The Man Who Wouldn’t Cry ★★★★ Directed by: Emil T. Jonsson Written by: Björn Boström Starring: Sissela Kyle, Christoffer Nordenrot, Jonas Nilsson Short Film Review by: Corey Bulloch The Man Who Wouldn’t Cry Review (aka Mannen som inte ville gråta) A charming and astute satire on empathy in our modern society, The Man Who Wouldn’t Cry explores the difference between genuine and superficial grief. After the death of the beloved actress, “Henrietta” sends shockwaves of sadness through an ad agency, the only one unaffected is illustrator Martin who instead finds amusement in a subsequent moment when someone drops some chocolates. Believing their co-worker to be a sociopathic monster after not publicly bawling his eyes out over a woman he’s never known, Martin is banished to the archives with star employee Jockum and isn’t allowed to leave until he cries. Björn Boström’s script, adapted from a short story by Stig Dagerman is brilliant in how it frames the vanity of this work culture and its participants. ‘Henrietta’ isn’t mourned as a person, Sissela Kyle’s as Martin’s boss eulogises this actress only through her commercial appeal both for the ad agency and for the employee’s social media pages. The film is bookended by this idea that the lenses of our humanity all now have to be filtered through social media in pursuit of online attention. Though not to such a frightening extreme the film reminded me of Black Mirror’s Nosedive, in that our emotions only have value in this cynical consumer context for gratification. Director’s Emil T. Jonsson’s establishes this superficial theme so well, that when the legitimate emotions of Martin and then Jockum take centre stage it makes more of an impact. The mise-en-scéne of the film offers interesting contrasts to the film’s themes and visuals. While Martin’s situation represents this bleak depiction of assimilation, The Man Who Wouldn’t Cry feels almost whimsical. Soft pastel colours and lighting, symmetrical furniture and scooters; these aren’t the bleak office blocks of Mike Judge or Ricky Gervais but somehow they feel even more soulless. It’s warm and inviting in the same way a cult can be, especially emphasised in the film’s final scene. Jonsson’s direction gives the film plenty of personality though, especially through its animated narrative device, where flashbacks are told through illustrations. These visuals exaggerate and express Martin’s imagination and its classic style is a nice juxtaposition with the live-action, enhancing them especially with Jockum’s story about a troubled time in his life. The Man Who Wouldn’t Cry’s script is delivered wonderfully by Jonsson’s direction alongside the performances of Jonas Nilsson as Martin and Christoffer Nordentrot as Jockum. The supporting cast is also stellar in their brief moments (Kyle especially) but it's the authenticity Martin and Jockum find together that makes the film’s themes thrive. Nilsson has terrific body language as the quiet unassuming Martin, with his early scenes revolving on how befuddled he looks at what the fuss is all about. Nordentrot captures the classic overly enthusiastic co-worker that needs to give us space, Boström does well in building from familiar dynamics to make the comedy and drama grounded in this ridiculous setting. We are free to grieve as we wish, whether it be privately or through lengthy social media posts, our shared empathy aches when we lose people. Whether they be family, strangers, or stars we saw on the silver screen, Jonsson’s film isn’t a memorandum on the correct way to mourn. Instead, The Man Who Wouldn’t Cry is a terrific satirical examination of the warped nature emotions are processed through social interactions both off and online. #CoreyBulloch

★★★★ Directed by: Augustine Frizzell Written by: Nick Payne, Esta Spalding. Jojo Moyes Starring: Felicity Jones, Nabhaan Rizwan, Shailene Woodley, Joe Alwyn, Callum Turner, Diana Kent and Ben Cross Film Review by: Brian Penn The Last Letter From Your Lover review For a film industry increasingly driven by franchising we might question whether character development and storytelling really matters anymore. However, this new romantic drama by Augustine Frizzell will hopefully buck the trend. Two love stories set 56 years apart provide the impetus as a journalist pieces together an illicit affair from a series of letters. But don’t reach for the tissues too quickly because this is a love story told with sincerity rather than sentiment. Ellie Haworth (Felicity Jones) is a journalist on the London Chronicle with the nose for a good story. Deep in research mode she stumbles across a love letter burning with passion. But what is the back story to this highly charged relationship? Ellie is a thirtysomething in the mould of Bridget Jones; and just like her template is looking for the right man and a direction in life. She tracks down the mysterious lovers with the help of newspaper archivist Rory (Nabhaan Rizwan). He is shy, sensitive and inevitably attracted to Ellie. Together they discover further letters as the lovers’ identity is revealed. The action smartly flashes back to 1965 where Jennifer Sterling (Shailene Woodley) would appear to have the perfect life. Married to handsome industrialist Lawrence Sterling (Joe Alwyn) she wants for nothing. Journalist Anthony O’Hare (Calum Turner) is assigned to write a profile on Lawrence. An affair quickly sparks into life as Jennifer and Anthony fall in love. Back in the present, Ellie and Rory have a misfiring romance acting as counter balance to the primary narrative. Ellie perseveres with a story that stubbornly refuses to give up its secrets. She finds the lovers separated by circumstance and wants to tie a bow on their story. The older lovers played by Diana Kent and Ben Cross are reticent as they ponder whether some things are best left in the past? The Last Letter from Your Lover is an incredibly old fashioned approach to filmmaking. With no violence, profanity or exploding cars to obscure the view it assumes a poetic beauty. Intelligent direction also means the film has no need for a graphic depiction of intimacy. It gently builds the story from a series of love letters, words from the past that still resonate in the present. In an age dominated by emails, texts and social media we have completely forsaken the art of letter writing. Words are the essence of communication, and a wonderful script makes this point with clarity and eloquence. A cool soundtrack adds expression, especially Aretha Franklin’s seductive classic ‘Do right woman, do right man’. Moreover, an excellent cast deliver well-judged performances and find a basic truth that life can take unexpected turns. It creates an evocative picture of London in the 1960s with an undeniable sense of style. The smoke filled shots of Marylebone station are hugely reminiscent of classic weepy Brief Encounter; but it doesn’t seem a bad thing as the film adds its own spin to the genre. Romantic dramas are much maligned and far too easily dismissed. But this film deserves a chance to shine, as it tries to engage the audience and not clumsily head for the jugular. Cinema goers should have this one on their radar because it might just surprise them. #BrianPenn Watch The Last Letter From Your Lover Trailer.

★★★★ Directed by: Sam Talbot Written by: Sam Talbot Starring: William Fox, Beth Cordingly Film Review by: Jason Knight Learning to Walk Again Film review A sad story about a couple's deteriorating relationship. A married couple (Fox and Cordingly) have a relationship that has reached breaking point and end up having a serious argument. She wants to move away, he does not. They also have a very young son. They shout and swear at each other and express their feelings. The two have very different points of view and it becomes apparent that they cannot be together anymore. The film has a nonlinear narrative which keeps cutting back and forth between three sequences: the husband walking by himself alongside a river in a town, the wife walking by herself in the countryside and the argument between the two of them. There is also a brief and moving sequence that reveals the happy bond between the father and his toddler son. Although neither the man nor the child is shown, shots of toys and children's books are seen, during which their voices are heard as a voice-over while playing together, indicating that the man is a good parent. The film focuses mainly on the couple's verbal confrontation. Both protagonists deliver great and emotional performances as individuals whose marriage is falling apart and it is heart-breaking watching them say harsh things to each other. They both have had enough of engaging in disputes and want to find a way to move on and Fox and Cordingly depict that very effectively. The general feeling is rather melancholic. The audience is introduced to a very poignant and distressing situation: that of a loving and happy relationship coming to an end. Emily Blacksell makes an outstanding contribution as the composer. The score that is heard throughout consists primarily of piano and violin and it is beautiful and melancholic, helping create the appropriate atmosphere. Director Talbot creates wonderful establishing shots of nature and utilizes the characters' reflections in mirrors in order to develop interesting shots. This short drama is upsetting but also beautiful at the same time. The strong acting and tender music are a significant bonus and it will leave the viewer with a thoughtful experience. #JasonKnight

★★★★ Directed by: Martin Barnewitz Written by: Todd Farmer Starring: Norman Reedus, Claire Holt and Heather Stephens Throwback Film Review by: Rachel Pullen Messengers 2: The Scarecrow (2009) Film Review Recently I have been re-watching all of The Walking Dead, a television show I only originally watched because I had a crush on the very sexy Norman Reedus, and I thought seeing him kill the living dead would be hot and fun to observe, turns out I was right. But how, you may ask, did I fall into my love affair with Mr Reedus, well did you know back in the day he used to star in B-rate horror films? And who do we know that likes B-rate horror…that’s right, loyal readers, me. So after my TWD binge I returned to one of my favourite early Norman Reedus flicks, a little sequel called Messengers 2: The Scarecrow. But wait, you cry, why are we not talking about the first one? Well Norman Reedus is not in it so I don’t care. Anyway, Messengers 2 tells the tale of a young man and his family who are struggling to make ends meet on their farm, their corn is rubbish and crows keep pecking at it, making Norman feel like a failure, also he just quit being an alcoholic because his Christian wife was not into that, so you know …stress and resentment, as well as the judgment of Jesus...sigh. He stumbles across an old scarecrow in his barn, coincidentally at the same time his new neighbour turns up with a 6-pack to introduce himself. He is keen for Norman to put up the scarecrow…and drink the beer! Scarecrow up, beer in the fridge, things are gonna go ham. But wait, what is this, the scarecrow brings good luck, his debt goes away (because the debt collector gets killed), his crops grow (because all the crows die), his wife kind of hates him less (but only because her friends keep dying and she is running out of people to talk with)...yay scarecrow powers!!! Norman is like ‘’fuck this is good but also not good, and now I'm a bit crazy, better go see my neighbour and his insanely hot wife, like way out of his league wife, and have sex with her…oh no wait I shouldn't do that …but hey, scarecrow powers’’. And so, it’s not long before all this shit comes to light, the scarecrow comes alive, tries to kill the family and Norman runs it over with a combine harvester…the end. And while you may have just read the above and been flabbergasted, trust me when I say, this is kind of a good movie! The pacing is superb, enough tension and suspense, but not so much draw out you get bored, all the characters are developed enough for you to care whether they live or die, and the storyline, although farfetched, is explained and there are no loopholes that we all expect from a B-rate horror. And of course, my darling Norman Reedus and his acting which I can never tell if it’s meant to be deadpan and un-expressive or not, either way if that’s what the director wants of him then he is doing very well….and I love him. So, this week we have learnt: Scarecrows can give you powers Do not trust people with hot wives And Norman Reedus may or may not be a good actor, but who cares! #RachelPullen

★★★★ Directed by: Jimmy Olsson Written by: Jimmy Olsson Starring: Philip Oros, Moa Silen, Richard Sseruwagi Film Review by: Patrick Foley Notes (2021) film review Given the last year and a half of quarantine, social distancing and zoom calls, Jimmy Olsson’s Notes feels like an extremely timely short film exploring how, in an environment of loneliness and isolation; music has the power to break down walls – almost literally. As he moves into a new flat, Philip (Philip Oros) relies on phone calls with his girlfriend and his piano to keep him company. When he practices a song, he discovers that his neighbour plays piano as well – and the pair bond with their music despite having never seen one another. When his relationship with his girlfriend is thrown into question, it is this musical dialogue with his neighbour that Philip comes to rely upon. Notes is a powerful short film which puts the communicative power of music at its heart. Philip’s isolation in his apartment is only exacerbated by his attempts to bond with people through words alone. His experiences with his girlfriend and his landlady (Moa Silen) are awkward, and despite a friendly disposition, it is clear when he experiences a personal setback that he is struggling underneath. It is through music that he connects with his neighbour, music how he expresses his pain, and through music how he becomes reachable at his lowest point. The sense that our personal thoughts and feelings impact on our art is profoundly felt and expertly presented by the filmmakers. The film treats its audience with respect and smartly ‘shows-not-tells’. The plot is hardly complex, yet it is told gently and subtly throughout – so that when pivotal moments arise (such as Philip’s breakdown), they stand out all the more. Small touches towards this, such as his social awkwardness, or his girlfriend’s apathy, tell us all we need to know. The result is an intimately personal story which places the focus on the protagonist, and ties the audience fully into his emotional state. The nature of the story means that the film is a slow burner and audiences should be prepared for long and solemn scenes of introspection. Philip’s introverted personality means viewers must be prepared to decode the meaning behind what is seen and said on screen - and this does occasionally result in the film dragging, even considering its short runtime. However when the story kicks into gear, emotional hell breaks loose and viewers will be hooked by Philip Oros’ riveting acting display as the film heads towards an emotional conclusion. This investment into the personality of the characters is worth it for the finale alone, and the musical montages between Philip and his neighbour make up for any drag. Praise should be specially reserved for the fantastic sound design and production which gives added life to the music which is so key to the film. Small touches, such as the transition of the neighbour’s playing from a source external of Philip’s apartment to seemingly internal – really complete the film and demonstrate how the music is finding Philip even in his isolation and despair. Audiences will feel every indent of the keys as souls are laid bare vicariously through the piano – letting the film live up to its title. Short and bittersweet, Notes brilliantly captures how essential music can be for human connection with a stylistic approach that amplifies personality. Subtle touches, and outstanding sound design make this film memorable and moving. #PatrickFoley Watch the Film Trailer

★★ Directed by: Filip Jan Rymsza Written by: Filip Jan Rymsza, Mario Zermeno Starring: Beau Knapp, Charlotte Vega, Jack Kesy Shudder Film Review by: Chris Olson Mosquito State (2020) Film Review The Fly meets Wall Street in this creepy body-horror from filmmaker Filip Jan Rymsza, whose intense psychological take on the 2007 credit crunch is presented as a data analyst’s personal breakdown. Beau Knapp plays Richard Boca, the aforementioned data analyst for a powerful brokerage firm in New York. We meet him at the beginning of Mosquito State, at a company party laden with Cristal and hedge-fund types blowing off steam. Richard isn’t your typical banker type though, more Quasimodo than Gordon Gecko, his hunched and awkward appearance is the butt of many a company joke but seems to land him in good stead with Lena (Charlotte Vega), who is working at the party. The pair head back to Richard’s High-Rise esque apartment (he owns the whole floor) for what looks like a hook-up, only to be spoiled by Richard’s intense reaction to finding out one of his investment wines (he doesn’t drink them) has corked. Oh, and he’s managed to bring a mosquito back with him on his neck. The film then descends into a dry middle section, whereby the looming financial crash runs parallel with Richard’s apartment being overrun with mosquitoes. The “bloodsuckers” metaphor is not lost on the audience, who are continuously swarmed with close-up egg-laying and Richard’s body going increasingly towards looking like the Elephant Man - with enormous bulges appearing in various parts of his body. Whilst the aesthetic of Mosquito State is slick and appropriately slimy in equal measure, this is an indulgent approach to storytelling. An irritating sound design consisting largely of obnoxious tracks and high-pitched buzzing is meant to instil a foreboding atmosphere but is just annoying. Knapp and his character’s beautiful mind are given too much freedom to chew the scenery and suffers from a severe lack of acting interaction. As viewers, we watch as he moves through the stages of becoming a mosquito (impressively animated at the film’s commencement) in a manner akin to us watching insects in a dirty box. The most engaging scenes are, without doubt, the ones with Vega in, who brings the film a much-needed sense of emotional investment. Not without its moments of impressive spectacle and artistic ambition, Mosquito State largely suffers from irrelevance. The 2007 setting removes all of the peril (nods towards Trump notwithstanding) and the central character’s brilliant-but-flawed trope never connects in any meaningful way, resulting in at best something you can put up with and at worse something you want to swat away and spray with a lethal poison. #ChrisOlson AVAILABLE EXCLUSIVELY ON SHUDDER, 26TH AUGUST Watch the Film Trailer

★★★★ Directed by: Michael Burns Written by: Michael B. Dillon Starring: Kevin T. Bennett, Kitty Mahoney Indie Film Review by: William Hemingway Peaks and Valleys film review Any fans of Red Dead Redemption will be able to tell you that the Great American Wilderness is an unforgiving place. It may look pretty through glorious sunrises and stunning sunsets, whether covered in lush, green vegetation or a blanket of cold, driven snow, but ultimately its harsh, relentless nature will always out in the end. To survive in this rugged landscape it is necessary to develop certain skills that have become alien to mainline, snowflake city dwellers; skills like hunting and fishing and skinning and tanning and an ability to be with yourself – just you and the wilderness. In Peaks and Valleys, writer Michael B Dillon and director Michael Burns both show with great skill their understanding of this survivor spirit and imbue their main character Jack (Bennett) with bucketfuls of it as they introduce us to him and his simplistic way of life. What starts as just another day for Jack, as he checks his traps and almost lazily skins and bones the rabbit he has caught, turns into something altogether more problematic when he sees a low flying plane dump what he assumes to be trash into the lake that he uses for fishing. However, when he notices the dumped black bag moving and spots a hand reaching out from within, Jack knows that his peace has been shattered in a more lasting way. Thus we now have to deal with Bailey (Mahoney), a bound and beaten junkie seemingly scraped from the dregs of that far away society, cast aside and left for dead by those who had used and abused her, and in Jack's mind at least, what was probably 'good riddance to bad rubbish'. Jack's humanity hasn't entirely escaped him though and after saving Bailey from certain death he resolves himself to bring her back to some semblance of life – although to what purpose we don't yet know. So, with our odd-couple set up, the focus shifts to learning more about the main characters and watching what they reveal about themselves as they interact with one another. Initially playing to type, Jack comes across as a hard-nosed old grizzly who has no time or patience for softness or sentimentality, while Bailey whines and complains like a regular petulant teenager as she tries to comprehend the reality of her new and basic existence. It would be very easy then for Dillon and Burns to use this as the basis for the rest of their movie as the two main leads clash and butt heads with one another highlighting the differences between both their worlds, however, like the wilderness that encapsulates this entire story, there is a much greater depth at play than can be seen at first glance. It would also have been very easy for Dillon and Burns to turn this scenario into a psycho-sexual thriller with Bailey having to fend off the increasing advances of her saviour come captor, but thankfully they sidestep this tired narrative too, and keep the threat placed elsewhere. Whilst it may not be immediately obvious from his language and demeanour that Jack is a 'good guy', he sets out his boundaries clearly and invites no question that he sees Bailey as a child – one to be pitied and educated, but definitely not one to be exploited – and this is all to the film-makers' credit. What we get then is a charming character study and a coming together of two opposing attitudes playing out within the pressure cooker of a secluded cabin in the woods. Survival is foremost on both characters' minds but both still have ghosts to wrestle with as they try to adapt to their unasked for situation. Alongside the grizzly roughness of reality in the wilderness, there is time for soft humour and glimmers of mutual appreciation and it is these that allow us a proper insight into who these two characters might actually be outside the confines of the cabin. There is no need for the audience to ask too many questions as these small reveals keep us interested in the main dynamic all the way up to the point where something has to give. And give it does. By the time the final act comes around the audience may well have figured out most of what's going to come next but that doesn't take anything away from the shock and release that is felt when it eventually does come. The crafting of the set-up and the dynamic of the duo reels us in slowly and completely before the denouement catches us in the net and bangs us over the head. The effectiveness of this release comes from the time taken in the telling of the story. Nothing is rushed, everything is stripped back and the characters are allowed to breathe. Bryan Pentecostas' cinematography beautifully captures the elements of danger and wonderment within the Alaskan landscape and Burns intersperses these with the character scenes to mirror the inner dichotomy between the two leads. Evan Evans' score also adds an extra dimension to the space and seclusion of the wilderness highlighting in turns its glorious but fearsome nature. Burns skillfully weaves all these together to build a narrative that feels natural and real and which leads the viewer without ever misleading them. The two leads also do an incredible job of inhabiting their characters and fleshing them out into three-dimensional people when they could so easily have remained as one-note stereotypes. Kevin T Bennett perfectly plays out the rough, gruff lines that keep Jack firmly rooted in the outdoors, but then switches seamlessly to soft, considerate, contemplative emotions when faced with some of the more humanistic elements of his story. His physicality in the role should also be complimented as his thin, lean frame and the bountiful growing out of his beard encapsulate entirely the being of someone who has to hunt and kill for their own sustenance and survival. Kitty Mahoney has no easier job of it as a fish out of water trying to kick a drug habit and she handles the mood swings and conflicting emotions of fear, anger, determination, pride and vulnerability with a supreme deftness. In the end what you feel for these characters comes down to an expert matching up of acting, writing and directing which all pulls together brilliantly to offer a realism and investment that might not otherwise have been present. What Peaks and Valleys offers is a well-rounded story with well-grounded characters along with a sprinkling of action and a whole load of soul searching. Its title accurately describes the range of emotions the viewer will experience as they share this story with its main characters whilst also pointing to the dual nature within all of us. If you're looking to go on a pioneering journey without leaving the comfort of your armchair you will be hard pressed to find a better way to do it than watching this. Independent film making with real independent spirit. #WilliamHemingway

Film Feature by Chris Olson Having paused the UK Film Review Magazine earlier this year, we gave rebirth to the UK Film Review Podcast with a fresh team of critics and hosts. The results have been incredible, with weekly episodes full of entertainment, banter, and a genuine love of film. This week, host Ian Lunny was joined by film critic Chris Buick to talk about the cinematic realisations of some DC Comics. Whilst many of the films discussed on the film podcast were to be expected (Superman, Batman etc), there were also some hidden gems for listeners to find out more about and why the team love them so much. We have aimed to make our film podcast as easy to find as possible, getting it onto many of the major players in the podcast world. You can find it on Spotify, Google Podcasts, iTunes, SoundCloud and many more. Just search for "UK Film Review Podcast" and look for the purple UKFR logo. There is an older podcast which you may also want to enjoy, it has the old black and white logo - so feel free to subscribe to those too. On our revamped film podcast, you will also find episodes on a variety of topics and filmmakers. We recently dedicated a whole podcast episode to the celebrated filmmaker Edgar Wright, in connection with the release of his documentary The Sparks Brothers. Another film podcast episode dealt with the Marvel Cinematic Universe and was a complete riot, with the team sharing their favourites and non-favourites, with plenty of surprises. If you are already a fan of the podcast and listen regularly, please get in touch with your thoughts and feedback, we love to hear it. We may even share it on the show! Listen now via Spotify:

★ Directed by: #ThorMoreno Written by: #ThorMoreno Starring: #BrianCristophono, #ShawnMcAninch Film Review by: Emily Davison Vengeance Is My Name (2021) Film Review After his partner is killed on a mission, undercover agent Brad (Cristophono) seeks revenge for the death of a friend. Vengeance Is My Name (2021) is an American crime thriller produced by Innovative Pictures and is currently available on the globalviewproduction YouTube channel. The film’s synopsis is summarised as ‘a story of love, honor and revenge’ and follows a familiar formula for the typical revenge story, with surprisingly complex and difficult plotting which unfortunately brings entertainment value down. The movie is filmed well for the most part, although the low production value does often raise its ugly head with poor dubbing and noticeably bad performances from some of the extras. Pacing is good due to the constant change in location to another gritty setting for confrontations to take place, however this is also one of the main drawbacks of the narrative. There is simply too much going on with too many characters and a very overdramatic tone with questionable soundtrack choices, which causes any attempt at genuine emotion to mostly fall flat. Although, there are a few effectively tense torture sequences that are framed well, with one example being a sinister scene where a man tortures someone off-screen and casually answers a phone call before returning to his brutal task. However, a tighter screenplay with more focus would have helped deliver a more compelling, investing film. The lead has a pregnant wife who barely features in the movie and it is clear we are meant to care about what happens to her, but little to no development is given to both characters. The film does present an interesting visual aesthetic, with fast motion photography and slow-motion often used to create highly stylised shots. Some are definitely eye-catching and entrancing, such as a long shot of Brad in a dream sequence standing in a field with a backdrop of lighting or standing in a dark street in the rain. Even though the style does spice up the messy screenplay, it isn’t always consistent and when these sequences do appear, it seems to be for show rather than to enhance the story. Performances are serviceable, with Brian Cristophono effectively embodying the typical action hero persona up against a dodgy boss, Nicky (McAninch). The film does objectify its male lead very often, with him usually having his top off in many scenes and it does detract from involvement in the story, becoming repetitive and distractive. Overall, Vengeance Is My Name is a disappointing, lacklustre viewing experience with few redeeming qualities. It certainly had potential, but exhibits confused direction, lacks a strong screenplay and ultimately does not maintain audience engagement due to its unfortunate drawbacks. #EmilyDavison Watch the official film trailer

★★★★ Directed by: #IngmarBergman Written by: #IngmarBergman Starring: #StigOlin, #IngaLandgré Film review by Julian Gaskell A box set of the early works of Ingmar Bergman, so early the first films he is credited with in this collection (Torment and Eva) he didn’t even direct only writing the screenplay but such was his influence they are considered Bergman films. This collection of his earlier works show all the hallmarks of the classic Bergman films shot in black and white as he begins to develop his style making the journey from young successful theatre director, to screen writer and film director. Learning his craft working alongside established Swedish film directors Alf Sjöberg (Torment) and Gustaf Molander (Eva), both films written or partly written by Bergman, Torment was awarded the Grand Prix at the Cannes Film Festival and Eva received reasonable enough box office success for Bergman to be given the finance for his first film. He was handed the reins as screenwriter and director for his first feature Crisis (based on a play by Leck Fischer) followed by Prison the first entirely Bergman film he wrote and directed. Whilst not considered masterpieces like his later films of the 1950's such as The Seventh Seal and Wild Strawberries, they were important stepping stones in his journey and are far from shabby offerings. The varied themes all have the underlying essence of Bergman films heavily influenced by his formal upbringing in Sweden. His sharp observations have a universal truth about life brought to screen with strong establishing shots and heavy intellectualised dialogue using a core troupe of actors. The films are often sombre and tragic, sometimes sexually provocative but generally caring and compassionate. Stories, to quote a line from Prison, ‘from cradle to grave.’ With 8 films to enjoy this is a great introduction to the work of a director considered one of the greatest of all time. Here he shows his already developed flair for storytelling full of themes of intense meaning where tragedy and death are never far away but where there is always a lesson to be learnt or a joy to be appreciated. Hets (Torment) (1944) Director: Alf Sjöberg Assistant Director: Ingmar Bergman Screenplay: Ingmar Bergman Cast: Stig Järrel, Alf Kjellin, Mai Zetterling, Olof Winnerstrand, Gösta Cederlund, Stig Olin This is the story of the grammar school system and the oppressive experience of Bergman’s own school days. Beautifully shot by director Alf Sjöberg the impressive but intimidating grand architecture of the school grounds provide a foreboding institutional presence. It starts by showing everyday school life and the school tales of rules, discipline and punishment. The children are faced with a stern authoritarian Latin teacher, Caligula, whom Jan-Erik, the young protagonist student, finds himself getting in trouble with. The disgrace this brings to the boy’s family shows the cold nature of the importance of the family’s reputation over the boys actual fair treatment and future. The draconian school theme runs parallel with Jan-Erik’s relationship with a young girl, Bertha, who he tries to help with her alcoholism and a relationship problem. The two themes become intertwined taking a toll on Jan-Erik’s well-being and his growing school problems. Eva (1948) Director: Gustaf Molander Screenplay: Ingmar Bergman, Gustaf Molander Based on a story by: Ingmar Bergman Cast: Birger Malmsten, Eva Stiberg, Eva Dahlbeck, Inga Landgré, Stig Olin A disjointed story charting the life of a returning sailor, Bo, who comes back to his small home town village to see his family. He is reunited with his childhood sweetheart, Eva, but as they rekindle their romance he is filled with guilt from his childhood memories of a dreadful accident he was responsible for. We jump back and forwards between these two stories as he and Eva look after her sick grandfather on his deathbed and we are shown the stark difference in stages of life between the grandparents and young couple. We then jump to Bo’s life living in the city working as a jazz trumpeter at a nightclub where he’s staying at his friend’s apartment along with his friend’s fiancé and Bo’s fidelity is tested by a heated menage à trois offering. Finally we switch to find him and Eva living on an isolated island where Eva is heavily pregnant and when the baby suddenly starts to arrive unexpectedly Bo runs into more difficulties trying to get Eva ashore and he begins to reflect back on his life, shown through some classic Bergman double exposure overlayed editing. Crisis (1946) Director: Ingmar Bergman Screenplay: Ingmar Bergman Based on the play by: Leck Fischer Cast: Dagny Lind, Inga Landgré, Marianne Löfgren, Stig Olin Is another small town story about a young girl, Nelly, who has been raised lovingly by her foster mother but when her real mother, Jenny, returns on the scene Nelly is lured to join her mother’s more glamorous lifestyle living in the city. Spoiling her daughter with expensive finery she persuades Nelly to come to live with her in the city and her head is turned by Jack the poetic charmer she meets at a village concert party. He is a smooth luvvie but a questionable influence on the sweet young country girl and is a million miles away from Nelly’s doting admirer back home, the steady and dependable but older Ulf. Prison (1949) Director: Ingmar Bergman Screenplay: Ingmar Berman Cast: Doris Svedlund, Birger Malmsten, Eva Henning, Hasse Ekman, Stig Olin Prison is a much more abstract surrealist film that takes a mocking look at the question of reality in film. It begins with a man appearing dramatically from the fog who then walks straight onto a film set for us to only discover he is the maths teacher of the director and wants to ask for his idea to be made into a film. His idea is based on the religious supposition that earth is in fact hell,s which becomes the premise for one of the filmmaker / journalist clique to recite a tragic tale about a girl, Birgitta. This harrowing story is told about a young prostitute girl and her new born baby in juxtaposition with the question of reality in film. Limited Edition (5,000 copies only) 5-disc Blu-ray box set containing eight films released on 26 July 2021. Three films* from Volume 1 will be released on BFI Player Subscription on 9 August. All films in Volume 1 will be released on iTunes and Amazon Prime on 16 August. Volume 1 includes: Torment *Crisis Eva Music in the Darkness *Port of Call Prison Thirst *To Joy Plus special features

★★★★ Directed by: Matthew Kyle Levine Written by: Matthew Kyle Levine Starring: Daniel Martin Berkey, Gina Marie Holden, Natasa Babic, Kelley Heyer Film Review by: Jason Knight An insight into a man's infidelity and how it affects his life and those around him, including his wife, daughter and mistress. A middle-aged, wealthy, married man (Berkey) has been having a prolonged affair with a young woman (Holden). Eventually, he decides to tell his wife (Babic), who is devastated by the revelation. He claims to still love her and refuses to divorce her, threatening that a divorce would leave her financially broke. He openly continues his cheating and not even his daughter (Heyer) can convince him to change his ways. This drama focuses on the life of a man who appears to be delusional. He wishes to carry on with his affair and pretty much do whatever he feels like. He shows no remorse regarding his infidelity and does not respect or appreciate his wife and daughter. The plot is rather awkward and interesting at the same time: an individual is committing infidelity but wants to remain married. His actions create a great deal of drama and the narrative consists primarily of scenes in which he explains himself either to his mistress, wife or daughter. The film benefits by strong performances. Berkey leads the story well as a retired man, who believes he spent his working life as a prisoner and is now looking to live his life the way he sees best, not caring much about the impact that has on those close to him. He is also an alcoholic and takes drugs. He comes across as rather unlikable, selfish and childish. Babic is emotional as his wife who cannot stand what her husband is doing but is unable to leave him either. She is torn apart and Babic displays her character's emotions vividly. There is no music and almost the entire story takes place in the man's apartment. The cinematography looks great the action is mostly filmed through closeups of the characters' faces. This short has an intriguing plot that is dedicated mostly to character study. The characters are interesting, the dialogue is well-written and the viewers will most likely want to find out what makes Berkey's character tick. #JasonKnight Trailer for Daddy's Wallet:

★★★ Directed by: #HowardSmith Written by: #JackSilverwood Starring: Howard-Smith Film Review by: Bruna Foletto Lucas Sean is an independent short film, directed, shot, cut and played by Howard-Smith and written by Jack Silverwood. A former IRA member, now living a cosy life in Northern Ireland, has taken up the name of Sean, a man he murdered back in 1995. He has agreed to meet the son of the man he killed but the meeting never takes place, what happens in its stead is a trip down to the protagonist’s consciousness in a Virginia Woolf type of prose. The narration follows Sean’s consciousness as he roams the forest waiting for the man he has agreed to meet. He searches for the place he buried the man years ago, but he is not completely sure whether he is in the right place. He says that he has accepted to come out today, but confesses he is not sure why. Through these inconsistencies the film presents Sean as a double character – he was once a member of the IRA and fought hard for what he believed in, and now, as he says it himself ‘Sean is a shut-in. Sean likes to stay out of trouble’ and ‘even the Britts have got Sean’s balls in their pocket.’ This duality is further represented by the fact that Sean is played by actor/director Howard-Smith but his voice is narrated by Jim Dolan. Depicted in the short is a contrasting sense of past and present, revolution and conformity that result in an aura of nostalgia. Sean walks through the woods but he goes nowhere, he does not go back as he never gets to meet the man, nor does he go forward as he is stopped. Sean is a tragic figure that represents in old age the insignificance of the actions derived from what we deeply believed in, but at the same time the weight that some of the actions still carry. By alluding that ‘the Britts have got Sean’s balls in their pocket’ he is saying that whatever he believed in is no longer the case, but for the son, Sean’s actions are still very much alive. Although the story is particular and difficult to relate, the feelings Sean elicits are certainly universal.