★★★★ Directed by: #ConorHolway Written by: #ConorHolway, #DanielBarton, #KevinPerringtonTurner, #JackBigelow, #YunfanXu Starring: #ConorHolway, #KevinPerringtonTurner, #DrewDunn Short Film Review by: Emily Davison Watch Emily's Video Review After a meteor strikes Boston, a virus infection spreads and two acquaintances are forced to hide inside a movie theatre: Apple Cinema. A movie made in Boston, for Boston, the film runs for just over forty two minutes (excluding closing credits) and had its theatrical premiere on September 10. This quirky horror/thriller gives its central location a nice shining spotlight, even if it is restricted to one building, allowing for small scale character driven drama to take centre stage. The film begins with an intriguing cold open establishing two acquaintances, Coach (Holway) and South (Perrington-Turner), who are on bad terms and are sitting in a deserted cinema screening. Through unconventional narrative structure, comprising of flashbacks and flashforwards to the present day, we are shown the events leading up to the outbreak of a zombie apocalypse from the cast’s point of view. We later learn that the survivors have been living in the cinema for three years and there are unresolved tensions between them as South blames Coach for the death of his brother. Director Holway employs a great blend of comedic moments with mystery and thriller, depicting how Coach appears to be losing his grip on sanity as he constantly works out and speaks to a cardboard cut-out of Marvel star Chris Evans, recording each day passing by drawing a line on the wall. The film is well crafted with creative and immersive techniques used, such as quick zooms into characters’ eyes as we transition to a flashback in the midst of the zombie attack. It presents a creepy unnatural visual aesthetic, with orange dust clouds as a result of the meteor strike causing visibility outside to be greatly reduced. There is an impressive sequence earlier on showcasing the meteor crashing, where a tsunami is caused by the force and people and buildings are instantly incinerated. The special effects are very strong and captures the nightmarish imagery of an apocalyptic horror flick very well. Performances are good all around, with a particular standout being Drew Dunn as creepy cinema attendant Xander. He appears to have suffered a mental infliction as a result of witnessing the virus outbreak and acts oddly, speaking like a robot programmed to promote the cinema in an exaggerated fashion and constantly applying Vaseline to his hands. His persona is slightly reminiscent of the bar attendant, Lloyd (Joe Turkel), from The Shining (1980) and the disturbing setting of a dark, mostly abandoned cinema only enhances this unsettling tone. The film presents an effective twist ending, where everything we were previously shown about the characters is instantly flipped on its head, although motivations for one character’s actions do appear unclear and questionable. We are finally treated to a tongue in cheek closing credits sequence, with a cracking performance from Robert Bloodworth as he sings an uplifting song called ‘Stirring Drums’, juxtaposing the darkness that came before. All in all, Apple Cinema showcases interesting and experimental moviemaking, a compelling narrative and a mysterious cast of characters cast of mysterious characters. Self-aware and talented director Conor Holway offers a decent watch for this Halloween with its easy accessibility through YouTube. #EmilyDavison Apple Cinema (2021) trailer:

★★★★★ Directed by: Harry Kümel Written by: Pierre Drouot, Harry Kümel, Jean Ferry Starring Delphig Seyrig, Danielle ouimet, John Karlen and Amndrea Rau Throwback Film Review by: Rachel Pullen Daughters of Darkness (1971) Film Review The 70s was a sexy time, Playboy was at the peak of its success. People got into swinging and rubbing their areas near each other, women hated bras and needed ample chest liberation, things were sweet. So, in keeping with the trend of the powerful sexual revolution and bra-free ladies, Belgium director Harry Kümel decided to jump on board the bandwagon to create...erotic horror. Ew, some of you may say, but I say shut up, I'm all for the sexy nature of horror, I mean I'm not the only lady to get aroused by serial killers, look at all the ladies Ted Bundy got after he was a convicted murderer! But Mr Kümel decided to throw that out the window and make the killer, the predator, the evil menace in this film...a woman. Daughters of Darkness tells the tale of a married couple who are travelling from Europe back to the U.K., but it's a long trip by train and so they decided to pit stop for a few days at a hotel in Belgium during its offseason, they are the only ones there, so they hump, eat and keep to themselves, but it's not long until two ladies turn up late in the night, I REPEAT...IN THE NIGHT, and take an interest in our freshly wed duo. These two ladies are sexy and mysterious, maybe lovers, we don't know but both are hot so I wouldn't say no, and clearly, Elizabeth is the more powerful of the two and quickly becomes pals with the other guests. She works her charm and the dude is like, yeah I would but I have a wife, maybe I shall just be an annoying husband who didn't tell his mother he got married and worry about that. He is foolish because while he is distracted Elizabeth is trying to get on his wife, she is alluring her to the dark side, something she seemed against since the start, she winced at the sight of blood but now Elizabeth has her right in her palm. Meanwhile, Elizabeth sends her other lady lover to seduce our useless husband, but because he is lame at almost everything in this movie he ends up killing her during their romp. Elizabeth and his wife soon stumble across the bloodbath and end up being like...ok let's bury this lover/slave on the beach ...but Elizabeth is adamant they do it before sunrise, makes sense... But wait, have we never seen her in the sun? No, we haven't...oh that's right because she is a vampire? Maybe? We are never really told, but who cares? They decide to flee the scene of the sexy blood murder but remember...before the sun, do everything before the sun. This movie has to be one of my favourite horrors of the '70s, and during a time where there were a lot of lesbian vampire films around, Daughters of Darkness exudes a class and sophistication that the others completely miss. This film is a beacon, a shining example of how to create a strong and sexual female lead without objectifying her, you could almost say this was the original Jennifer s Body. Its subtle yet alluring sexual subtext makes this movie an artistic masterpiece, not quite flashy enough for mainstream cinema, but not too abstract that it loses a large audience, Daughters of Darkness sits right in that sweet spot. So ladies, whip your bras off and get amongst the powerful, sexual and chilling experience that is watching Daughters of Darkness, and fellas join in too, as long as you tell your mother. So this week we learn: Belgium is full of vampires Men won't tell their mum's when they get married And off-season hotels see a lot of swinging action. #RachelPullen

Filmmaker Interview by Chris Olson How have you been in the "new normal"? How's the pandemic been for you? I guess, like most of us now, I'm sort of used to the new normal! It's great to be able to be back having meetings in the real world - as brilliant as zoom has been during the pandemic, it's definitely enjoyable to get back to meeting face to face. For me personally, as a writer, the pandemic really made me focus in on what's important. The people who are important, and the stories that I want to tell. It gave me some clarity at a time when the world was feeling very noisy. You have a new film coming out, Lapwing, what can you tell us about this film? Lapwing is a story about emotional abuse, coercive control in relationships and the hope that comes from choosing to look within ourselves to find our own unique strength. It centres on the character of Patience, a young woman living in an isolated community in 1555. I always knew that Lapwing was a historical story about this character battling the shadow of her abusive and controlling brother in law in a claustrophobic community. I believe that we can tell important stories about the present through the lens of the past; Lapwing deals with the very pressing and contemporary themes of toxic masculinity, sexism, racism, fear, paranoia and prejudice. Why did you want to tell this story? In my writing I am always passionate about telling stories that explore the female experience and the female voice, particularly unearthing stories and characters we might not have met before. The film is set on the Lincolnshire coast, which is the place I'm from, and Patience is a young woman who is selectively non-verbal because of the hate she has received due to her speech impediment. The feeling of suffocation and strangulation as a young woman in difficult, emotionally and morally complex situations was something I was determined to address with this story, and Patience was the character who came to embody these themes, as well as the inner strength and resilience that we all need to confront the hardships in our lives. What have been the challenges of making Lapwing and getting it out there? Making Lapwing has been a very long process. I wrote the film in 2016 and we filmed it on a micro-budget during the summer of 2017. Then began a long process of post-production. It was a real learning curve for me to realise how long this process can be when you're indie filmmakers, but it did enable all of the team to really interrogate the story and make sure we were giving the message we wanted to give with the piece. Of course, then Covid hit, but we were really fortunate to get distribution with the brilliant team at Bulldog Film Distribution, and now we're in the exciting place of being able to have an in-person release as well as online on-demand. Why do you write films? I write films because I believe that stories are the thing that connects us all. We have always told stories and I think we always will and for me, that's an exciting thing. It's a huge privilege to be able to reach out to other people through different narratives and telling stories with heart, that aren't always easy to watch, is important to me. Lapwing is, in many ways, a difficult watch, but for me this was absolutely vital to do justice to the themes of the piece and be respectful and bear witness to those who have experienced what Patience experiences. Who would you love to work with and why? There are some incredible actors who I would love to collaborate with in the future. I find it so exciting to discover what an actor can bring to a role that you might never have imagined when you're writing, alone with your laptop. It's been such a joy to work with Hannah Douglas, Emmett J Scanlan and Sebastian de Souza, who star in Lapwing, and I'd love to keep collaborating with incredible talents like them. I think Stacy Martin, Sabrina Bartlett and Daisy Edgar Jones are some of the most exciting young actresses around at the moment. What's next for you? At the moment I'm working on the follow-up feature with the team behind Lapwing, as well as working on several other feature film and television projects. It's also been really lovely to get back to writing for the stage as well since theatres reopened, so I'm enjoying combining playwriting and screenwriting. I'm excited to get the next script up and running and into pre-production! Where and when can people watch Lapwing? Lapwing releases in select cinemas and on VOD on 26th November. You can find more details by following the film on Instagram @LapwingMovie, and you can watch our trailer here: What would you say if you were a dolphin? "Watch Lapwing on 26th November!" #ChrisOlson

★★ Directed by: #TorRamsey Written by: Tor Ramsey Starring: #MadelineTaylor, #SeanMcCracken, #AmberDawnFox Indie Film Review by: Corey Bulloch A collection of romantic comedy vignettes that at times feels like a shoddy patchwork of Jim Jarmusch’s Coffee and Cigarettes and a Gary Marshall ensembles like Valentine’s Day or New Year’s Eve. Though lacking the artistry or pageantry of either, Tor Ramsey’s idiosyncratic exploration of love and relationships in Raleigh, I Kinda Like You does have amusing narratives that play up familiar milestones. A group of friends led by Mr Ramsey drink, smoke, and share tales of bizarre anecdotes of romantic courtship: blind dates, meeting the parents, engagements, but all with a twist. Ramsey’s script takes the typical route of these moments but then puts through the wringer with maddening excitement. Initially taking form in fast-paced screwball comedy banter as the actors barb back and forth, but the latter half of the film delves into more surreal ideas and meta fourth wall breaks. I was definitely more in favour of the earlier stories with my favourite being the second. A man proposing to his girlfriend with a family heirloom engagement ring, then having his new fiancee sign several convoluted contracts which ensure the ring shall be returned in case the marriage doesn’t work out, every hypothetical gamed out by the man’s mother. It’s that type of kooky energy that makes the introductory stories engaging and funny, even possible to distract from the poor filmmaking but after a while, the novelty wears off. This feature is built upon Tor Ramsey’s short film of the same name but there doesn’t appear to be enough gas in the tank to take this concept full length, despite Ramsey’s ideas in the latter segments. These stories are loosely connected through the conversational interludes but Raleigh, I Kinda Like You doesn’t give the audience a satisfying denouement. Though that lack of a resolution wasn’t what made Raleigh, I Kinda Like You a difficult two hours to watch. Many scenes take place in bars and restaurants around Raleigh, North Carolina and you get a sense of Ramsey’s affection for the city in the establishing shot montages. I’ve been to Raleigh, I had a blast there and I was trying to see if I recognised any of the spots Ramsey’s film drops into. But being in actual bars and restaurants leads this film to have an atrocious sound design that at times made it impossible to decipher what the characters were saying. It comes and goes but when it does, it shatters the thin immersion the film has over you and what’s originally endearingly amateur just feels incompetent. Spikes in volume, overbearing music, trying to drown out background noise really affects the rhythm Ramsey wants to establish with the screwball banter in most of the stories. Camera work at times also suffers, but I can appreciate Ramsey’s attempts to make the film visually interesting in the latter half. The whole ensemble delivers their characters well, there’s no real weak point but no breakout either but as with the rest of the film the material of the first hour is stronger than the second. Raleigh, I Kinda Like You’s quirky energy ebbs and flows during the runtime but Ramsey's love of Raleigh, romance, and comedy can only go so far. It’s not enough to keep you invested and eventually it feels like Ramsey is trying every last trick he can to reach the finish line. #CoreyBulloch #indiefilm

★★★★ Directed by: #MelissaPerea Starring: #AndreaGuerrero, #BetsyShaw, #LizzetRamirez, #EvangelinaLomeliSánchez Film Review by: Alexandra James This short film had a simple but captivating storyline, a woman who is preparing for her wedding day in two days’ time and is looking for those special white shoes to match with her beautiful gown for the day to fully come together. However, all is not as it seems, Ivonne is a melancholic narrative which shows the slow demise of an elderly lady and her struggle to determine fact from fiction. This short begins with Ivonne waking in her bed, admiring her wedding ring. Ivonne starts off her morning by crossing off items for the big day from her checklist. The first thing that hit me was the period of this short film. It seemed confusing at first, a mixture of modern and almost a 1950’s look to Ivonne’s outfit, makeup and décor. Ivonne looked as though she had been caught in a time warp, however, everything outside her home was of the present day. This was an extremely clever ploy, as it forced the audience to question the character as well as her surroundings, she clearly was not an average woman excited for her wedding day there was something deeply concerning about her aura. This made for an interesting watch as the viewer is left questing everything, including the direction of the storyline. The only item Ivonne desperately needed was these white shoes. She sets off and tries shop after shop, only to be met with dismissals and is turned away from each store almost as if she was a pest and unwelcome wherever she entered. The actress brilliantly executed the damsel in distress persona and a great deal of sympathy can be felt in her time of desperation, especially when she searches through rubbish just to find a simple pair of shoes. The story begins to take a slight turn at this stage, and the audience soon learn that Ivonne is trapped in this mindset that her fiancé will return to whisk her away. Unfortunately, this is untrue, and we discover that Ivonne is nothing more than an elderly lady trapped in the past, repeating the same actions over and over. Unable to move from that single day and into the real world. This was an exceptionally clever twist and adds an uneasy feel to the story, as well as paint the character as far more complex and compelling than initially presumed at the start of the film. The ending makes us look back on the treatment of Ivonne by everyone she encounters, as she is cast aside by society. This short was brilliantly written and fascinating from start to finish. Who doesn’t love a story with a great twist? Ivonne is a character surrounded by loneliness but is almost not even aware of this loneliness, she is wrapped up in a fantasy which will never be fulfilled. An extremely sad and moving narrative but one which perfectly exposes the vulnerability of a character, allowing the audience to connect with her and invest in her fictional world.

★★★★ Written and Directed by: #GregCruttwell Starring: #StephenBoxer, #BrianBovell, #EmmaAmos, #SiobhanBevan, #SamuelAnderson, #MarkHadfield and #CandidaGubbins Film review by: Brian Penn We continually tell ourselves it's just a game; and too all intents and purposes it is. But ask any football fan and they will admit deep down inside it means much more than that. This charming new film by Greg Crutwell proves why this simple game invented on the playing fields of Eton still has a profound effect on people's lives. The 'Football Monologues' does pretty much what it says on the tin. Seven characters deliver their own story in a series of teasing vignettes unfolding over 90 minutes. Sympathetic editing allow the characters equal screen time and prominence within a gently building narrative. Each one has a cosy and familiar glow; fans will quickly recognise them as somebody they know. There is Frank (Brian Bovell), a world weary cab driver and part time scout. He's seen it all as a player and manager in the lower leagues; and now puts in the hard yards unearthing new talent. Lucy (Siobhan Bevan) is a talented player who caught the bug from her football mad Dad. But Lucy is torn between the game she loves and doing girly stuff with her mates. Mark (Samuel Anderson) is an established first team player under pressure from youngsters breaking through. He fears a loss of form and confidence, vital commodities for any player. Gordon (Stephen Boxer) is a walking cliché who coaches an under 12s Sunday league team. But nobody can fault his passion and commitment as a big cup game approaches. Kimberley (Emma Amos) is an entrepreneur running a football club and making an impression with fans, players and the team manager in particular. Colin (Mark Hadfield) is a proud and dignified referee who officiates at junior level. He happily confronts angry parents who dispute every decision; it's all part of the game after all? And finally we have Amelia (Candida Gubbins), a lady who has just discovered the beautiful game. She follows local club Dulwich Hamlet because they need her support more than Arsenal or Manchester United. The film offers an articulate and perceptive view of how the game operates at grass roots level. It also highlights the disparity and division that feels wider than ever. The inequities of a game drowning in money at the top end are plain to see. But where it really hits home is the simple portrayal of lives enriched by football. Wherever our interest in the game takes us; be it as a supporter or active participant, we gain something important because it adds colour and dimension to a routine existence. As good as it looks on screen the ‘Football Monologues’ is better suited to the stage. The characters are crying out for feedback and a live reaction; something only the theatre could provide. But it remains one of the best films made about football for quite some time. UK CINEMA RELEASE DATE Friday 29th October

★★★★ Directed by: #MatthijsvanHeijningenJr Written by: #PaulavanderOest, #JesseMaiman Starring: #GijsBlom, #JamieFlatters, #SusanRadder Film Review by: Emily Davison It’s 1944; three young people living in war torn Europe are interconnected around the forgotten Battle of the Scheldt River and all fight for the same resolution: freedom. The Forgotten Battle (2020) is a Dutch world war two drama, with German and English language elements and was originally scheduled for a theatrical release in December 2020, but was delayed until 2021 where it has recently become available for streaming on Netflix. Inspired by true events, the film centres on three leads: a Dutch Axis soldier, Marinusvan (Gijs Blom); a British Allied pilot, William (Jamie Flatters), and a resistance woman, Teunt (Susan Radder), from Zeeland. It also depicts the Allies taking control of the Scheldt River from Axis forces to establish a shipping route into North West Europe and filming took place in the Netherlands and Belgium. The film begins strongly with exposition about the context of the central battle presented through an effective animated map, showing the Allied forces pushing back against the Germans. From there, we are instantly thrown head first into the middle of a war and the captivating screenplay never really loses its grip until the closing credits, with several excellent set pieces and predominantly character driven action. Period costumes and sets are authentic, with plenty of riveting and intense action scenes evoking a terrifying sense of realism as soldiers go into battle. One nail biting plane sequence features Will and his superior, played by Harry Potter star Tom Felton, attempt to land their destroyed aircraft with a crew of terrified soldiers in the back. There are also many slow, suspenseful sequences which are equally as powerful as the brutal action scenes and we are constantly fearing for the characters’ lives. One example comes when Teunt’s brother, Dirk (Ronald Kalter), also a resistance fighter, is forced to hide in the basement when a group of German soldiers make an unexpected visit. The film is paced well with quick, but meaningful introductions to each of our three leads and the separate anthology stories gradually become interlinked as the plot thickens. A constant sense of impending dread and gloom lingers throughout, however the human instinct for freedom always remains a strong driving force for all the characters. Performances are solid across the board, with particular standouts being Susan Radder as Teunt and Jan Bijvoet as her father, alongside Gijs Blom as the Dutch soldier, Marinusvan. Their storylines become closely linked and all give incredibly authentic, often heart-breaking performances as their characters come to terms with mortality and the cruelties of war. Although gritty and unwavering in its raw depiction of a pivotal moment in the second world war, the film does sometimes feel too familiar and surface level with its attempts to juggle three interconnecting narratives. The common cliché in the genre of ‘war is bad’ and the corruption of youth are explored in varying degrees, themes which have previously been examined in other war movies. However, the character driven focus and plenty of well-constructed set pieces make this particular film both engaging and memorable. Along with dramatic interweaving stories and impeccable direction from Matthijs van Heijningen Jr., The Forgotten Battle is an impressive, emotionally profound addition to the war genre. #EmilyDavison The Forgotten Battle (2021) trailer:

★★★ Directed by: Tristan Loraine Written by: Tristan Loraine Film review by: William Hemingway On 20th December 1995, American Airlines flight 965 came down in the mountains near Buga, Colombia during what was supposed to be a routine flight from Miami to Cali. The Boeing 757 aircraft crashed killing all eight crew members and leaving only four survivors out of the 155 passengers on board. A dog, flying in the hold, also survived. At the time air crash investigators from the NTSB (National Transport Safety Board), a supposedly independent American federal agency, concluded that the disaster was due to technical and pilot error. This conclusion, however, did not sit right with many in the industry, nor those who knew the pilots personally, as they were held to be some of the most experienced and professional pilots in the business. Tristan Loraine, a former British Airways pilot with many years experience, and who had flown the same Boeing 757 model, also knew that something didn’t add up. So now, in his new career as a film-maker, Loraine has decided to investigate the crash personally and share his results in his newly released documentary, American 965. In what has become something of a crusade for Loraine, he has exposed the shortcomings of the aviation industry through his production banner, Fact Not Fiction Films, having already released Welcome To Toxic Airlines in 2007 and Everybody Flies in 2019, highlighting the frightening issue of contaminated air being pumped into the cabin and flight deck via the engines. Loraine considers American 965 to be something of a prequel to his previously released film, focusing as it does more on an isolated case study before extrapolating further out into his broader subject. The film begins with information and news reel about the crash before moving onto an emotional interview with two of the only survivors, Gonzalo Dussan and his daughter Michelle, who was only six years old at the time of the crash. This personal aspect is where the film really shines, and while it is interesting and informative to hear the many aviation experts speak to their truth of the situation, none of it has the same emotional resonance as what Gonzalo and Michelle reveal. Loraine does an excellent job of piecing the puzzle together and presenting his findings to the audience. It is obvious that he has done exhaustive research and is passionate about his cause, although the parts of the film where he is on-screen conducting interviews or providing voice-overs tend to be the weakest. The real meat of the story inevitably comes from the data sets themselves and the documentation provided (or left strangely absent) by the aviation industry. An altogether new 3D aerial model of the crash also provides some startlingly real context to the disaster that it seems to defy belief there had never been any attempt to recreate such a model in all the intervening years. In trying to get to the answers of why American Airlines flight 965 really went down, Loraine is also laying the groundwork for his bigger reveal – that air travel is far more dangerous than any of us realise. The revelation that air circulated in the cabin and cockpit is bled from the engines is something that is likely to shock everyone, and this is before we find out that any engine which has a leak will then contaminate the air, making everyone on board sick and incapacitating the cognitive motor functions of everyone on the plane, including the flight crew. Loraine is convinced this is what happened on flight 965 and is trying to get the word out on an issue the aviation industry – especially the FAA (Federal Aviation Administration) – has known about yet refused to acknowledge for over fifty years. American 965 stands then somewhere between Sully (2016), Who Killed The Electric Car? (2006) and Thank You For Smoking (2005) as an expose of just how much big business, governmental agencies and capitalist society in general are pulling the wool over our eyes and deciding to look the other way, so that they can blame individuals for any failings and shirk any costly responsibilities that might arise in their sector. It rightly takes its place amongst these films as an eye-opening reveal on the structure of a major part of our society but never reaches the heights of film-making that these others do. It is interesting and informative in its area but never reaches beyond the boundaries of what it is trying to show. At times it can feel like an extended news article on Channel 4, with quotations from blurred out documents and a rigorous read through of the legalese the companies hide behind. Thankfully, this also allows us to see the integrity of the film and the film-makers and ultimately decide for ourselves just how much we really want to think about it the next time we hop on a cheap flight to the Costa del Sol. #WilliamHemingway

★★★★ Directed and Written by: Maggie Gyllenhaal Starring: Olivia Colman, Jessie Buckley, Dakota Johnson Film Review by Robert Stayte Actors turned directors sometimes make great films, sometimes they make bad films. Recently there has been more of the former than the latter, whether it be Bradley Cooper’s A Star is Born or even under the radar ones like Edward Norton’s Motherless Brooklyn. Throwing themselves into the game this time is Maggie Gyllenhaal, a highly underrated actress and one who, with this adaptation of the Elena Ferrante novel that she can be an effective director as well as writer. On a holiday in Greece, University Professor Leda Caruso (Olivia Colman/Jessie Buckley) is isolated and alone. When she starts observing a mother named Nina (Dakota Johnson) and her situations, she reflects on her own past as a mother. Gyllenhaal’s ambitions might seem simple, but the complicated themes of the story, the unpleasant cast of characters and the non-linear narrative are all factors that could easily overwhelm her. Luckily, she manages to execute these things very well. The nature of motherhood, regret and how the past is weaved into the present is at the forefront of the film and is explored in a manner that is depressing yet intriguing and relatable. Anyone wanting to be a parent will gain insight, actual parents will find something to relate to and someone not interested in being one might be validated. The characters are certainly flawed, yet layered and human enough to not be totally unbearable. The non-linear narrative is integrated well and never feels unneeded, as there is always a relation between the scenes in the two different timelines. It is also a film that is centred on and carried by its leads. Colman and Buckley continue to prove their worth to the recent silver screen, with their best moments being non-verbal. The supporting cast is more sporadic in their appearances, though Ed Harris is charming in a somewhat against type role as an attempted suitor. Dakota Johnson could have had more screentime, but she plays both frustrated and vulnerable well in a performance that shows the typically sweet natured actress has a lot of range. Gyllenhaal’s camerawork goes for a slightly handheld and tight close aesthetic that is admittedly small scale to a fault, but it is enlivened by the music and editing. The score by Dickon Hinchliffe is catchy and full of intrigue and editing wise, though the pacing is slow, the sometimes out of order flow is creatively presented and clear. The Lost Daughter is an effective debut for Maggie Gyllenhaal, with a lot of intriguing elements and strong enough execution to make it worthy of a long post film discussion.

★★★★★ Directed by #AlexCamilleri Starring: #JesmarkScicluna #MichelaFarrugia Film review by Nathanial Eker-Male Writer-Director Alex Camilleri delivers an honest look at the devastating effects of the capitalist machine with this profound character study. Though Luzzu may appear on the surface to be a simple story of a man's inner conflict, its implicit commentary on the state of the fishing industry and the culture and traditions it decimates transforms the film into something altogether special. Jesmark (Jesmark Scicluna) is a stoic fisherman living on the island of Malta, who works on his family's 'luzzu', a small boat. He's recently become a parent alongside his weary girlfriend Denise (Michela Farrugia). However, life is hard and their child, Aiden, isn't growing properly. This, paired with the severe restrictions placed on modern fishermen and the corrupting influence of 'big fishing' pushes Jesmark towards illegal activities that challenge every notion of who he is. With a modicum of perhaps misplaced hope, we might retroactively look back and say that 2021 was the ideal year for Luzzu to release. As we move into a social epoch that finally starts to acknowledge not only climate change, but the effects of global capitalism and its impact on life in our oceans, Luzzu's message is immeasurably strengthened. Documentaries such as Seaspiracy and Black Fish shock the mainstream viewing public with their hyperbolic phraseology and disturbing imagery and statistics. Luzzu, however, offers a faithful, first-hand look at how 'big fishing' is corrupting not only the shores and reefs vital for the Earth's survival but also the quality of the lives of local fishermen. Jesmark is indicative of this change. In fact, you might consider his character arc a metaphor for the state of local fishing in 2021; 'adapt or die'. He's a quiet man, and one bound by tradition and customs. His lack of knowledge of the world beyond his island home is frequently emphasized, both overtly and implicitly; not least by his strong patriarchal desire to fend for his family in 'the old way'. Yet it is this same stubbornness that leads him to commit criminal activities that dishonour both his beloved sea and the legacy of his father, grandfather, and great-grandfather; a point consistently hammered home by his fellow fishermen. In many ways, he is the proverbial 'old man of the sea': a lonely sailor pitted against a world that doesn't understand him, as emphasized by his contentious interactions with his (perhaps) future Mother-in-law. How could he become a furniture mover, or a waiter, or a graphic designer? His blood is that of a fisherman; as evidenced by the several fish-related metaphors littered throughout the (sometimes quite witty) script. Yet, by the film's end, his resonance for the ocean is lost. While the final tableau of Jesmark fishing alone might suggest otherwise, Camilleri's ultimate message seems to be that one must lose all respect for the deep blue to survive in today's fishing industry. In essence, Luzzu reflects a very real loss of community and tradition. It achieves this both through Jesmark's journey and the film's visual language. Lingering shots of immense crates full of mass-caught fish and the haunting depiction of a 'Luzzu graveyard', where decommissioned boats go to die, all speak to this message. This bleakness is punctuated through the viewpoint of a character who stares more than he speaks. A man who never once breaks down or exposes his absolute sense of loss, lest he drop the bravado of generations of men who refuse to show "weakness". Though Camilleri's script and direction are powerful, it is Scicluna who breathes life into Jesmark. He brings an unspoken trauma with only a few mumbled lines and an obvious pain hiding beneath his blank face. It is the climactic destruction of his family legacy - a literal manifestation of everything he will sacrifice to move with the times - that cements Luzzu as a masterwork. Few directors can manifest such feelings of shock, sadness, and loss over what is, ostensibly, a tugboat. Yet we've followed Jesmark long enough to know that this obliterated dingy marks the literal end of an era. Camilleri clearly has little time for happy endings in this solemn piece. Though things may be looking up for Jesmark, the legacy of his family history is beyond repair and Luzzu offers no hints that things might change for the better. Indeed, Jesmark's boss frankly states: 'how many fish do you think will be in the sea in twenty years?' It's an ominous, upsetting moment, and one no doubt designed to force us to take stock of our consumption. The message is clear. Should we continue with our complicit annihilation of sea life, we need not worry about being challenged by films like Luzzu. The ocean will likely have nothing left in it to film. #NathanialEkerMale

★★★★★ Directed by: #JoelCoen Written by: #JoelCoen, #WilliamShakespeare Starring: #DenzelWashington, #FrancesMcDormand Film Review by: Alex Matraxia While Shakespeare’s plays make some of us watch the clock, the right hands can bring the material into electrical new life, extracting the power and lucidity of the writing. Joel Coen’s debut as a solo director, The Tragedy of Macbeth, is a staggering achievement of both cinematic and theatrical feat. Under Coen’s direction, we feel confined to the paranoid tensions of the castle walls while also morally lost in the empty landscape. It’s both claustrophobic and agoraphobic as a visual experience. The Coen Brothers have always excelled at translating paranoia; in The Tragedy of Macbeth, a bare, haunting soundscape is conjured from the dripping of Duncan’s blood, like some form of psychological water torture. Madness is inescapable. Denzel Washington delivers a highly original take on the lead, his nonchalance all the more unsettling given the character’s nihilism, a dormant egomania nurtured within his casualness. Frances McDormand is sensational as Lady Macbeth. McDormand claims that her acting career has been leading up to this performance ever since she was a teenager, and there’s the shadow of a retrospective McDormand palpable within the role. In the film, the tragic couple have a sense of desperate urgency, to make the most of whatever life they have left, as though they’ve spent their whole careers fighting and the war still isn’t over. Kathryn Hunter also deserves praise for her performance as the Witches, her crow-like contortions and voice carrying with it a blend of gravel and tar, her entire characterisation so perfect and otherworldly. Joel Coen’s production (with is band of talented players) respects the dramatic authority of the original play, its language and rich characters always being at the forefront. It's not too much of a surprise that out of all Shakespeare’s plays, Joel Coen was especially drawn to Macbeth, the way it oddly prefigures the mid-century American Noirs which later influenced the Coen Brothers; the play’s emphasis on obsession, greed, murder and consequence paves the way for the Modern Crime Tragedy. And while The Tragedy of Macbeth draws from cinematic inspiration - with a nod to Orson Welles and Carl Dreyer - it is also steeped in theatrical self-consciousness. The looming, abstracted castle walls appear partly inspired by the set designs of Edward Gordon Craig, a theatre practitioner at the start of the 20th century whose modernist set designs imbued Shakespeare with the idiom of a dream, discarding realism, having the set become an extension of the characters’ interior. The film’s minimal but carefully stylised set-pieces (the entire film was shot within sound-stages) transforms Scotland into an existential wasteland, and really the film and design have little to do with Scotland. Even the castle appears as architectural fragments amid a vast smokey landscape, denying the audience any concrete sense of place. It’s remarkable how much of Bruno Delnonnel’s photography makes use of negative space (empty skies, bare walls, fog-swept fields) to convey Macbeth’s self-negation, as well as the kingdom’s decline. Interior and exterior scenes collide together (Macbeth’s throne-room slowly morphs into a forrest), the boundaries eroding between private and public disorder. Stefan Dechant’s production design and Delnonnel’s imagery work together to reinforce the stark majesty of the film. A ground-breaking contribution to the canon of Shakespeare adaptions, The Tragedy of Macbeth proves that theatre and cinema can be reconciled without compromising the spirit of the source. The film rightfully closes this year’s London Film Festival, but no doubt its power will linger in our minds ‘tomorrow, and tomorrow, and tomorrow’.

★★★★ Stars Directed by: #NicolaRose Written by: #NicolaRose Starring: #AdèleMarieAlix, #ValeriyaKorennaya, #JuliaAnnMorales Film Review by: Alicia Moore “When a 13-year-old takes her first ballet class, she encounters both bullying and unexpected friendship.” Gabrielle is an award winning short film that definitely deserves every piece of the praise it has received. This story of admiration, struggle and friendship has been handled with upmost care, showing audiences that ‘passion’ makes perfect. Gabrielle (Adèle Marie-Alix) is a young artist who finds joy in observing and drawing ballet dancers. She eventually decides that she would like to begin ballet classes herself, only to find that the environment becomes more cruel as the days pass. The bullying she suffers from both her fellow dancers and her teacher highlights an unfortunately widely know issue within the world of ballet. Many controlling behaviours in relation to weight and eating have been implemented into studio practices for decades, ultimately turning individuals away from what their heart has led them to or causing declines in health and overall well-being for those who choose to push through. Gabrielle showcases these issues in a very centred format, depicting how harsh the unnecessary standards can be without sugarcoating the events. Nicola Rose has written and directed this short brilliantly; her work shines a much needed spotlight on these occurrences as well as doing so in a way that anyone can connect to and fully understand. The plot is straightforward and precise, allowing all audience members to easily let the film’s content sink into their bloodstream. In this way, it becomes an instantly memorable film. Personally, I began to feel a slight bit of worry set in towards the middle of the short since I was starting to wonder if the storyline was going to fall into the category of poor representation – meaning that the story would eventually lead to the main character completely giving up ballet due to being pushed away to then focus on another interest and solely excel in that instead. I am beyond ecstatic that Gabrielle didn’t take this path and concluded rather perfectly, coming full circle to the main character reminiscing over the days she dreamed of becoming a dancer with a fond smile. In this film, a passion isn’t given up to pursue something else, nor does Gabrielle let it destroy her passion for all things she has taken interest in thanks to a newly found friendship; she combines the things that bring her joy while being uplifted by friends and finds great success through them together instead, indirectly fighting back against the negativity she was first faced with. I think we can all learn a lesson from Gabrielle’s strength to guide us in the right direction of discovering our own self worth. Gabrielle is such a beautiful watch – it’s a short film that brings a sense of hope for good back into your life, especially since we are forever surrounded by a collective that drains us of the craved emotion. With stunning shots (cinematography by Jon Reino) and equally as mesmerising wardrobe choices (Melissa Cruz,) this film is not only a great way to warm your heart but also one that will make your eyes sparkle in response to the visuals.