Directed by: John Valley Written by: John Valley Starring: Tinus Seaux, Alexandria Payne, Lee Eddy, Mike Dellens, John Valley Grimmfest Feature by: Darren Tilby Synopsis: An ambitious amateur journalist and an unstable far-right militiaman team up to expose the ugly truth behind rumours involving sex cults, a pizza place and the lizard people... Grimmfest say: Loosely inspired by a real-life QAnon conspiracy theory that has inspired more than one gun nut to violence, this proves to be far more nuanced and thought-provoking than one might expect. Intelligent, witty and unexpectedly moving, the film deftly shifts between cartoonish black comedy, sour socio-political satire, and a surprisingly subtle and emotionally involving portrait of a confused, damaged man, manipulated and manoeuvred into fatal actions by a sensation-seeking media. Tinus Seaux is truly remarkable as the protagonist, Duncan, a kind of trailer park Travis Bickle, starting out as a seemingly broad-brush caricature, only to accumulate more and more nuance and complexity and humanity as the film progresses, and he is matched by equally well-judged turns from Alexandria Payne, as the increasingly compromised rookie reporter, Karen Black(!), who goads him on, and a magnificently malevolent Lee Eddy as the rabble-rousing racist talk show host who is the source of so many of his twisted values. A savage indictment of the sleazy sensationalism and stochastic shit-stirring of modern media, the film ridiculous the macho posturing of Midwestern militia morons, while finding real compassion for those wishing, but unable, to break free from such behaviour, the film is a real triumph for the multitalented John Valley, who writes, directs, produces, edits, handles costume design, co-writes the score, and even turns in a beautifully-timed comic supporting performance as Duncan's boorish and buffoonish nemesis, Philip. What I'm expecting: It's a sad time when you can say, without irony, that a film as bat-shit crazy sounding as this is based on a real-life conspiracy theory, but here we are—welcome to the 2020s! My main concern with The Pizzagate Massacre is the subject matter itself: tact must be employed in the handling of what is, as Grimmfest said, a genuine and ongoing problem in society, one in which lives have been lost. This MUST NOT become an exploitative mess. Having said that, it's always good to see a takedown of these "militia moron" types and of the absolute shittery of a heavily sensationalist modern media, and I hope it's concise and unapologetic. John Valley has many roles here, which is good in the sense that it allows the filmmaker to better leave their mark on a piece of work: however, it also can cause elements of the film to suffer if the filmmaker overburdens themselves with too much. It sounds to be a bit of a balancing act, The Pizzagate Massacre, but Grimmfest's thoughts on the film are very encouraging, and based on that alone, I think they'll nail it!

★★★★ Directed by: WillVisions Written by: Harun Rune Starring: Harun Rune Music Video Review by: Chris Olson Blending a passion for fashion with contemporary hip-hop, London-based musical artist Harun Rune and filmmaker WillVisions deliver a compelling and “on-brand” music video for the track Moschino. The filmmaking utilises engaging editing to create a sense of rapid urgency to the lyrics whilst the more laid back framing of Rune and his crew adds a nice balance to the piece. There are also quite a few nice recurring touches, such as a superimposed peace sign appearing, that make the music video feel like it has been crafted and branded by the pair who want the audience to get a lot of his flavour in a short space of time. One of the most interesting sequences shows animated birds flying across the scene. This was a really peculiar touch and, dare I say it, added a little mystery to the film. Couple this with the slightly eerie effect of the backing music in the song, and there are some darker elements here. It would have been great to see this expanded upon, however, it is likely that Rune has bigger plans for his brand (judging by his social output) so viewers will have to just wait and see if the birds are part of a larger idea or just a flourish within Moschino. What’s great about the music video is that Rune and WillVisions focus on basic elements and ingredients. It would have been easy to have filled the screen with copious amounts of baggage but what we get with Moschino are the purest aspects of Rune’s creativity. Simple but effective shots of clothes rails, champagne, and the man himself effortlessly flow with the track doing all the heavy lifting. It’s a smart way to appear elegant when the results of a hip-hop/fashion melting pot could easily have turned garish and outlandish. The filmmakers eschew this for an altogether more captivating viewing experience that does the job of a music video - which is to get the audience to want to listen to the music. It will be interesting to see where WillVisions’ filmmaking goes next. His use of white space was a clever way of tying in an urban track with some of the best fashion brands that use simplicity and elegance in their own marketing and branding, and Rune as a musical artist certainly shows a lot of class and individual style - more than enough to mark him as one to watch on the London music scene. WATCH THE MUSIC VIDEO! NOW WATCH MY VIDEO REVIEW! #ChrisOlson

Directed by: Emily Bennett, Justin Brooks Written by: Emily Bennett, Justin Brooks Starring: Emily Bennett, Barbara Crampton, Dora Madison, Emma Myles, Meghan Lane Grimmfest Feature by: Darren Tilby Synopsis: While waiting for her girlfriend to return home for their anniversary, Charlie Crane discovers she’s trapped inside her apartment and begins a frantic fight for survival as nightmarish visions descend and a voice in the wall guides her towards a way out. Grimmfest say: Perhaps the only really positive thing to have come out of the Covid-19 crisis has been the creative ways in which filmmakers have responded the limitations of life under lockdown; indeed have used those limitations to their advantage. This emotionally gripping, genuinely disturbing and disorientating existential psychological thriller is a genuine tour-de-force from Emily Bennett, who co-writes, co-directs, and almost single-handedly carries the film, with the other actors appearing only via mobile phone or computer, and in a few brief flashbacks. There's a lovely (and increasingly nightmarish) couple of Skype cameos from Barbara Crampton as the protagonist's brittle, judgemental “Christian” mother, and a droll turn from Dora Madison as her drunk, stoned, obnoxious friend, constantly calling her from a bar, but this is very much Bennett's movie, and she is quite extraordinary throughout. It's beautifully shot, too; elegantly framed, yet intimate, making fine use of the enclosed apartment location with its cramped spaces and shadows (and of the bleak, grey seascape of Coney Island during a few flashback/dream sequences); while the elliptical, increasingly fragmented narrative keeps the viewer guessing, both in terms of what is going on, and what is going to happen next. There are echoes of REPULSION in the basic set-up, certainly but also to THE TENANT, as well as nods to David Lynch (particularly LOST HIGHWAY), and to Adrian Lynne's JACOB'S LADDER, in the use of subliminal, half-glimpsed-from-the-corner-of-the-eye moments of disquiet (a figure suddenly glimpsed moving past a doorway in the background, the image in a photograph moving ever so slightly), but while this is an elevated genre film that REALLY knows its genre, it remains a deeply personal work, with a uniquely idiosyncratic voice, and a power to provoke and unsettle that lingers in the mind long after the final credits have rolled. What I'm expecting: As Grimmfest has said, it's been great to see the creativity displayed by filmmakers over what has been a challenging time for everyone, and films like Host have been great success stories. Alone With You sounds to be a film made very much of the same mould, as it too features performances via mobile phone and computer. And while I think that could be an issue, it sounds like Emily Bennett has done well to impart a personal and unique spin on the film. It's great to see another movie featuring Barbara Crampton: it's always a delight to watch her perform, and her role here as a "judgemental Christian mother" just sounds perfect! I could potentially see problems arising with the film's "intimate" and "enclosed" apartment setting, as this can obviously be very limiting: but this can, of course, also benefit a horror movie greatly. Only time will tell on this matter, but I'm highly excited about Grimmfest's talk of figures in the background and subtle movements that you're never really sure you saw or not. It all sounds very Mike Flanagan inspired; that is to say—it sounds like my cup of tea!

★★★★ Directed and Written by: Jane Campion Starring: Benedict Cumberbatch, Jesse Plemons and Kirsten Dunst Film Review by Robert Stayte Jane Campion, despite attaining much deserved respect, has not made many films in her over 20-year long career. After a break of 11 years, she has returned to the silver screen to adapt Thomas Savage’s novel The Power of the Dog into a film for Netflix. It is an affirmation of her skill and one of the highlights of the year. In 1925 Montana, the lives of ranch owner brothers Phil (Benedict Cumberbatch) and George Burbank (Jesse Plemons) are changed when George marries widow Rose Gordon (Kirsten Dunst). From there, Phil’s jealously and already domineering/toxic personality grow even worse, especially once Rose’s son Peter (Kodi Smit-McPhee) comes into the mix. Campion’s approach filmmaking-wise is very old-fashioned, with a slow pace and wide-angle shots that allow the environment to sink in. Yet her narrative feels tight and deliberate, with some scenes that seem like strange non-sequiturs turning out to have major consequences later on. With such craft on display, this allows the themes of the story to sink in and the characters to be who they are. Phil Burbank starts off like a typical portrait of a bully, yet in the third act cleverly becomes something more vulnerable and even sympathetic. The relationship between him and Peter is rife with multiple interpretations, as is the true nature of Peter himself. These two characters are central to the subtext of toxic masculinity and sexuality that make for compelling drama and post film discussion. This is brought to life by the excellent performances, particularly from Benedict Cumberbatch, who possibly gives his best performance to date. He is utterly convincing and intimidating, which comes from his refusal to play a caricature and from his rough and confident physical/vocal delivery. He shares great chemistry with Kodi Smit-McPhee, who also underplays his role in a manner that makes his character interestingly ambiguous. Jesse Plemons makes for a great straight counterpart to Cumberbatch and Kirsten Dunst is mainly asked to be vulnerable and broken, but she pulls it off magnificently. The only strange bit of casting is Thomasin McKenzie as a maid, who either initially had a bigger role or just took on a very small and minor part just to be in a Jane Campion movie, because otherwise it’s a non-use of an excellent up and coming actress. The cinematography is grim and muddy, getting across the rural setting and creating an environment that is natural and spacious yet contained and ugly. The soundtrack by Jonny Greenwood is another hit for the former Radiohead member, creating a tense soundscape but also knowing when to be absent as a way of creating even more tension. The Power of The Dog is one of this year’s best films and another artistic achievement for Campion, being a great reminder of how complex and thoughtful cinema can be, with a challenging and unflinching nature that Jane Campion is very capable of providing and continues to provide.

★★★★ Directed by: #PaulBlinkhorn Written by: #PaulBlinkhorn Starring: #ClareCalbraith, #DeniseBlack, #PaulBradley Short Film Review by: Emily Davison During lockdown, Jessica (Calbraith) regularly video chats her parents and is one day informed by her mum, Marji (Black), that her dad, Joe (Bradley), is isolating at the bottom of the garden with Covid-19 symptoms – but is all as it seems? The Man At The Bottom Of The Garden (2021) is a YouTube short comedy, uploaded March 16th, 2021 and was filmed remotely. Director and writer Paul Blinkhorn originally wrote the snappy ten minute script as an entry to a BBC Writersroom competition in 2020, making the final fifty out of almost 7,000 submissions. Despite only 8 scripts being selected, Blinkhorn remained determined to make his film and he teamed up with award-wining producer Karen Newman of Hidden Door Productions to make a witty, truthful depiction of a family living through lockdown. In his own words, Paul spoke of the difficulties of the past couple of years in light of Covid: “our ambition has been to make a short that offers audiences some comic relief and a brief respite from the stresses and strains of lockdown living”. The film has already received much attention and praise, becoming part of the Official Selection lists for many film festivals this year and winning four awards, including Best Drama at The Swindon Independent Film Festival and an Honourable Mention at the Lit Laughs International Film Festival. The short is bound to resonate with many viewers due to its realistic, honest depiction of a typical British family and the struggles we all experienced whilst living through lockdown in the UK. The script is clever and witty, giving us a very good idea of the couple’s long marriage with little anecdotes sprinkled throughout, including a great story about Joe’s unfortunate encounter with a nest of fire ants in Jessica’s childhood sandpit in the back garden. The narrative is told entirely through the video chat format, a very familiar visual for many families who were separated during lockdown and we even learn that Joe has been stocking up to 72 toilet rolls (of course!). The film is very charming, yet it also includes poignant drama which excels the most during a final video chat where we discover Jess is in fact an overworked nurse, where we clearly see how much the video chats with her parents stabilise her after a very difficult, long day at work. All three performances are excellent and exuberate a genuine sense of authenticity. It is impressive that both Denise Black and Paul Bradley never appear onscreen together and the quirks and falls of their marriage are communicated brilliantly by both talents. Clare Calbraith as Jess is also perfect, getting across an impending sense of apprehension and outrage at her parents’ bizarre antics, as well as touching empathy during the last video chat. The Man At The Bottom Of The Garden is a funny, heartfelt depiction of lockdown living and acts as a truthful picture of a difficult time most of us are still recovering from. This short makes for a great watch with a nice combination of down to earth humour and bittersweet realism, bolstered by terrific performances and a strong script. #EmilyDavison The Man At The Bottom Of The Garden (2021) Short Film:

Directed by: Marcel Sarmiento Written by: Ed Dougherty, Marcel Sarmiento, Freddie Villacci Starring: Alex Essoe, Brendan Sexton III, Terry Serpico, Cullen Moss Grimmfest Feature by: Darren Tilby Synopsis: After a gruesome attack, George wakes up in a hospital room with total memory loss, the recipient of a full-face transplant. Plagued by flashbacks and uncertain what is real and what is imaginary, he struggles to recover his sense of self. But the only way he can find out who he is is to confront the demons that brought him to this place... Grimmfest say: One of the wilder, weirder, more WTF films at this year's festival, this one truly defies easy categorisation. A baroque and bloody blend of classic noir tropes, bare-knuckled blackly-comic Bukowskian barroom romance, Michael Creighton style medical malpractice thriller, and Cronenbergian body horror, with unexpected, oneiric Lynchian flourishes and a title borrowed from one of Jess Franco's more notorious shockers, it's a jolting, jarring, genre-hopping, utterly unique experience, a plate-spinning exercise in startling tonal shifts and discomforting narrative developments, all the more unsettling due to the generally understated approach, and the nuanced, naturalistic performances of Brendan Sexton III and Grimmfest favourite Alex Essoe (STARRY EYES, HOMEWRECKER), which ground the ever more fast and furious twists and increasingly bizarre and grotesque events in a recognisable human reality – kind of – right up to their queasy and uneasy final confrontation. We guarantee you've never seen anything quite like it. What I'm expecting: Judging by the official synopsis and Grimmfest's thoughts on the film, I'm expecting Faceless to take on an element of heavy psychological horror, jumping between reality and delusion as it explores the mind of a man suffering from severe trauma. Hopefully, the movie can keep on track and not lose focus, which is always the worry with films of this making. The mention of "Cronenbergian body horror" and "medical malpractice" bring obvious comparisons to Cronenberg classic, Rabid. Which is in no way a bad thing. My main concern here is Faceless devolving into a gross-out mess of a film in an attempt to honour the splatter movies of the late 70s early 80s (like Rabid). I'm a massive fan of splatter horror. Still, there's a right and wrong way to replicate this iconic cinematic era, and throwing a variety of bodily fluids at the audience to elicit a reaction – as so many seem to do – isn't the correct way. However, words like "nuanced", "naturalistic", and "understated" are promising signs that Ed Dougherty, Marcel Sarmiento and Freddie Villacci understand these issues and haven't fallen into the same trap that so many others have. I'm very optimistic about this film, and can't wait to see it.

Directed by: Alex Kahuam Written by: Alex Kahuam Starring: Alejandra Toussaint, Alejandra Zaid, Jessica Ortiz, Horacio Castelo, Laura de Ita Grimmfest Feature by: Darren Tilby Synopsis: Three women mysteriously wake up in a hospital and discover that one of them is deaf, one is mute, and the other one is blind; together, they will have to figure out why they are there and how to get out. Grimmfest say: See No Evil, Hear No Evil, Speak No Evil. An existential, allegorical spin on the much-maligned so-called “torture porn” sub-genre, this is SAW by way of Sartre and De Sade. A breakneck and brutal tale of exploitation and damnation, filled with surreal, disorientating imagery and heavy religious symbolism, it has the relentless, remorseless logic of a nightmare; the fluid, constantly moving camera, the cramped, enclosed locations, and oppressive score generating a palpable sense of claustrophobic discomfort. And it has absolutely no dialogue until the very last scene, which makes it all the more unsettling and alienating, forcing the viewer constantly to reassess what is happening and why. Balancing bravura cinematic technique with a ferocious commitment to his vision of hell, Writer-Director Alex Kahuam delivers a brutal gut-punch of a film, What might have seemed, in lesser hands like an extended exercise in tormenting, brutalising and terrorising women, achieves the same dark sense of transcendence as MARTYRS; given intellectual weight by the underlying metaphysical and philosophical argument, and humanised by the extraordinary performances of the three leads, able to convey so much without words. In short, it's a hell of a movie. What I'm expecting: I can't say I'm a fan of the "torture porn" sub-genre, nor of the Saw franchise, or, indeed, of films with "heavy religious symbolism"; it's been done to death over the years. However, I'm really intrigued by the idea of these three women, one deaf, one blind and one mute, having to work together in a fight for survival, and how the theme of exploitation plays into this. It's a bold move: there are a lot of heavy subjects to tackle there, which could quickly devolve into an unpleasant and ill-natured state. The fact that there's so little dialogue throughout the film is also an incredibly bold move: it could well be the making or breaking of the piece, as the whole movie depends on the actors' physicality and ability to portray, what sounds to be, some pretty heavy, emotional material. It might not necessarily sound like my kind of film at first glance, but there's a lot to be excited about here, a lot I think could work so well. I'm apprehensive about Forgiveness, but I've been wrong before, and I'm more than happy to be proven wrong again!

★★ Directed by: #DarrenSCook Written by: #AGLonghurst #RobertPutt Starring: #AGLonghurst #JamesOsborne Film review by: Max White Fictional or otherwise, who do you think of when you think of criminal duos? There’s Bonnie and Clyde, Butch Cassidy and the Sundance Kid and the infamous Eastenders, the Kray brothers. How about Tarrantino’s Clarence and Alabama, Woody Harrelson and Juliette Lewis’ Mickey and Mallory Knox or more recently, Queen and Slim. The names stick in the mind not because of their crimes but because of who they are, what they’re about, what their stories are. And that’s the problem with Darren Cook’s gangster film Lucas and Albert. Lucas (AG. Longhurst) is a former British Special Forces veteran turned hitman and Albert (James Osborne) is his partner, and the more rounded individual. That’s effectively all you need to know about the central characters. As the title suggests, the film’s about two men and their relationship with each other and the world. They’re ageing hitmen who are used to working alone but are now brought together by bossman Mr Mac to tie up some loose ends left loose from a robbery some 20 years earlier. The job takes them along the North Essex coastline, between scenes in their shared car, cafés, restaurants and the beach. It’s unmistakably British in almost every way. As a piece of film it wears its indie production value with pride, at times even being charming. Like the stubble that appears on an uncle or a father’s face at the weekends. It’s coarse and rough but it’s disarming too. A gangster flick doesn’t need big name talent or explosive action scenes but it does need people we’re willing to stand behind (or up against). Another critic might take Lucas’ flatulence as an attempt to show that he’s a real person. He farts and he suffers stomach issues like we all do, and so why shouldn’t that be on film? Lucas, in particular, is, after all, a fairly accurate representation of the average man you might meet in a British boozer. But the everyman-ness and the controversy is put on thick and it isn’t supported by any depth or intrigue. All we're offered is two men struggling to get along with one another under circumstances they were forced into. Occasionally finding a moment to share a laugh together and ponder this and that – sometimes the grotesque, often the bland. Its strength probably is in its buddy film qualities, the two men’s dialogue at times verging on the humorous. But that’s really where it stops, and for me at least, I was left feeling unfulfilled.

★ Directed by: #MichaelLazar Written by: Michael Lazar Starring: Michael Lazar, #KewanShariff, #RichHenver, #AllisonHill, Indie Film Review by: Corey Bulloch It’s really hard to make a movie. I know first hand the struggles, the sacrifices and pure herculean strength it takes to craft something. It doesn’t come easy and if any of you reading this has made that plunge into creativity whether it be writing, painting, music, filmmaking or any grand venture take never-ending pride in your efforts. That effort however does not always translate to success despite the best of intentions; that’s part of what makes Michael Lazar’s crime drama of a for-hire getaway driver Ray such a drag. Wearing multiple hats as writer/director and star it's clear that Driver is a passion project for Lazar, though despite poor dialogue and stilted acting there’s a faint sense of camaraderie among the cast, I believe they had fun making this film. Driver operates more like a fantasy of a group of guys wanting to be in a crime film than an actual film. It is a laborious experience of amateur filmmaking with little artistry on display as flat camerawork, dull direction and horrendous editing completely alienate every attempt for an audience to take the material seriously. Driver is your standard story about a getaway driver looking to "get away" from his criminal life, he follows a code and has to use his wits to survive when he and his partner start making enemies. Relying on clichés and tropes isn’t taboo but Lazar’s script doesn’t unify any of these ideas to a realistic narrative. When the third act reveals the obvious connections between Ray’s criminal and personal life, Lazar’s performance literally can’t bring itself to care with any emotion. It just becomes frustrating but Driver never treads into ‘so bad its funny’ territory, so all we’re left with is this continuous feeble presentation. The editing is where the film fails in its storytelling, Lazar’s script and direction barely breathes life into the characters and motivations, but the actual assembly of the film kills it. It’s not just boring repetitive sequences of Ray driving the car around nighttime Las Vegas (complete with an overabundance of cutaways to drone footage of nighttime Las Vegas) but continuity errors that just make you want to scream in its incompetence. One scene in particular where two characters are speaking, one standing behind a strange mural featuring video game characters, then suddenly halfway through the conversation both characters are in a different room. Same positions, same conversation, not a beat missed but, it's visual whiplash for the audience. Scenes featuring violence or gunfights are non-sensical as they carry no genuine tension or weight, feeding into the whole "guys making a movie on the weekend" fantasy, it is just ridiculous. Driver never escapes the impression of amateur hour and as the runtime goes on it just becomes embarrassing to watch. Its error after error with no cinematic vision or expertise, nothing about the film feels real, thus making Ray’s story completely inconsequential to the audience. It is hard to make a movie and despite my criticisms, I can clearly see the efforts Lazar and his team took to make Driver. The finished film, however, just leaves nothing to enjoy or appreciate beyond that initial effort to create something. #CoreyBulloch #indiefilm

★★★ Directed by: #DavidBryan Starring: #JonProphet, #ElliotCable, #JessieVinning Short Film Review by: Alexandra James This very short film is set in a small coffee house with, on the face of it, relatively ‘normal’ customers and staff but the audience soon realise this is not the case. In fact, this film shines a light on certain characters in today’s society and their desire to become the most hybrid hipster one may aspire to be. Directed by David Bryan, this short film reveals a snippet into our modern-day world. Chimpsters shows the audience the eccentricities of a subculture who strive to be the most ‘unique,’ and who try to work against the mainstream as much as possible, even if that means becoming the most annoying humans to walk the earth. Chimpsters begins with a seemingly ‘ordinary’ gentleman ordering a coffee, however, as the story develops, we learn that he is far from the average norm. His order becomes more complex but the second, requesting milk which has been hand squeezed, from Peru, by Chimpanzees wearing tuxedos! I don’t think it could get more stupid than that, surprisingly there were plenty of options available but none that quite fit the bill for this quirky hipster. The most curious thing about the characterisation of a hipster is their claim to be the most unusual and original, trying to veer themselves away from society’s mainstream culture, however, they lose this uniqueness as they then all seem to follow the exact same style. This clearly explains why this piece was rather witty, it exposed this subculture and highlights their absurd behaviour and basically calls them out for what they are! This was an amusing and clever short film and brilliantly executes the extreme side of the world we live in today. Both characters were funny and highlighted to the audience that sometimes we have almost too many options in this world! A cleverly written piece and shot extremely well and will have you laughing from beginning to end.

★★★★ Directed by: #MichaelCostello Starring: #MichaelLiebmann, #JanineWalker, #ChrisMcMahon, #MaryFrench, #PearseMooney Film Review by: Alexandra James This short film is extremely relevant to the issues we are currently facing today. Inside follows a loner who refuses to face the outside world and shies away from his responsibilities, afraid to overcome his deepest fears. A very relatable narrative, as the main character is trapped inside and isolated. Distressingly similar to the pandemic many of us have struggled with, making it that much easier to connect to the character and understand the hardship seclusion can inflict. This short film opens with the main character Dermot alone in his house, the audience get to see a snippet into the characters life. Dermot lives in complete chaos with dirty dishes, rubbish and old food left around the house, a stressful environment which clearly reflects his present mind frame. Separated from his wife and alone, Dermot has nothing stimulating in his world apart from the delivery boy who brings his shopping. Inside shows the suffering Dermot has endured daily by becoming this recluse. His mother, an elderly and ill woman, visits him often and the stress of watching her son fall down this dark hole has only caused her misery and made it a difficult watch for the audience as well. The viewer experiences anger and frustration towards Dermot, urging him to step outside his front door but instead we are met with just tragedy and shown the demise of Dermot’s Mother. This was a key turning point within the film and only made Dermot’s life worse, if it wasn’t already. Not only was this a crucial turning point in the storyline but this also caused a downward spiral for the character himself. His ex-wife makes it clear that she no longer wants to visit him and be a part of his life. His inability to face reality and the depressing state of his home was enough to turn anyone away. His only friend throughout this troubling time was Gerald, a brutish character who drinks heavily and makes sleazy comments about his ex-wife Catherine. It was loneliness which forced him to keep up the ‘friendship’ in order to have some form of connection to the outside world. Inside was emotional and full of sadness, as we watch Dermot ‘s relationships with his loved ones and friends around him slowly fade away. He is left in a deeper pit of isolation with no one to reach out to and just the source of alcohol to wash away the despair. However, when his so called ‘friend’ attacks his ex-wife his fears are forced to take a back seat and he is pushed to face his anxieties and the outdoors. A dramatic ending which really excited the storyline as well as make for a satisfying finale. This was a great short film with well-developed characters and an engaging story, highly recommended.

Directed by: Stefano Lodovichi Written by: Stefano Lodovichi, Francesco Agostini, Filippo Gili Starring: Guido Caprino, Camilla Filippi, Edoardo Pesce Grimmfest Feature by: Darren Tilby Synopsis: The morning Stella decides to take her own life, a stranger knocks at her door claiming he has booked the guest room for the night. Surprised but charmed by this man who seems to know her very well, Stella decides to let him in. But when Sandro, the man who broke Stella's heart, joins them at home, this odd situation turns immediately into chaos... Grimmfest say: An initially affable-seeming man inveigles his way into the home of a suicidal woman, claiming to have booked her guest room online, only to prove an increasingly unwelcome guest. What starts out as a tense, claustrophobic, queasily uncomfortable home invasion thriller, dripping with quiet, understated, Pinteresque menace, slowly shifts gears into something altogether more existential and metaphysical, as the identity of the intruder becomes increasingly clear. A paradoxical parable of guilt and redemption, the film's head-spinning narrative swerves keep the viewer constantly guessing, cranking up the tension and threat-levels, as the intruder confronts his captives with past failings and missed opportunities, with the crimes they committed against him, all the while leading them to a reality-shattering final revelation. Subtly played by a fine cast, it's an unsettling, uncomfortable and genuinely unpredictable film, which shatters expectations with every well-timed twist and turn. Stunning production design, too, with the sinister house resembling the Bates Motel by way of early Gaudi. Who wouldn't want to stay there? What I'm expecting: The Guest Room sounds like a terrific blend of two other Grimmfest features: Night at the Eagle Inn and The Righteous. An uncomfortable and tense "home invasion" movie with a "metaphysical narrative trajectory", with perhaps a more intimate setting and claustrophobic atmosphere. If you know how much I'm looking forward to those two films, you have an idea of how well I feel this could do. I genuinely think this horror genre is up there with the best of them; of course, this comes with the unfortunate caveat of being one of the hardest to get right. I'm not familiar with any of Stefano Lodovichi's previous work, so I really have no idea what to expect, but Lodovichi has his work cut out for him. I'm optimistic, though, and excited about the potential this movie has.