★★★★★ Directed by: #EmelineCourcier Written by: #EmelineCourcier Short Film Review by: Emily Davison Under the Ashes of Mekong (2021) is a short French documentary, written and directed by Emeline Courcier and starring herself as well as other members of her family. The film is currently scheduled to premiere at the Screen & Story Film Festival in ‘THE PLACES THAT MADE US’ screenings. The short is set against the backdrop of the beginnings of the COVID-19 health crisis and a hostile political situation promoting anti-Asian racism. This intimate, powerful documentary centres on dialogues between a young woman (Emeline), her mother and grandmother discussing past events when a young family member drowned in the Mekong river. The film is very cinematic in its presentation, requiring more than one viewing to truly see all of the intricate details and thoughtful filmmaking Courcier has to offer in this touching narrative focusing on her family. A rich reflective, melancholic atmosphere is maintained throughout and visuals are methodically slow and planned in advance, creating a completely immersive viewing experience. There are many thought provoking visual motifs to be discovered, such as the eerie shots of broken clocks around the house which appear to symbolise time being frozen for the family as they seem stuck in the past. The imagery is very emotionally effective and compelling, with Emeline apparantly baring a striking resemblance to the girl who drowned and a shot above her head as she submerges herself in a bath symbolising their connection. There are several more instances which encourage close viewing, which greatly enhances the profound impact the documentary makes and the tangible connection we as spectators feel with the family. Benjamin Villette’s sound design is also a wonderful highlight, with regular radio announcements emphasising the unsettling authenticity of the political unrest and impact of COVID-19 on communities. The distant sounds of gunfire and bombs dropped can be heard as Emeline walks home wearing her facemask, creating a disturbing tone which never relents. The documentary explores heavy subject matters of bereavement, racism, spirituality and racism, making for many hardhitting moments which demand viewers to really pay attention to. Under the Ashes of Mekong is a fascinating short with a powerful voice and stunning direction. The film explores multiple humane issues which can be emotionally resonant for many, whilst addressing difficult topics which are not often given focus; a beautiful documentary which should not be missed. #EmilyDavison

★★★★ Written and directed by: Ray Jacobs Starring: Graham Busby, Becky Keir Film review by William Hemingway Tom (Graham Busby) has something inside of him – something that is literally bursting to get out – but which he thinks he can't show to anyone else. Cutting a rather lonely figure, Tom goes to work every day at 'We Have The Answers', a call centre service much like Google or Ask Jeeves but for Gen X-ers, where people call up to get their questions answered and their problems solved. Tom's work colleagues seem to be very adept at finding the answers for other people and can put their finger quickly on how to make a decision or fix a problem. Tom however, is finding more and more that for him the answers aren't as forthcoming as they used to be. Each day, when things get too much for him, Tom takes himself up to the roof of the building to get away from it all, and there something magical happens. That thing that's inside of him, that flutters and murmurs in his heart and makes him think that he's the only one who feels like this – he finally lets it out. What's in Tom's heart is beautiful and it flies and soars in the sky in throngs and waves, then he lets himself go too, as he dances and dances and dances with the sheer joy of it all. Sandy (Becky Keir), Tom's colleague who sits at the next desk over, has noticed something though. She has become concerned at Tom's increasing self-isolation and decides to approach him at a work's night out. She finds him outside again, away from the others, and reveals to Tom that she knows his secret. Sandy asks Tom to meet her the next day on the roof of the work building and says that she will show him something too. The Secret Life Of Tom Lightfoot then, is a magical tale about the things that we all keep inside of ourselves. In its short ten minute runtime it manages to delve deep into the pain, suffering and loneliness we can all feel when trying to keep something hidden from others, whilst also highlighting the pleasure, happiness and beauty that can come from its sharing and release. The story is told in a gentle and relaxed way, taking the time to fit the characters into their world and allowing them to come across in an honest and natural manner. Director of photography, Jonathan Tritton does an excellent job of utilising the outside scenery and lighting to add a touch of magic to the visuals and when paired with the striking animation sequences they offer a real emotional tie to Tom's world. The folksy music also fits perfectly into the feel of the film adding another layer of old-timey magic to what is otherwise a very personal and human story. It seems almost extraneous to mention then that Tom and several of his work colleagues are played by actors with Down's Syndrome. This has no real bearing on the story or how it is told but what it does do is add an extra depth to the characterisation and the strength of feeling Tom shares with the viewer. Writer/director Ray Jacobs uses his actors not as a talking point but as a way to embolden his themes and widen the understanding of his audience. When Tom/Busby opens his shirt and lets his feelings fly, we know there is so much else that goes with them that it's almost impossible not to relate and identify with what he's going through. As a fun, feel-good film that fits a lot of emotion into just a small space, spending a short time with Tom Lightfoot is a sure-fire way of letting your heart soar. #WilliamHemingway

★★★ Stars Directed by: #BrianAndrewMendoza Written by: #GreggHurwitz, #PhilipEisner Starring: #JasonMomoa, #IsabelaMerced, #ManuelGarciaRulfo, #JustinBartha Film Review by: Alicia Moore “A devastated husband vows to bring justice to the people responsible for his wife’s death while protecting the only family member he has left, his daughter.” Sweet Girl sheds light on the shattered state of the healthcare system in the U.S. as well as showcasing how severe trauma can deeply impact someone who has been exposed to intense, perturbing events. However, the real questions overall for this film – are any of these aspects portrayed in a balanced sense? Does their presentation cause more harm even through a work of fiction? The horrors of the healthcare system are wonderfully carried through and intertwined with the revenge centre of the storyline, but the links to trauma responses aren’t carried through as delicately. When dealing with mental health issues in film, especially on a platform as big as Netflix, the consequences of audience response should be considered. I didn’t take too well to such detrimental effects on mental health being displayed in a violent way especially when heavy sigma already exists; Sweet Girl moves back and forward between somewhat helping and hindering this issue. I thought that it could have redeemed itself, unfortunately this aspect was absurd in more ways than one (more ways that I can’t explain here — spoilers suck) and really ruined the whole story arc by the end. The answer to my opening questions then being both yes and no, leaving me stuck between a rock and a hard place. Despite this, I do have to say that I admire the writing work of Gregg Hurwitz and Philip Eisner for the most part; dialogue in particular. When you are finally hit with the climax of Sweet Girl a string of ‘I should have noticed that earlier’ start to tumble from your mouth. There’s subtle sentences, even one word exclamations at times, that guide you towards the twist that everyone is currently talking about. Dialogue is also the main creator for characterisation which is always a pleasure to watch unfold. Ray (Jason Momoa) and Rachel’s (Isabela Merced) father-daughter relationship grows beautifully through exchanges of words that are laced with much more emotion hidden below the surface; Simon Keeley’s (Justin Bartha) personality is expertly built by dialogue from his very first screen appearance, gaining strong audience reactions to his stance in the plot just from hearing his choice of words. The acting from the cast members mentioned here is spectacular in its own right but paired with thoroughly focused writing it really gives each actor’s talent a great boost of visibility. Music is very important to me personally in film in order to drag me into the story and completely hold my attention. Sweet Girl’s Academy Award-winning composer Steven Price grasps each side of my face in his hands and fixes my eyes to the screen – an undeniably brilliant soundtrack and one I’ll surely listen to separately to watching the film. It builds atmosphere, it creates the centre part of any tension and suspense, it breathes life into bloody fight sequences… but I wouldn’t have expected anything else from Price after his work on multiple Edgar Wright films as well as other huge titles where music truly stands out, such as The Lord of the Rings (yeah, he worked on the music department for The Return of the King and The Two Towers, awesome right?!) Sweet Girl doesn’t necessarily have anything unique about it; its your typical revenge film storyline step by step. If that’s one of your favourite plot focuses then sure, check this one out, nevertheless there are many other much more interesting titles than this. If you feel a bit bummed after checking this one out, I highly recommend films in the revenge based category of South Korean cinema – they’re the absolute best at revenge and blood.

★★★★★ Directed by: #MattChambers Written by: #MattChambers Starring: #AlecSecareanu, #AnamariaMarinca Film Review by: Emily Davison After a pizza delivery driver’s moped is stolen, he must find or replace it before he loses everything else – even if that means forgoing his moral conscience in the process. The Bike Thief (2020) is a British drama/thriller, written and directed by Matt Chambers, who has previously worked as a production assistant on Rogue One: A Star Wars Story (2018) and Avengers: Age of Ultron (2015). This harrowing tale may feel familiar, but this does not take away from the profound impactful viewing the film offers. Chambers directs a beautiful looking movie, with aesthetically pleasing shots of the bustling London city streets and the cinematography becoming most mesmerising during night time sequences of the unnamed ‘Rider’ (Secareanu) driving about. The gritty realism of poor working class life is communicated wonderfully through a dramatic, suspenseful character-based story focusing on Romanian immigrants living in a claustrophobic, cold flat in a run-down council estate. The film does an excellent job at setting up the Rider’s difficult situation in a humane way as we see his wife, Elena (Marinca) must take their young son to her work as a cleaner, as they cannot afford a babysitter and their older daughter must do her homework in the bathroom, as the baby crying distracts her. Once the moped is stolen, we instantly know how costly this will be for him and his family and we see how the heavy emotional stress affects him when he attacks someone from his daughter’s school, who he wrongfully believes is the culprit. A very effective tense scene comes when the Rider attempts to ask his landlord, Yusif (Aaron Neiuk), and owner of the pizza business what would theoretically happen if his bike went missing, only to be told that he and his family would be forced to move out of their flat. The Rider soon takes drastic risks to make things right. Although the film does a very good job at grounded us into the setting and tells a genuine, honest small scale story, the plot and visuals do feel familiar. The most recognisable comparison would be to The Bicycle Thieves (1948), with an obvious parallel being the titles and the basic premise, with the unnamed ‘Driver’ perhaps taking inspiration from the critically acclaimed Drive (2011). The film also shares its incredible ethereal soundtrack and tendency to linger on long shots with Drive and the focus on gritty working class life are reminiscent of typically hard-hitting Ken Loach movies. However, this movie takes a different approach with a Romanian family being the protagonists and offers a fresh perspective on the narrative, which has otherwise been explored in other films. All the performances were strong and felt authentic. Alec has previously been nominated for Best Actor at the British Independent Film Awards for his leading role in God’s Own Country (2017). In a similar fashion to his performance in that film, Alec is quiet and thoughtful in his demeanour with occasional angry outburst towards others who have wronged him. Anamaria Marinca as his wife also makes for a sympathetic character who is struggling to make ends meet for her family. Perfectly paced with powerful direction and captivating performances, The Bike Thief is a thought-provoking exploration of human hardships in the working-class and certainly deserves more attention. #EmilyDavison The Bike Thief (2020) trailer:

WE HAVE SUCH SIGHTS TO SHOW YOU… "An unrepentantly trippy Noir that assaults the senses" IGN "A weirdly compelling entrant into the revival of the English Gothic genre" FILM STORIES 25 August 2021, London UK - Altitude are proud to announce the release of THE SHOW, a truly unique wonderfully surreal mystery from the mind of the legendary Alan Moore (Jerusalem). THE SHOW will receive its UK Premiere at this year’s FrightFest on 27 August in London before its release on Altitude.film and other digital platforms from 18 October. Starring Tom Burke (C.B. Strike) and The Serpent’s Ellie Bamber, and featuring a rare on-screen appearance from Moore himself, THE SHOW is the feature-length directing debut of award-winning photographer Mitch Jenkins (Showpieces) and is an extraordinary mix of the dreamworld visions of Terry Gilliam with The League of Gentlemen. Set in an extraordinary alternative universe, with dazzling and delirious visuals, and a brilliantly enigmatic performance from Burke, THE SHOW features Moore’s characteristic mischievous humour, eccentric characters and delightfully labyrinthine plotting. It’s a cinematic experience you won’t want to miss, and won’t soon forget! THE SHOW was produced by Tom Brown at LEX Films and Michael Elliott and Jim Mooney at EMU Films and financed by the BFI and Lip Sync. Andrew Broder’s score to THE SHOW features an opening theme by Mara Carlyle, and a fantasy cast to sing the songs penned specially for the soundtrack by Alan Moore including Beth Gibbons (Portishead), Gruff Rhys (Super Furry Animals), Alan Sparhawk (Low), Andrew Hung (Fuck Buttons), Tunde Adebimpe (TV On The Radio) and very special guest Alan Moore himself as Mr Metterton. Lead single Bloodrush featured Denzel Curry, Dua Salah Haleek Maul and Justin Vernon. The second single from the score, Walk To Detective, will be available on 27 August. SYNOPSIS: A frighteningly focused man of many talents, passports, and identities, arrives in Northampton - a strange and haunted town in the heart of England. On a mission to locate a stolen artefact for his menacing client, Fletcher finds himself entangled in a twilight world populated with vampires, sleeping beauties, Voodoo gangsters, noir private eyes, and masked avengers. He quickly sinks into a bizarre and delirious black hole, that is hidden just beneath the surface of this seemingly quiet town. Soon enough Fletcher discovers that dreams and reality have been blurred and there might no longer be a real-world to go back to-Welcome to The Show. THE SHOW WILL PREMIERE AT FRIGHTFEST ON 27 AUGUST AND BE RELEASED ON ALTITUDE.FILM AND OTHER DIGITAL PLATFORMS FROM 18 OCTOBER WATCH THE OFFICIAL TRAILER HERE

BERLIN GOLDEN BEAR-WINNER BAD LUCK BANGING or LOONY PORN EVERYONE HAS AN OPINION “Riotously bonkers” Sight & Sound This is film at its boldest, its brashest, its most avant-garde.” BattleRoyaleWithCheese ★★★★ “Cheeky, timely and very provocative” The Arts Desk “A shocking, brilliant, pandemic satire. Astonishing. Mesmerising.” Indiewire “A powerfully moving stream of consciousness on modern Romania” The Film Stage 26 August 2021, London UK - Sovereign Film Distribution is proud to announce the release of the unique and brilliantly provocative comedy-drama BAD LUCK BANGING or LOONY PORN on 26 November, in UK cinemas. Winner of the prestigious Golden Bear at this year’s 71st Berlin International Film Festival, the latest film from Romanian writer/director Radu Jude (The Happiest Girl in the World) is wildly funny, alarmingly explicit, and extremely timely. It stars Katia Pascariu, in an astounding debut feature film performance, as a teacher who finds her career and reputation under threat after a personal, and very explicit, sex tape is leaked onto the Internet. Shot in Romania in 2020, it incorporates the ongoing pandemic into the storyline, with the cast wearing masks on screen throughout. Featuring an explicit opening sequence that clearly sets out the film’s themes from the start, Bad Luck Banging or Loony Porn is a fearless and sometimes outrageous film that is bound to cause a stir. The film, that also screened at this year’s Transilvania International Film Festival amongst several others, takes brutally effective potshots at ‘the way we live now’, recalling the experimental brilliance of the notorious 1967 cause celebre I Am Curious Yellow and Alan Arkin’s sublimely dark tale of urban angst Little Murders, as well as the freewheeling irreverence of the French New Wave. It is, as Indiewire tantalisingly suggests, “a John Waters-like eruption of grotesque rage and outré wish-fulfillment”. A word of warning: some viewers might want to keep a mask handy while viewing - to cover your eyes for the opening three minutes. Synopsis: A video goes viral. It shows a man and a woman having sex while wearing masks. The woman is, nevertheless, identified. Too bad she is a teacher and supposed to be a role model. And this, moreover, in a (post-socialist but ultimately any) society that is about to get lost in a social network discourse of would-be healing squeaky-clean attitudes, pseudo-political knowing-it-all, sanctimonious chauvinism and grotesque conspiracy theories. Everyone has an opinion. The debate turns into a tribunal – about consensual sex, pornography and more. BAD LUCK BANGING or LOONY PORN WILL BE RELEASED IN UK CINEMAS ON 26 NOVEMBER 2021

★★★ Directed by: #AndyKastelic Written by: #AndyKastelic Starring: #AndyKastelic, #GennaroLeo, #SarahMinnich, #JackForcinito Film Review by: Darren Tilby The latest offering from writer/director Andy Kastelic is a flawed and contrived, but well written and often beautiful window into the lives of its four central characters. And while there are a few missteps here and there (the incest side story was a little weird), this is a competently made and engaging movie. Charlie Malloy (Andy Kastelic) – a wide-eyed boy in his youth (played by Andrew Olson) – falls reluctantly into his uncle Terry’s (Jack Forcinito) employment after the death of his father. Working as a debt collector for his uncle’s funeral home, Charlie isn’t particularly keen on the mobster-like rough-housing techniques used by his uncle and his goons but does his job, regardless. However, the situation is made more complicated when he’s given the task of recovering the debt owed by his childhood crush Viola (Sarah Minnich) and her brother Samuel (Gennaro Leo), whose own father recently died. And, to complicate things further, the brother and sister are in a sexual relationship with one another...yikes! Torchlight boasts an impressive cast. One full of excellent performances. But, while Charlie is a wholly sympathetic character, the other characters can feel underdeveloped. Samuel And Viola don’t really go anywhere, and their “situation” seems contrived; while Uncle Terry comes off as a generic mobster type. And again, there’s nothing wrong with the performances here, they’re suitably intense and emotive where they need to be. I think the problem here has come from the fact that the whole (short) film feels incomplete; like it should be just a part of a bigger narrative. This is merely a snippet of the bigger picture. A bigger picture we don’t get to see. Because of this, the whole incest storyline comes out of nowhere, adds nothing to the film and feels a little awkward. We simply need more context for this situation and development for the secondary characters as a whole. Now having said that, there are some really touching moments to be found here, namely in the flashback sequences. This, I believe, is mostly down to Jannis Schelenz’s superb cinematography. The home-video style of shooting, warming colour palette and superbly understated acting by the young cast (Andrew Olson as Charlie and Ava Wagenman as Viola) blend together to create scenes that are as emotional as they are visually beautiful. Torchlight presents itself well. There’s nothing terribly original here; nothing to set it apart from others like it. But what it is, is a well-made, well-written, well-acted and intriguing short film. I wish there were more here; more time dedicated to the side characters and development of their stories. But of course, it’s easier said than done. And what we’re left with is a flawed but solid piece of indie filmmaking.

★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown Starring: Bertie Taylor Smith, Holly Ashman Film Review by: Jason Knight Sometimes people have difficulties expressing their feelings and communicating. Francis (Smith) is a lonely young man, who is in love with Erica (Ashman), who works at a cinema. He follows her around town and takes pictures of her without her consent. He then places the photos on a wall, inside his home. Eventually, he builds up the courage to approach her. Although the film begins as a creepy stalker thriller, the tone becomes more lighthearted as the story progresses. He is just a person who wants to find love and be happy, although that does not justify him following someone around and photographing them. The film gains by convincing acting. Smith is great in his portrayal of an individual who is shy, troubled and struggling with his condition. He is in love and wants a relationship but does not know how to achieve that. Ashman also does a good job as a person who is cheerful and friendly. Anderson does a fantastic job with the direction. He creates beautiful shots of nature and a lot of face closeups ensuring the viewer has an idea what the characters might be thinking. There are sequences where voice-over, slow motion and fast cutting techniques are used to great effect. The mood of the music changes throughout the film. At times it is tender and beautiful and then it is atmospheric or even sinister. This short story raises awareness for important themes and is a piece of work that deserves praise and recognition. #JasonKnight

★★★ Directed by: #ChristopherAHoffman Written by: #ChristopherAHoffman, #IanHoffman Starring: #IanHoffman, #BenjaminWood, #MarieZoumanigui Film Review by: Darren Tilby When we dig deep, we find that underlying Christopher Hoffman’s narratively jumbled film, Your Dog Likes Me More Than You, there is a competently told tale of loss and mental illness. Seen from the point-of-view of Petey (Ian Hoffman), a dog walker-come-writer (the title of the movie is also the title of his book), who finds himself between living situations, and desperate to get his book published. It capably portrays the never-ending nightmare and delusions of an already unstable man’s crumbling existence. For me, repeated viewings of Your Dog Likes Me More Than You are essential, and at around only 26-minutes in length, this isn’t too much of an ask; you could watch this three or four times in the same amount of time it would take you to watch an average movie. I say this as the storytelling (the film’s primary issue) is pretty muddled up and not initially clear enough. To further add to the confusion, the editing, too, is a little hit-and-miss and often comes across as being a bit too keen, cutting off scenes while dialogue is still being spoken and whatnot. Only adding to the confusion. The upshot to this is that once you do have a better understanding of what’s going on, the repeated viewings are far more enjoyable. Still, there is the worry that people will be put off by what they may perceive to be bad storytelling. It’s the same story with Ian Hoffman’s performance, too. While generally very good (there are a few moments of awkward dialogue delivery), there’s a complete lack of emotional engagement. Now, to be fair, this is entirely understandable and wholly explained...when you know what’s going on. And this isn’t a complaint. But unfortunately, that doesn’t happen until right at the end, and so it does make it difficult, at least on first viewing, to empathise with Petey as a character. But again, on repeated viewing, it’s all much, much more accessible. Where the film really succeeds is in its nightmarish, dreamscape depiction of crumbling sanity. To me, the movie seemed to borrow from Francis Ford Coppola’s, Apocalypse Now, particularly in the way in which it melds reality into delusion, leaving the viewer ever unsure about what’s just been witnessed. Further on, the cinematography and soundtrack are solid throughout, and both contribute positively to the ambience of the film. Overall, Your Dog Likes Me More Than You is an enjoyable film; well written, well made, and well-acted. But it’s a movie that requires the viewer to put in a fair amount of effort to get the most out of it. It all comes together quite well in the end—once you pick it apart a bit.

★★★★★ Directed by: #KseniaIvanova Written by: #KseniaIvanova, #SavannahOakes Starring: #BrookelynHebert, #KateSmith, #JoeChapleau, #DanFlannery Film review by: Darren Tilby The marriage between Jack and Anna, a young couple living in 1913’s Colorado, is threatened when a man from the past re-emerges with a shocking truth about Jack’s past. That he is, in fact, a woman named Helen. This revelation soon sees the couple in court, fighting hopelessly against societies intolerance and for their rights as a gay couple. Writer/director Ksenia Ivanova came across the true story of Jack and Anna and immediately felt a strong connection to the protagonist, Helen. Which she attributes to growing up in a country with its own fair share of prejudices and intolerances (Russia). So, feeling inspired to “shed light on these issues” (of feminism and gay rights), Ivanova was compelled to craft this beautiful little film, which explores the fluidity, and power, of love. Kate Smith and Brookelyn Hebert star in the lead roles of Jack/Helen and Anna respectively. And the actresses’ emotionally charged and electric performances mean we’re immediately drawn to them as people, but more importantly, as a believable couple. They’re both genuinely terrific performances that are worthy of every accolade the actresses inevitably have coming to them as the film runs through the festival circuit. And while all displays of acting are of high calibre, it’s Smith’s and Hebert’s that really embodies the very heart of the movie’s central theme. The rights of the LGBTQ community and equality for women have been, and sadly still are, hot topics for debate. What Ivanova strives to achieve with Jack and Anna is linking the events of the past, to the climate of the present in contemplation of society’s progress on these issues. Are we really the tolerant people we think we are? And, in the last 100+ years, have things really changed that much? Also, there’s an examination of the basic fundamentals of humanity: of our capacity to endure so much pain and still bounce back from it stronger than we were before. While the sublime character and narrative writing is the linchpin of the film, we also need to talk a little about the technical aspects of the movie. Featuring an almost all-female crew, which is itself a delight to see, Jack and Anna has been brilliantly put together by a team of people clearly passionate about the project. Madelyn Momano’s cinematography brings to life the world our cast inhabits with its superb framing and exquisite colour palette and locations. While the costume design by Courtney Buoy is second to none, easily rivalling that of many big-budget productions and bringing to full realisation the early 20th-century aesthetics. Top it off with a suitably melancholic soundtrack (scored by Ryan Krause), and you have something more akin to a piece of art than anything else. To give Jack and Anna anything less than a 5-star rating would be a travesty: proof of one’s own petty cynicism and intolerance. There’s really nothing here not to like, and so much to love. It’s heartbreaking, tragic and poignant, and yet, somehow, uplifting. My only complaint is that it’s not feature-length, and that’s really more of a compliment anyway. I wish it all the best as it completes its festival run, but I have no doubt it will clean up wherever it’s shown. Jack and Anna will release online in December 2020, and I’ll be supporting it in whichever way I can.

★★★★★ Directed by: #AnthonyKalmeta Written by: Anthony Kalmeta Starring: #ConnorFalk, #DanielaNyffenegger, #LaneWray Short Film Review by: Chris Olson Overcast Movie Review Intense and bursting with robust familial issues, #filmmaker Anthony Kalmeta’s short film Overcast is a stunning example of dramatic #filmmaking. Tackling numerous issues in the home whilst delivering a thrilling plot and exceptional performances, Kalmeta proves himself to be an effective and devastating storyteller. Connor Falk plays Eric, a young teenager whose life is thrown into chaos when his mother (Daniela Nyffenegger) disappears under mysterious circumstances. Eric’s father (Lane Wray) insists his mother has abandoned them and run away into a new life without them, but something irks our young protagonist, who starts to question and challenge his father, and indeed his own memories of his mother. Enrapturing and gripping, Overcast has an unrelenting tension which takes a firm hold on the viewer early on and we don’t notice it getting firmer and firmer throughout the running time. Kalmeta employs numerous dramatic tactics to keep us on our toes, and this is bolstered by the terrific chemistry between Falk and Wray. Their performances are individually great, however, together they are a force to be reckoned with. Some of their scenes required immense emotional depth and vulnerability, which each performer delivered in spades. The sound design was used well to craft a compelling atmosphere, one that was infused with mystery and threat. On top of this, the #filmmakers used quick editing and shaky-cam sequences to increase the tempo and keep the audience on edge; almost as if the camera’s instability was reflecting Eric’s sense of unbalance. This was most particularly effective in a scene where Eric leaves the family home with a suitcase to find his mother’s car parked nearby. Kalmeta’s story is a familiar one but he brings a new edge to it. It was nice to see the father-son dynamic play out, with an overly protective patriarch in place of a smothering mother. A scene where they have dinner is beautifully delivered, especially when Harry’s (the father) temper gets the best of him. Once Eric starts to detach himself from his dad and struggles from his clutches, metaphorically speaking, the tone of the film moves from engaging mystery to threatening thriller, and this tonal shift is handled masterfully. There were moments in the film which were reminiscent of other clever mysteries, like Denis Villeneuve’s 2013 Prisoners, or Ben Affleck’s 2007 movie Gone Baby Gone. Each captured the burning sense of loss and heartbreak that can occur within a family unit and how this can impact the rationality of each character. With Overcast, we are given a potent dose within a 25-minute run time which is immaculately filmed, spectacularly performed, and ultimately incredibly affecting. #ChrisOlson Watch the Movie Trailer

★★★★ Directed by: Lawrence ''Law'' Watford Written by: Lawrence ''Law'' Watford Starring: Kostas Paragios, Genia Lear Morgan, Jamie Ragusa, Richard Lowenburg Film Review by: Jason Knight It is Christmas but this is not a joyful story. In the United States a police officer has shot dead an African-American man. He was not prosecuted because the District Attorney (Paragios) believed that the shooting was justified. The D.A. returns home one day after work, only to find that an African-American woman (Morgan) has taken his wife, Deborah (Ragusa) and son Richie (Lowenburg) hostages and is holding them at gunpoint. The intruder is a relative of the person who was gunned down. Her intentions will change their lives forever. Right from the start, it becomes clear what this short film is going to be about. The opening credits show a montage that consists of autopsy reports of sketches of the body of the deceased, the flashing lighting that is created by police lights fills the screen, footage of the man being shot by police and pictures of various African-American individuals that have died as a result of the police's actions. These images are accompanied by the voice-overs of a distressed woman and of reporters announcing that the police officer will not be charged. There is also the addition of dramatic music. It is a very well structured montage sequence that utilizes the dissolve technique to great effect. On the surface this is a home-invasion thriller. Clearly the main theme is police brutality. It is present throughout the film. The narrative also explores racism and the consequences of the D.A.'s decision to let the policeman go unpunished. The tone is rather dramatic and the audience will feel agony and most likely be on-the-edge-of-their-seat as they watch and wonder how the situation is going to turn out. The plot also raises the issue of morality, arguing who is right and who is wrong. It argues whether the woman's actions are justified. The acting is very realistic. Morgan stands out as a grieving person who is seeking justice for the death of a loved one. Ragusa and Lowenburg are believable at being helpless and terrified of their captor. Paragios portrays a character who means well, but fails to see the difference between right and wrong. This short but powerful film carries strong messages. It raises awareness about an occurrence that sadly takes place in the United States: the killing of African-Americans by police. #JasonKnight Trailer: