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Testimony film review by UK film critic Nina Romain. Starring Imelda Staunton, James Smith, Philomena Lee, Claire McGettrick, Mary Harney directed by Aoife Kelleher. HOME | FILMS | REVIEWS Testimony Film Review average rating is 4 out of 5 Critic: Nina Romain | Posted on: Nov 17, 2025 Directed by: Aoife Kelleher Written by: Aoife Kelleher, Rachel Lysaght Starring: Imelda Staunton, James Smith, Philomena Lee, Claire McGettrick, Mary Harney “Banished babies is what we called ourselves” – a tough watch about fighting back for justice Testimony is based on the real-life stories of women in the last century labelled as “morally impure” (usually unmarried mothers) and who survived horrific abuse in the Magdalene Laundries in Ireland. The documentary opens with its mission statement of how, from 1922 to 1996, the Irish state and Catholic Church imprisoned many women in institutions all over the country, and made them work (without pay) in the Magdalene Laundries and Mother and Baby Homes. The doc then looks at the 21st-century efforts of the advocacy group Justice for Magdalenes (JFM) to bring their stories to light and “put the State in the dock” as one survivor accurately puts it. The JFM are assisted by many people, including a young trainee barrister called Maeve. Testimony looks at the interviewees, now articulate women around retirement age and referred to mainly by their first names only, who talk about the stories of the hidden abuse they suffered at the laundries. One refers to their group of survivors as “banished babies” to describe their earliest days. Another interviewee, simply identified as “Mary”, speaks about her early life, saying: “I resisted dying and resisted it to this day…”. She recounts how she was fostered and then “incarcerated in an industrial school” and was told (untruthfully) that her mother was dead. Along with the JFM news conferences of their outspoken attempts to bring justice to the women, the documentary Testimony uses black-and-white footage of publicity footage shot by a religious Father, depicting a warm family atmosphere of welcoming, cheerful nuns. This footage, of course, clashes sharply with the survivors’ accounts of what actually happened. The documentary is professionally and vividly brought to life, with reenactments of the survivors’ tales, which are done without showing anything explicit other than just a hazy blurring over of the abuse. There are also home videos of the survivors as adults breaking into abandoned “building sites” to see their former “homes” or rather laundries. Other survivors speak of abuse, including being restrained, having all their hair cut off against their will, being imprisoned in their room at night, asking in despair: “Did they get a kick out of locking us up?” and having their names forcibly changed. One simply says: “I’d been trafficked and kidnapped.” One elderly woman talks of her teenage years at the Magdalene and the institutionalised abuse she suffered there, saying with a remarkable lack of bitterness: “It was supposed to be a house of refuge...it’s left its mark.” She mentions her escape as a child, saying she ran out during a rainstorm to ensure she couldn’t be followed, as her footprints would hopefully be washed away in the rain. The harrowing testimony involves tales of rape, beatings, humiliations, and nightmares suffered as children at the hands of the adults supposed to look after them. The horror stories include the huge pressure on unmarried mothers to give up their children and accounts of mothers looking for their children’s graves but not knowing where they were buried. One survivor who had a son she’d been forced to hand over to the authorities in the past recounts how she was told: “You ought to be grateful he’s gone to a good Catholic home in America.” There’s footage of the related newspaper story from 1956, headlined: “Tiny Irish orphan brings joy to couple…”. This is chillingly inaccurate, as of course as the child was not an orphan. There is no shortage of films based on the religious persecution of the last century in the UK. This occurs in the Irish horror mock umentary The Devil’s Doorway (2018), a fictitious look at the nightmares visited on these “unwed mothers”, as a film crew attempts to find out what happened in one of the laundries. Another example is the trippy nightmare of some 20-something Americans in Shrooms (2007), where the happy-go-lucky tourists visit a remote part of Ireland to suddenly find themselves trapped in a nightmarish children’s home. Here, they relive the horrors of an abusive childhood, which the children suffered in the supposed protection of a religious group. Testimony is the reality behind the nightmares these works of fiction are based on, and this makes it the proverbial “tough watch”. It can’t be done justice in a film review, and is also one of those films that may need, in the best possible way, more than one attempt to see. But it’s a story that needs to be told, however difficult to hear. The survivors’ story of forgiveness is inspiring and along with the warmth and compassion they received from their families and communities. One survivor simply says of this support: “That was my healing”, and this one sentence makes a true-life horror slightly easier to watch, as the docu compassionately covers the story of the former “banished babies” and how they fought for justice. TESTIMONY will be in UK and Irish Cinemas from 21st November with the support of the BFI, awarding National Lottery funding. About the Film Critic Nina Romain Theatrical Release < All Reviews Next Film Review >

Baby Teeth film review by UK film critic William Hemingway. Starring Toyhota Wilcox, Brooke Thomas, Liam O’Brien directed by Alex David. HOME | FILMS | REVIEWS Baby Teeth Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Nov 15, 2025 Directed by: Alex David Written by: Daniel Evans Starring: Toyhota Wilcox, Brooke Thomas, Liam O’Brien A mother who has suddenly lost her husband to a tragic accident goes to crazed lengths just to see her daughter smile again. Francis (Wilcox) loves her family. In pride of place on the living room wall is her favourite picture of them all together, mother, father, and daughter, smiling for the camera. It comes as a great shock to her, then, when there’s a knock on the door and she is presented with her husband’s head, putting beyond all doubt the fact that he is dead. This information sends Francis into a dangerous tailspin and she begins to obsess about having a new picture taken, of her and her daughter, Alice (Thomas), hopeful that by the time it rolls around she’ll be able to get her to smile again. The thing is, that Francis is a crazed nutbar, and everything she does or says is caught up in a frenzy of hysteria. She’s deliberately overbearing to Alice, and pushes her daughter in emotional and physical ways to get some sort of reaction out of her, all the time reminding her of the impending photoshoot for the new picture to go on the wall. In amongst all of this, the neighbour (O’Brien) is on the prowl outside the door in the hallway, intermittently sticking his head into Francis and Alice’s affairs in the most bizarre ways imaginable whilst offering nothing salient to the plot of the film. Then there’s Francis herself, played by Toyhota Wilcox, in one of the more interesting casting choices that’s ever been made for screen, and by interesting I mean strange and awful. Without knowing Toyhota’s background and self-identification, it’s difficult to pinpoint just why this casting and characterisation was made, as the film doesn’t present or imply any trans rights issues or gender neutral messaging, but what we get instead is a guy in a wig and a dress, putting on a high-pitched crazy voice, and acting hysterically for the whole ten minutes. It could be that this was all done as a tongue-in-cheek joke, to help flesh out the ‘comedy’ in this self-professed comedy horror, but really it just comes off as terribly badly judged. The feel of the film at least has some artistic merit to it, as right from the start we are led into a series of old-timey cinema cards and adverts, complete with dust on the film and crackles on the audio. This leaning towards a 70’s B-movie standard, or video nasty, allows for some leeway in the narrative structure of Baby Teeth , and director Alex David goes all out in exploiting this stylised notion for all its worth. The placing of the shots is also very in-keeping with the style and theme of the film, with things often feeling off-kilter, or at a jaunty angle, to keep the audience off balance. This also leads in to the cinematography and lighting choices which offer a soft-focus, pink-hued, filter to a lot of the scenes, lending a dream-like quality to a lot of what’s going on. All in all, Baby Teeth gets a lot of things wrong and doesn’t present enough of a coherent narrative to entice viewers to want to come and watch it. The characterisation and performance of Francis is just too far out there to be useful in any meaningful way, and there’s not a lot of sense to the plot either. The filmmakers do, at least, have a commitment to their vision that stops Baby Teeth from languishing in the depths of the real video nasties, but only barely. About the Film Critic William Hemingway Digital / DVD Release, Short Film < All Reviews Next Film Review >

Men Behind Closed Doors: Stories For Survival film review by UK film critic Patrick Foley. Starring Kurtz Frausun directed by Kurtz Frausun. HOME | FILMS | REVIEWS Men Behind Closed Doors: Stories For Survival Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: Nov 14, 2025 Directed by: Kurtz Frausun Written by: Kurtz Frausun Starring: Kurtz Frausun Kurtz Frausun’s Men Behind Closed Doors: Stories For Survival is an unapologetic, hard-hitting and debate-starting documentary that focuses on the under-reported issue of domestic violence against men. Its content and stories are gripping, and whilst Frausun has no qualms about incendiary conclusions, this feature is measured enough to stand up as an important representative work that should not be ignored. The film is structured around interviews with men who have been the victim of domestic and psychological abuse at the hands of female partners. Most participants, barring Frausen himself, are anonymised. But their stories are so shocking that they will stop audiences in their tracks. Their words are accompanied by illustrative footage as well as statistics that demonstrate the difficulty men face in having their voices heard. Frausun concludes the film with a call to action for men who feel alone to find community with other survivors… with particular condemnation for those who dismiss their experiences. Men Behind Closed Doors is unflinching, confrontational and powerful; stock words so often associated with documentaries but in this case wholly appropriate. Frausun’s experience, and the experience of his fellow contributors, has clearly painted his worldview – one that is frustrated with how men are treated when seeking help and angry at a system that fails to see him. He is critical of elements of modern feminism, and some viewers will take issue with statements found within the film and may question where such attitudes might lead. But at the same time, the film makes sure to highlight that men are largely the perpetrators of domestic abuse and does not downplay the danger that exists to women, and saves its most biting criticism for those in positions of power who dismiss their lived experiences – rather than lashing out at the world at large. It would be a mistake to draw condemnatory political or social conclusions around the men whose stories are included here – and focus instead on their words which largely come to conclusions that most people can agree on: that ALL victims of domestic abuse deserve to have their voices heard and their wellbeing prioritised. The film’s power stems from the testimonies of the survivors. Much of the runtime is made up of long stretches where their stories are given room to unfold. Were the subject less urgent or the content of these segments less shocking, this editing style could grow wearisome. But the power these accounts hold, often featuring dreadful incidents of violence, heartbreaking verbal and psychological abuse or Kafka-esque reversals of blame stemming from expectations of men as perpetrators mean viewers will not be able to look away. Such stories may be difficult for some to hear, but those who question whether men can truly be victims in their own home owe these a listen. Whilst some of its observations are explosive, viewers who engage with Men Behind Closed Doors will find the film to be a pointed, but not totally unbalanced commentary on domestic abuse and gender dynamics that is based on difficult but authentic accounts. That is not to say every word within should be immune to challenge, but Frausun’s case that male victims are largely failed by the system is a convincing one. The more doors that can be opened and debates that can be started by films like this, the better society will get at tackling all issues of domestic violence. About the Film Critic Patrick Foley Documentary, Digital / DVD Release < All Reviews Next Film Review >

Where There Is Love, There Is No Darkness film review by UK film critic Chris Olson. Starring Oumar Diaw, Ramata Sow, Albert Delpy directed by Stevan Lee Mraovitch. HOME | FILMS | REVIEWS Where There Is Love, There Is No Darkness Film Review average rating is 4 out of 5 Critic: Chris Olson | Posted on: Nov 14, 2025 Directed by: Stevan Lee Mraovitch Written by: Stevan Lee Mraovitch Starring: Oumar Diaw, Ramata Sow, Albert Delpy Set in modern-day Paris, writer and director Stevan Lee Mraovitch’s indie feature film Where There Is Love, There Is No Darkness is a telling portrayal of humanity at its best and worst. Oumar Diaw plays Seydou, a Senegalese man living in Paris, trying to earn enough money to support his pregnant wife (Ramata Sow) back home by working as a delivery man. The tiring job role and rude customers aside, his circumstances become even bleaker when the man who pays them goes missing and his account is frozen. Fortunately, Seydou’s bonds with the other delivery guys he knows, as well as an unlikely encounter with an elderly man in need (Albert Delpy), will give him the support he needs to find the light in this dark time. Through hard work, his faith, and an unyielding commitment to kindness, Seydou becomes a modern hero. Where There Is Love, There Is No Darkness is a beautifully crafted film on a modest budget (around €200,000). Seydou’s travels on his bike around the urban Parisian landscape make for a wonderfully cinematic exploration, whilst we are delivered a fully-fledged story with plenty of tension, peril, and moving moments of emotional connection. The camaraderie between the riders from Senegal is infectious, from their banter about the hardships of their jobs to group singing songs from home, it provides a stark contrast to the often disrespectful behaviour they face from the people they deliver food to and those they work for. The indie feature film taps into many important social issues, including migration and modern slavery, and these are given expert dramatic poignancy by the filmmakers. There is a wonderful balance, however, with heartwarming moments of pure humanity, such as Seydou’s blossoming friendship with Albert, whom the former helps, out of purely good motives without any expectation of reward. The film’s name derives from an African proverb, and audiences will certainly feel a distinct uneasiness between the lifestyle that first-world countries “enjoy” and that of the one Seydou comes from. A scene in the film involves Seydou morosely talking about a fisherman he’s watching in Paris, where the river is bereft of fish and children playing in it. This is brought into a more deeply felt poignancy later in the film when we learn that it was Seydou’s occupation back home before the “Big Ships” arrived. Oumar Diaw is absolutely terrific onscreen and does so much heavy-lifting throughout the film’s numerous calls on his energy. From appearing weary and desolate in a cafe, to passionately inspiring his friends, through to thoughtfully praying, it’s a wide-reaching role and one portrayed in spectacular fashion. A few moments in the movie let it down slightly; the sequences where Seydou is in normal speed and the crowds around him are sped up felt jolting and not completely necessary. Some of the dialogue between the group of riders also felt exposition-heavy and came across as less authentic than it should have. These gripes, however, are merely superficial damage to an otherwise remarkable package. The "package" being an extraordinary film delivered with warmth, awareness, and a moving commitment to human storytelling. For such marvellous filmmaking, Stevan Lee Mraovitch and his crew are deserving of a mighty tip. About the Film Critic Chris Olson Indie Feature Film, World Cinema < All Reviews Next Film Review >

The Last Dance film review by UK film critic William Curzon. Starring Karl Collins, Martina Laird, Hayden Mclean directed by Hayden Mclean. HOME | FILMS | REVIEWS The Last Dance Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Nov 14, 2025 Directed by: Hayden Mclean Written by: Hayden Mclean Starring: Karl Collins, Martina Laird, Hayden Mclean The Last Dance is set around 90s East London, when Fox’s (Karl Collins) “LA Bar” is hit with a compulsory purchase order, a monumental cornerstone of Caribbean Life around this time period. As the city begins to forget, the loving community band together for a last dance to look back on the longing and defiance of the area. The film is a profound love letter to the Caribbean community in the 1990s and a heartwarming true story. The rich attention to detail within the entire production value is astounding, as the piece feels timeless in its presentation, with a distinct love for the material. The writer-director Hayden Mclean directly pays tribute to his father, and his well-rounded knowledge of Caribbean life is evident in the film. Joel Honeywell’s cinematography is beautiful and intimate, serving as a device to enhance scenes of reflection. He consistently captures a sense of awe towards the community and the chemistry-laden cast of characters. It can, at times, tug on the heartstrings with a helping hand of empathy extended to the community and their experiences in East London. Ben Stanbridge’s musical score is achingly haunting and beautiful, with its low-key and hypnotic themes that anchor sequences of partying and the characters embracing each other one last time. On the other hand, the use of needle drops is equally impressive as they are suitably placed throughout with the use of reggae music that fits the setting and time period. The piece is truly visually stunning and firing on all cylinders in the technical department. Unfortunately, specific segments of the narrative meander as the characters attempt to find solutions to keeping the bar open, and the lack of runtime is a detriment to the experience, with minimal characterisation for many of the cast. Perhaps reworking the narrative into a feature film could enhance the richness of the characters and flesh out specific ideas that the filmmakers wanted to convey more deeply. However, even with its minimal runtime and budget restraints, it's still incredibly emotionally resonant as it is devastating to witness a loving group of people lose their safe space due to awful circumstances. The performances across the board are phenomenal, in particular Karl Collins in his portrayal of Fox. He exhibits a profound level of leadership and restraint in his love for his family and community that looks up to him, and it's particularly tough to witness his world crumble around him. The supporting cast’s chemistry is really what holds the piece together as they genuinely feel like family with their naturalistic presence, and this keeps the narrative compelling as it draws to a close. Sadly, the conclusion to the piece leaves a lot to be desired, with perhaps an intentional lack of payoff; however, since there is only minor time spent with the characters, the ending feels anticlimactic and not as fulfilling as one may hope. Still, it's impressive how much was accomplished within the brief runtime. It is just a shame it doesn't aptly stick the landing, as this clearly has the building blocks to be a complete home run with the talent involved. The Last Dance is an emotionally overwhelming love letter to Caribbean life in the 90s, accompanied by a plethora of outstanding technical aspects and incredible performances. A touching narrative about community, loss and family that boasts visually stunning camerawork and shines a profoundly empathetic light on an underrepresented group of people. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Confessions in Static film review by UK film critic Jason Knight. Starring Mackenzie Keyes, Scott Dowd, Jimmy Donohue, Matt Tanzosh directed by Bob Freville. HOME | FILMS | REVIEWS Confessions in Static Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Nov 14, 2025 Directed by: Bob Freville Written by: Bob Freville Starring: Mackenzie Keyes, Scott Dowd, Jimmy Donohue, Matt Tanzosh A feature dark comedy mystery thriller written and directed by Bob Freville and starring Mackenzie Keyes, Scott Dowd, Jimmy Donohue and Matt Tanzosh. Filmed as a found footage film utilising a Canon mini-DV camcorder and an iPhone 13 Pro, the plot concentrates on the aftermath of a terrible incident and four youngsters, Lisa (Keyes), Jason (Dowd), Danny (Donohue) and Alan (Tanzosh) are interrogated individually regarding the crime, which involves three online influencers who go to a house that was once the scene of a gruesome murder. What happened? The interrogators (apparently the police, they are actually off-screen throughout) try to figure out what happened and the four friends will tell their version of events. The concept is interesting: a bunch of people being interrogated in relation to a crime for which they might be the perpetrators. The screenplay is constructed in a way that prioritises character development over a plot. The vast majority of the film involves the four friends being interviewed alone in separate rooms, being asked about the crime and about themselves and responding with naivety and sarcasm. All this alternates with scenes in the past leading to the fateful event, with the four of them socalising and driving around and scenes involving the three online celebrities (played by Katelynn Kennedy Staggs, Brian Smith-Brecht and Nic Andrews) as they arrive at the ominous property to film for their show. There are funny parts and the characters are intriguing, however, for one thing, the pace is slow and the fact that the camera is often still during long takes and music is almost entirely absent makes the viewing...well, not very exciting. The film relies heavily on the dialogue in order to be appealing, which often references films and real crimes and includers a fair amount of dark humour. Regardless, this does not seem to be enough to support the entirety of the one-and-a-half hour duration and as a result, the viewing feels overlong. This feature gains from good performances. One who stands out is Jason, a hot-tempered guy, played energetically by Dowd and Tanzosh also holds his own as Alan, an apprehensive dude wearing a neck brace. And Staggs should be acknowledged for her portrayal of a charismatic online personality. The script often looks into true crime and murder and it serves as a commentary about people's fascination with true crime. Additionally, self-reflection and friendship play significant roles, as do naivety and sarcasm. This feature is currently streaming on Relay and is available on VHS from Janice.click. The dialogue is probably the strongest aspect, however, taking under consideration that there is hardly a plot, this film might struggle to find an audience. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Last Joke film review by UK film critic Matt Trapp. Starring Tasos Batsoulis directed by Vasilis Kalemos. HOME | FILMS | REVIEWS The Last Joke Film Review average rating is 3 out of 5 Critic: Matt Trapp | Posted on: Nov 13, 2025 Directed by: Vasilis Kalemos Written by: Vasilis Kalemos, Tasos Batsoulis Starring: Tasos Batsoulis While the sudden end of humanity is a scenario that would bring to mind images of horror in most, there are some who see the comedic potential in such an apocalypse. Vasilis Kalemos and Tasos Batsoulis are two such people - the writers of 2020’s The Last Joke . While the film lacks some polish, the creative gags and sharp dialogue help make up for some of its storytelling deficiencies. Tasos Batsoulis stars as Avgeris, the last man on earth, having survived a quiet and sudden apocalypse in which every single human has vanished overnight. It’s a thoroughly quiet affair for such a morbid premise, and Batsoulis plays the role as earth’s sole human survivor humorously straight. There’s little time to wallow in misery in his deadpan performance; he would much rather sit at home watching Internet videos and largely sticking to his old routine. Batsoulis carries a heavy burden in The Last Joke, appearing as the only member of the cast for almost all of the runtime. It’s fortunate that his performance is so charming considering he has few other characters to bounce off, and it’s his childlike and endearing performance that will earn many of the film’s deserved laughs. A particular highlight features Avgeris playing football on his own, diving to the ground and rolling around clutching his knee one moment, and the next, switching to the referee blowing his whistle. The film wisely doesn’t waste time languishing in the horror of the situation - this isn’t an episode of The Twilight Zone . Instead, the audience are treated to an absurdist rendition of the ‘last man alive’ trope, where our protagonist is extraordinarily ordinary and largely unwilling to confront the reality of his new situation. While Batsoulis’ performance is easy to praise, it’s hard not to think that a lot of comedic potential is missed in what is ultimately a constraining premise. The film lacks a strong narrative throughline, and while the comedy mostly hits, The Last Joke may fail to hold an audience’s attention for its 80 minute runtime. Occasionally the film breaks from reality, indulging in non-sequiter dream sequences that parody other film genres. It’s undeniable that these moments stand out, allowing Kalemos and Batsoulis to momentarily escape the restrictive corner they’ve painted themselves into. Sadly though, these moments are soon over, and the audience are returned to the empty, desolate reality of the postapocalypse. There’s not enough narrative structure in the film to support the comedy; each scene of Avgeris navigating an empty world feels as though the writers are spinning the wheels until the next joke, iterating on this unoriginal concept in scenes assembled haphazardly. Comedy is a broad genre, and it doesn’t need to always follow the rules of conventional storytelling. However, The Last Joke needed just a little more narrative complexity, some sense of rising and falling tension, to keep the audience more invested between the jokes. Judging by the film’s release date, it’s easy to see that The Last Joke ’s depiction of torturous boredom in a world suddenly uninhabited by neighbours or strangers was made in response to the Covid-19 pandemic. It’s laudable that the filmmakers took their opportunity to film The Last Joke during this period, and they do succeed in capturing the zeitgeist. There’s an unmistakable resemblance to the quiet streets of national lockdowns, and Avgeris’ obsession with escapism is a sentiment familiar to that which characterised 2020. The Last Joke benefits from this historical context, giving it the quality of a cinematic time-capsule. While watching The Last Joke , I was reminded of the Fox TV series The Last Man on Earth starring Will Forte. It’s no surprise that this show introduced new supporting characters at the end of the first episode, since the premise of a world empty but for one unremarkable man is fairly limited. Make no mistake: there are glimmers of brilliance in Kalemos and Batsoulis’ film. However, the vehicle is too lumbering and unrefined to stand with confidence. Perhaps their brand of absurd comedy would play better in shorter form media, rather than a feature length film. There is an awful lot to admire about The Last Joke, and it’s doubtless that with some refinement, an exciting comedic duo could emerge from this admirable project. About the Film Critic Matt Trapp Indie Feature Film < All Reviews Next Film Review >

The Death of the Centurion film review by UK film critic James Learoyd. Starring Cristian Ciomaga, Tudor Urea, Florin Nicula directed by Octavian Repede. HOME | FILMS | REVIEWS The Death of the Centurion Film Review average rating is 3 out of 5 Critic: James Learoyd | Posted on: Nov 12, 2025 Directed by: Octavian Repede Written by: Octavian Repede Starring: Cristian Ciomaga, Tudor Urea, Florin Nicula The Death of the Centurion is an astoundingly unusual historical drama meets docu-form testimony. Based around figures and events in Roman history, this 26-minute movie – told entirely through voiceover, with visuals simply accompanying – tells the tale of a centurion, Cassius Liberius (played by Cristian Ciomaga), who falls victim to his own sense of will, ego and superstition. The film also stars Tudor Urea and Florin Nicula. This is in no way your conventional docudrama; from its idiosyncratic mix of media in terms of cinematic craft, to the jarring atmosphere formed from the narration, audiences are sure to be left fascinated, certainly, but also slightly confused as a result of this unique tone. I’d briefly like to get the film’s main issue out the way: the narration – whilst flowery in its description and entertaining enough for its vocal performance – hinders the film’s ability to properly tell the story it wishes to tell. To demonstrate this, I’ll provide an example. During perhaps the dramatic turning point of the script, a deeply significant conversation takes place between a few Romans at a tavern of some kind. However, instead of allowing this conversation to take place as you would see in any other media, we’re relayed the conversation in the third person by the narration. We can still see the characters’ lips moving, and the camera draws our attention to the faces of these actors. This creates a slightly unwatchable characteristic of cognitive dissonance and leaves one wondering what the testimony is meant to be adding besides the aesthetic quality of ‘someone writing a letter, recounting a story’. This unfortunate decision is hardly worth dwelling upon, however, as there’s so much else to enjoy about the machinery and intentionality of the craft... The shooting on location, in forests and the general wilderness, provides the mise-en-scene a scintillating sense of authenticity. For instance, if the viewer was not interested in the story or its manner of telling, they would still have these gorgeous yet ruthless landscapes – shot very strikingly – to gaze upon. In terms of the cinematography specifically, this critic was a massive fan of how long focal-lengths and fast shutter-speeds were implemented to emphasise motion and drama – much like in the legendary works of Akira Kurosawa. This picture also provides us a wide range of enjoyable locations and scenarios, with era-appropriate costumes and set-dressing to hammer it home. These filmmakers are clearly talented historians, and you can clearly feel that passion through their artistry as well. Epic in scope and ambitious, yet polarising in its bizarre technical execution, there becomes much to both celebrate and lament regarding The Death of the Centurion . Its form only goes so far as to inform and intellectually stimulate; but not necessarily so far as to immerse or emotionally activate. Nevertheless, this is a piece which admirably attempts to juggle a multitude of ideas and aesthetics – much of which, one must admit, is accomplished with grace and cinematic aptitude. So, even though it might not quite reach the level of execution which writer-director Octavian Repede undoubtedly embarked upon, it remains a thoughtful and epic work of short form filmmaking. About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Pause film review by UK film critic William Curzon. Starring Suzy Bloom, Louise Osbourne directed by Sam Grierson. HOME | FILMS | REVIEWS The Pause Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 11, 2025 Directed by: Sam Grierson Written by: Sam Grierson Starring: Suzy Bloom, Louise Osbourne The Pause explores what happens to an individual when life suddenly stops, and how to navigate your career path during a midlife crisis. The narrative follows Charlie (Suzy Bloom) after she loses her job and the onset of menopause turns her life and body upside down, as she is forced to confront her deeper self and unravel a supernatural disturbance that looms over her. Tackling a darkly comedic undertone and satirical edge, the piece effectively boasts a meta commentary as it breaks the fourth wall, poking fun at horror tropes as Charlie tries to figure out her life amidst all the chaos. The piece immediately hooks you in, thanks to a pulse-pounding musical score from composer Katherine Evans that feels incredibly immersive, accompanied by creative opening credits that fit the tone of the film stylistically and thematically. While tonally it can feel uneven and misguided at times, the meta commentary on womanhood and being trapped inside a horror film gives the genre a fresh new take thematically. Even with how incredibly absurd it feels at times, it still manages to evoke discomfort and tension within brief displays of disturbing and gnarly imagery. The use of voiceover at times can feel eerie, as well as effectively balancing the comedic elements suitably well in its goofy nature. One of the most astounding feats of the entire runtime is how consistently engaging it feels with a brisk pace, never losing sight of its tightly managed character-focused idea narratively. Gary Rogers’ camerawork is constantly moving at a vigorous pace, tracking and utilising fixed and close-up shots of Charlie and the consistent terror that looms over her. The use of low-key lighting within the tight alleyways in the exterior sequences genuinely unsettles and sustains the tension and engagement in its atmospheric nature. Gillian Abraham’s edit is frenetic as it consistently cuts from sequences of dread to calmer and more collected discussions of the topics prevalent throughout the narrative. The supporting cast, including Sammi (Louise Osbourne), offer a plethora of comedic and dramatic flair to the more dialogue-heavy scenes of reflection, as debates are brought up regarding the comparisons to being trapped in a genre film while on the verge of a mental breakdown, and trying to figure out a midlife crisis. Unfortunately, after the tightly paced first half of the runtime, the piece loses some momentum towards the back half. It increasingly loses tension and falls into a stagnant territory as the characters reflect on their career choices and the ever-increasing impact of AI in the process of job applications. While the discussions are topical and universal themes that tie well into the thematic ideas, it slowly loses its edge with the repetitive nature of what is actually being said, which begins to feel shallow and shoehorned into the concluding chapter of the film. Sadly, the conclusion to the narrative wraps up in an underwhelming manner due to failing to fulfil Charlie’s character arc successfully, and the film ends abruptly with an unsettling nature that may leave a sour taste in your mouth. The Pause is an unconventional attempt at a character study, exploring topics such as menopause, self-discovery and the impact of losing a job in the current landscape of the job market. However, beyond the myriad of themes it attempts to employ, there's sadly not much else to offer outside of some terrific formal decisions and solid performances from Suzy Bloom and Louise Osbourne. The conclusion is abrupt, leaving it grasping for longevity after the credits roll. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

Bury Your Gays film review by UK film critic Holly Baker. Starring Jude Mack, T’Nia Miller, Harry Trevaldwyn directed by Charlotte Serena Cooper. HOME | FILMS | REVIEWS Bury Your Gays Film Review average rating is 5 out of 5 Critic: Holly Baker | Posted on: Nov 11, 2025 Directed by: Charlotte Serena Cooper Written by: Charlotte Serena Cooper Starring: Jude Mack, T’Nia Miller, Harry Trevaldwyn This short film, directed and written by Charlotte Serena Cooper, is not only an enjoyable story but also an encapsulation of an important queer struggle conveyed masterfully. Following queer actress Grace, Bury Your Gays is a terrific satire narrating her inability to survive in her queer roles. Time after time, characters she plays are killed off. In a constant battle against her directors and producers, she has become increasingly frustrated. Why do her queer roles never get happy endings? In fact, why don’t any queer stories seem to end with a fulfilling romantic outcome? Grace questions the harshness of the Bury Your Gays trope, just as many viewers, authors and critics of film and TV have, as it has been increasingly investigated in recent years. The film grounds itself within queer culture, depicting a clear awareness of the evolution of queer cinema, from the New Queer Cinema wave of the 1990s to the later queer classics. The film presents its cultural awareness through humorous, ironic references, such as a direct callback to Brokeback Mountain, to intensify the film’s point that queer characters are doomed to have tragic endings (we all know how that one ends). The opening to Bury Your Gays is skilfully gripping. After suffering one of her on-screen deaths, which is convincing as a story within a story, Grace enters a peculiar void inhabited by a captivating agent played by T’Nia Miller. Miller’s character is a personification of the way viewers perceive the Bury Your Gays trope. The Agent offers hope to queer actors, just as audiences have hope in the queer characters they see on screen, only to hit them with an ‘Oh well, try again next time!’ when the characters reach their eventual demise. This brings to life the constant struggle of queer viewership, as audiences fall in love with characters and ships, only to have their happy ending taken away from them, yet they continuously view queer stories in the hope that this will change. Grace is given nine lives and is told by the agent she must find a role in which she does not die. She travels to each role through a fantastical portal within the void. Each storyline is brief and vague; however, they are full of contextual cues that viewers can easily immerse themselves in each world that is created, and the punchline at the end of them never loses its impact. As Bury Your Gays highlights, the film industry for years has excluded queer stories due to the Hayes Code, and as representation has increased, queer characters continuously end up dying off. This short film, by enacting this trope, actually manages to subvert it by taking the tragedy out of the deaths. By using comedy, Bury Your Gays invents a new mechanism of killing queer characters, highlighting the injustice this poses. Whilst being very on the nose, Bury Your Gays still works due to its reliance on satire and breaking of the fourth wall. It is a film about infuriating queer tropes in films, with these exact tropes involved in the story, whilst also offering its own story of progression and abandonment of stereotypes. Bury Your Gays marks the start of a new era. Recently, queer films such as Bottoms and Red, White and Royal Blue have struck the film industry with a new kind of queer storytelling, depicting queer joy rather than, as has been continuously done so beforehand, queer suffering. Although these happier, optimistic films are unfathomably outnumbered by their tragic predecessors, Bury Your Gays presents an outlook which provides queer characters the option of being happy, whilst acknowledging and honouring the past. All the while, the film never misses a beat. Bury Your Gays is full of comedic twists, well-rounded characters and an engaging script. As well as this, the film’s use of several different settings and costumes brings an exciting, satisfying look to the film, one which encapsulates viewers as they follow along a touching, uplifting, and critical story. About the Film Critic Holly Baker Short Film, LGBTQ+ < All Reviews Next Film Review >

Sahurda film review by UK film critic William Curzon. Starring Pasan Ranaweera, Sasindu Randi directed by Janith Imaduwage . HOME | FILMS | REVIEWS Sahurda Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 10, 2025 Directed by: Janith Imaduwage Written by: Janith Imaduwage Starring: Pasan Ranaweera, Sasindu Randi Sahurda follows Adeesha (Sasindu Randi), a postman, who dedicates his life to his work. Due to being incredibly busy with his job, he barely has time to spend with his loving wife. One day, while delivering letters to a house, he discovers a letter without an address and notices many other letters that are similar. Adeesha then goes on a journey of discovery, attempting to decipher the meaning behind the letters. The narrative was inspired by Nobel Laureate Richard Feynman, whose letters to his wife influenced the creation of the piece. The film opens with a washed-out and indistinct look, as it tracks the protagonist wandering the neighbourhood delivering letters to houses. Formally, the piece is mostly impressive with its evasive and moody atmospheric score, which pervades sequences of exploration throughout Adeesha’s routine. At the same time, the narrative feels rather aimless; however, a plethora of technical elements soar, in particular Eshan Manusanka’s camerawork, which utilises a mix of close-ups and fixed shots following Adeesha and the environments around him. On the other hand, some of the editing is jarring as it rapidly cuts from one sequence to another while bizarrely shifting aspect ratios. Audio can also be cut out at times, almost taking you out of the experience entirely, which could have potentially been thanks to its budget restraints. The central performance from Sasindu Randi is genuinely compelling as he radiates a profound level of nuance and restraint, hiding his deep melancholy behind his work. One of the most compelling aspects of the film is the relationship that is briefly depicted through scenes of flashbacks, giving the viewer a minor glimpse of the warmth that blossomed between Professor Philips Fernando (Pasan Ranaweera) and his wife and the sheer regret that looms over him by the time lost. Even with its shortcomings along the way and the minor runtime, the piece still manages to emotionally resonate as a viewer, especially given that it's based on a real letter. A deeper characterisation and exploration into their relationship with a prolonged runtime, however, could’ve potentially fleshed out the ideas the filmmakers wanted to delve into and made the finished cut more impactful. The climax is also abrupt, and tonally it feels confused and misguided at times, particularly in how sentimental it presents itself, as well as in the devastating nature of the central revelation. A bizarre use of visuals is apparent throughout the credits, which bears no resemblance to the narrative, accompanied by an oddly inserted post-credit scene, which adds nothing to the conclusion. Miyuranga Wickramasinghe’s musical score is profound and understated, effectively anchoring moments of stillness while Professor Philips reflects on the past and present. Thematically, the screenplay draws comparisons to quantum computing when discussing the unpredictability of uncontrollable impulses within complex problems, particularly in younger individuals. The supporting cast is terrific, especially Pasan Ranaweera, who, in his portrayal of Professor Philips, displays an incredible degree of confidence and nuance, balancing the more dialogue-heavy sequences when discussing the intricacies of quantum computing and the more intimate moments of reflection. Sahurda is a profoundly moving depiction of regret and grief over the time lost between two individuals, with its heart in the right place. It may suffer from minor technical issues and baffling tonal redirects visually, and it does not have much to chew on thematically either. However, the two lead performances from Pasan Ranaweera and Sasindu Randi are astounding in their dual characterisation, both in search of closure in their respective arcs. About the Film Critic William Curzon Short Film < All Reviews Next Film Review >

One Day This Kid film review by UK film critic Jason Knight. Starring Massey Ahmar, Roohafza Hazrat, Aydin Malekooti directed by Alexander Farah. HOME | FILMS | REVIEWS One Day This Kid Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Nov 9, 2025 Directed by: Alexander Farah Written by: Alexander Farah Starring: Massey Ahmar, Roohafza Hazrat, Aydin Malekooti Inspired by David Wojnarowicz's ''Untitled (One Day This Kid...)'', this short drama won the 2025 Iris Prize and the Jury Prize at SXSW and is currently being considered for the For Your Consideration campaign for Best Live Action Short Film at the Academy Awards. The screenwriter and director is Alexander Farah and the main cast includes Massey Ahmar, Roohafza Hazrat and Aydin Malekooti. This film centers on the life of Hamed, an Afghan Canadian living in Canada and it follows him as he develops from early childhood to an adult. The main subject is his homosexualtiy, how he begins to perceive himself as a homosexual and proceeds to live his life. However, as time has gone by, he seems to have been estranged from his disapproving father. This short is not narrative-focused. The screenplay consists of many brief scenes, all of which are presented in chronological order, beginning with Hamed as a little boy, before moving to his teen years and eventually his adult years. There is hardly a narrative, instead the film observes him as he gradually comes to terms with his homosexuality and as he deals with his father's disapproval. There is no non-diegetic music and to a significant degree, the film does not rely much on spoken words in order to explore Hamed's emotions. The fact that it ends on a sort of cliffhanger might be disappointing to some as a proper conclusion would had probably added more depth, making the film more meaningful. On the surface, Hamed is a simple person, having a happy childhood, playing with friends,socialising and attending religious ceremonies. However, deep down he is a troubled character, an individual who discovers that he is gay and conceals it in order to avoid the consequences. Quiely discovering his homosexuality through the years, he becomes an adult who finds happiness with accepting who he is. His father is the character who represents the condemnation that he fears if his homosexuality was to be brought to light. This film concerns self-discovery, family, religion, parenting, romance and coming-of-age. Primarily, it addresses homosexuality and more specifically, the forbiddenness of this characteristic in countries such as Afghanistan. This is a moving and thought-provoking story with great performances. It should probably not be acknowledged mostly as a story but rather as an exploration of the themes mentioned above. About the Film Critic Jason Knight Short Film, LGBTQ+ < All Reviews Next Film Review >