of filmmaking in 2016? Certainly for myself, the biggest challenge is (and always has been) making the film. I know that answer sounds uninspired, but it’s true. The single hardest thing about this entire wonderful and exhausting experience was actually getting the film made, and I don’t see that changing. Modern technologies and distribution chains have shifted how we capture cinema and how its delivered to the audience, but neither of those qualifies are “the toughest aspect” of filmmaking today. Making the art product “exist,” now that’s tough. You gotta love the struggle. Are there any tips you would give to newcomers to directing? Things which have helped you along the way? Directing is communicating, and “barking orders” is not directing. It’s not enough to have a good idea or to have access to the tools and people needed to interpret that idea into visuals. That translation can’t happen until you can communicate and support what’s in your head. The most important class I took during High School was an elective, forensics. Not CSI, rather speech and debate. People have such a distorted perspective on debating and often write it off as “bickering with a podium.” That’s easy to understand given our current political climate, but a real debate is much different. Learning how to listen to an argument, deconstruct it and separate the supportive elements from those that negate your position is incredibly valuable. Really, anyone in any industry that has to interact with other human beings can benefit from practicing how to present and support their ideas/opinions WHILE objectively analysing their own stance for its weaknesses. The ability to take either side of an argument at anytime is fundamental in debate, and it’s proven invaluable when communicating in a collaborative environment like a film production. What is the next project you are working on? We’re moving on to full-length feature work and a new script is already deep into development. REALLY exciting stuff! Narrative storytelling has entered our bloodstream; that can’t be ignored. Lookouts was a way of testing whether or not we are comfortable with longer format filmmaking, and it instantly felt like home. What would you say if you were a dolphin In very clear English, I would say the word, “squeak.” Check out the Film Review for Lookouts. #Interviews #ChrisOlson #FilmmakerFeatures #ShortFilms #DavidBousquet #KristinBousquet #Fantasy

Directed by Richard Mundy Starring Andrew Kinsler Indie Film Review by Lorenzo Lombardi Twenty Twenty-Four crafted a set and almost tangible atmosphere to a degree of quality I have rarely found in this year’s releases of indie films. Heck, it is superb in most aspects. The audience will feel thoroughly compelled throughout these 88 minutes of pure psychological and absorbing terror. Starting with an overview of the ongoings of this universe, the audience is instantly aware of the global fallout that is feared to occur at any time. It is also revealed that bunkers were built and that scientists are individually assigned to each bunker to maintain them for the expected disaster. The film is about a scientist named Roy (Andrew Kinsler) and his time maintaining a bunker called Plethura. Taking a page out of morose one-man performances such as Sam Rockwell in Moon, Kinsler plays a man dealing with isolation and dread astoundingly. His fear stems from the impending doom of the world and his responsibility of taking care of humanity’s “salvation” (as his company suggests), which is convincingly evoked through his analogical dialogues and questions with Roy’s robot pal Arthur, the only true sense of company in the bunker. There is a well-written and intriguing dynamic in many of their conversations, as Arthur often tries to understand human emotion and Roy vents to it the laments of his mind. Twenty Twenty-Four took 3 and a half years to make. That was mainly due to the fantastically nuanced set that is the Plethura station. Because of its intricacy, the audience is never taken out of the film. It is an immersive location, and this is furthered through mostly practical effects and props. Everything looks real and accordingly placed, even the CGI parts --- like a hologram being transmitted --- are impressive. Evoking Sci-Fi classic Alien, the location’s aesthetics and a question of whether the character is alone or not makes the film more like a psychological horror in the second half. While I expected an out-of-place tonal shift, Twenty Twenty-Four achieves this with creative ambiguity and use of sound. The score is conducted to undeniable eeriness by Harry Kirby. It is experimental in a The Shining-esque way, making you nauseous with screechy violins and generally distorted notes. Echoes and mechanical noises of the bunker also serve as a soundtrack of sorts, adding uneasiness. Fundamental themes are brought up meaningfully. While this story is more personal, the nuclear crisis backdrop makes for a well-written conversation concerning the violent nature of humanity. Arthur, the robot, also serves as a device for themes of consciousness and technology, as well as a clever counterpart to the main character, Roy. My only gripe with this film is the sometimes stiffly delivered dialogue that is uttered. Otherwise, what tops this film’s all-rounded quality is the cinematography, direction, and editing. Nick Barker shoots visceral one-point perspectives and amazing tracking shots while editor and director Richard Mundy implements many fade and superimposition cuts to play with the audiences’ minds until the admirable slow-burning builds up to a jaw-dropping final act. Richard Mundy’s first feature is one of this year’s indie triumphs. More Indie Film Reviews this way. #IndieFilmReviews #LorenzoLombardi #FilmReviews #IndieFilms #Scifi #Thriller

Interview by Chris Olson We have recently been promoting short film, Lookouts, on the UK Film Review website. Executive Producer (among many other things) for that film, Kristin Bousquet, gave us the extraordinary pleasure of giving us an insight into fantasy filmmaking on an indie film budget, as well as some fantastic answers about casting a film like Lookouts. How would you sum up Lookouts and why audiences should seek it out? Lookouts is an adventure film about facing your fears. It’s a delicious bite-size serving of an epic universe. This short film follows a young scout who sprints through the Eyrewood to escape a fearsome Basilisk. The themes are universal but our approach to the story is anything but common. At a time when fantasy cinema continues to move out of reality and into the digital realm, Lookouts is rooted in the real world, with physical sets, practical FX, and a puppeteered monster that was inspired by the masterful creature work from Jim Henson. Can you tell us about your roles as Producer, Casting Director and Production Coordinator and what they entailed on this project? Those are actually just a few of the roles I had in Lookouts but wearing many hats is common practice for independent filmmakers. The “making” aspect was something we were really looking forward to and we wanted to be involved as much as possible. Ultimately my job was to try and figure out how to get the film made within our budget and to our standards so when I couldn’t find certain “resources” my next approach was to figure out how we could do it ourselves. I’m crafty so I’m not afraid to roll up my sleeves and get my hands dirty…I was right there alongside David helping to make the stone statues, costume armour and the basilisk. The casting was fantastic on this film. How impressed were you with your choices in the end? Thank you, I couldn’t have been happier with our cast! Not only were they great actors, they were awesome people in general. We did several rounds of casting in Los Angeles and that’s where we found our three leads (Kelton as Pehn, Chris as The Ranger and Stefanie as Kliea). We auditioned close to 150 boys for the role of Pehn and actually met Kelton on our first day. This particular character was critical because if he appeared too young, our story would be “cruel” and if he appeared too old, the audience wouldn’t have empathy for him. There was also a tremendous amount of physical performance so some of our call-backs were simply for physical tests. This was probably one of the most important “ah-ha moments” I had during casting. We quickly eliminated several finalists based on their coordination when most people would assume “all boys can run – it’s natural”. How was it working with David Bousquet? David and I have been working with one another since college and we started RedGate Films shortly after graduating. We have over ten years of commercial/brand advertising experience together so at this point I’m able to anticipate many of his production needs before he voices them to me. Yes, we’re married but I think this only helps our working relationship…this approach is certainly not for everyone, but it works well for us. David is extremely focused and knows what he wants. He had a very clear vision for Lookouts and really pushed it creatively. Were there any difficulties or limitations for the shoot? Like most indie filmmakers I would say budget was our biggest limitation. David and I self funded Lookouts so we certainly didn’t have unlimited means. We strive for top quality so when we couldn’t afford to pay someone to do a particular job, we had to figure out how to do it ourselves. For instance, our basilisk. We actually hired that out to a practical VFX company but what we got in return was completely unusable. When we couldn’t afford to hire it out again, David subscribed to the Stan Winston online school of VFX and watched hours upon hours of tutorials. He mapped out a step-by-step plan for how we could make it ourselves and off we went. Six months later we had a fully articulating wearable puppet suit that we couldn’t have been happier with. How was it working with the performers? Our actors were incredible to work with. Working with child actors is known to be problematic but our experience was very positive. Chris (The Ranger) was amazing with the boys both on and off set – there was great chemistry between them and I think this is apparent on screen. Kelton (Pehn) has a photographic memory so he read the script only a couple of times and was set with his lines…this was a bonus we found out about after he was cast. What, in your opinion, is the toughest aspect of filmmaking in 2016? I would say for the most part, the toughest challenges of filmmaking in 2016 are the same challenges that filmmakers have always had and I don’t see those changing. I think all productions face a countless number of roadblocks and how one handles or navigates those is critical to the development of the film. You can lie down and accept defeat and make sacrifices or you figure out a new strategy. Our goal was to execute quality at every level and it wasn’t easy. Has your work on Lookouts given you any important lessons about filmmaking, and what you want to do in the industry? Our work on Lookouts has confirmed many lessons we’ve learned over the years, so fortunately we were able to apply those insights to this production. Even though David and I had a clear idea of what we wanted and had a solid game plan, we couldn’t have made the film without our amazing crew. We’ve built up an “A-list” roster over the years and we were incredibly fortunate to have many of those people with us during production. What is the next project you are working on? Taking on commercial/advertising work, developing a feature and continuing to promote Lookouts. We’re developing an original feature script while continuing to promote Lookouts. What would you say if you were a dolphin? “…meow.” [cat-dolphin breaks internet] Read the full Film Review for Lookouts - here. #Interviews #ChrisOlson #FilmmakerFeatures #Filmmaking #IndieFilms #Fantasy #KristinBousquet #DavidBousquet