Stars: ★★★★ Directed by: Stewart Sparke Written by: Paul Butler Starring: Lyndsey Craine, Michaela Longden, Lizzie Aaryn-Stanton, Daniel Thrace, Rose Muirhead, Anna Dawson Film Review by: Darren Tilby While it’s true that the days of the gore-laden, practical special effects-driven horror movies of the 80s are long gone, they’ve left a lasting impression on those who grew up watching them. Audiences and aspiring filmmakers alike were left shocked, stunned and morbidly fascinated by the gratuitous violence on display in films like Bad Taste, The Thing, The Evil Dead and Night of the Demons. It was a golden age for practical effects. And nowhere can that influence be seen more than in Book of Monsters, in which 18-year-old Sophie’s (Lyndsey Craine) birthday celebrations are dashed in spectacularly blood-soaked fashion when monsters invade her house and begin slaughtering the guests. It soon falls to Sophie and her best friends, Mona (Michaela Longden) and Beth (Lizzie Aaryn-Stanton), to save the beleaguered group of survivors - including male stripper, Carl (Arron Dennis), popular girl, Arya (Anna Dawson) and Sophie’s girlfriend, Jess (Rose Muirhead). Written by Paul Butler and directed by Stewart Sparke, Book of Monsters is a love letter to 80s splatter cinema. It’s resplendent with the usual over-the-top carnage, clichéd character types, and so many bucket-loads of gore-laden practical effects that it would make Tom Savini blush. It’s a hugely entertaining slice of nostalgic fun. However, an outstanding cast of characters, instantly recognisable to anyone familiar with horror, ably fronted and performed by Craine, Longden and Aaryn-Stanton (with memorable supporting roles from Muirhead, Dawson and Thrace), provides us with an emotional investment uncommon in 80s horror cinema. We can connect to these people; despite representing stereotypical character types, they feel authentic; we like these people, they aren’t two dimensional; and the fact that there’s an LGBTQ relationship at the heart of this film is incredibly welcome. It’s contemporary attitudes like these that really set Book of Monsters apart from the movies that inspired it, and indeed, other modern offerings too, and both Butler and Sparke should be thoroughly commended for their efforts here. Of course, the film isn’t perfect: the plot itself, while well-paced, is entirely predictable and unoriginal, and some lines of dialogue felt a little awkwardly delivered or just fell flat entirely. On top of that, Book of Monsters is clearly a small-budget production, which shows at times, particularly with the movie’s creature and makeup effects. However, it’s worth noting this didn’t bother me in the slightest. I still consider the work done here to be a solid representation of the craft and of the benefits of practical effects over CGI. Personally, I felt that it added to the retro charm of the film, and I wouldn’t have it any other way. I do worry how younger viewers might receive the movie, though, when these elements that are, for me, so nostalgic and referential, may be conceived as being solely a result of inadequate production design or even lazy filmmaking by a different audience. Nevertheless, I love it. It’s a what you see is what you get kind of film, and it beckons to the halcyon days of my youth: countless nights spent sneaking downstairs to watch gore and sex-filled shockers, well before I was old enough to really do so. But it does so with a modern attitude, with none of the problematic issues of racism or rape culture so prevalent in 1980’s cinema. Book of Monsters holds a very special place in my heart; it’s one of the best discoveries I’ve made in recent years, and it’s a must-watch for anyone who’s a fan of a good splatter flick.

★★★ Directed and Written by: #KerryMondragan Starring: #SamQuartin and #DylanSprouse Film Review by: Joyce Cowan Tyger Tyger is a puzzling work in the Americana style. If there is one word to describe Tyger Tyger, that would be ‘stylish’. Its performances, its cinematography and its soundtrack are all about style and, to paraphrase the film itself, they are all about a certain ‘vibe’. As a piece of storytelling, the film doesn’t quite work, it is a cloud of vibe with no substantial plot or narrative, apart from it being set in a pandemic, which cruelly is no longer a particularly shocking plot starter, for obvious reasons. That being said, the other aspects in the film which work to build this vibe are quite well executed. First of all, the characters and performances deserve attention. This film has a good cast playing characters whose personalities do come through. In particular, Sam Quartine plays Blake with remarkable depth and naturalism in a film where the pull seems to be in the opposite direction, an approach which illuminates the quality of her work. There is not much development of the relationships between the characters and what they mean. This is is part of the glaring narrative weakness of the film but it may enclose a message, one which is particularly relevant to youth: you cannot fully control how your relationships to others shape you or how you shape others. The reasons for a friendship or a romantic relationship may not be completely discernible. They are made (and may be as easily undone) by context and circumstances. Each member of the audience may take this aspect of the film as they will. The film does showcase great cinematography, and a filming technique reminiscent of the road film genre- the style and editing fits the aforementioned ‘vibe’. There are wonderful scenes immersed in the American dessert, and wide shots of sunsets which reflect colours that are a natural staple of the region. There is even a road side argument scene which is so cliche that it is actually good. It also must be said that the sound design adds to the vibe and also the rhythm of the film (the noise of cars, of their footsteps on the dry dessert soil are really heard). Tyger Tyger is a psychedelic, convoluted, almost plot- less film that is otherwise well done. There is clearly an ambition that has not yet been fulfilled but which the director could well achieve if he works towards it. For a bit of escapism and visual dynamism, Tyger Tyger is an option.

★★★★ Directed by: #SachinDheeraj Starring: #AnabenPawar Review by: Joyce Cowan Testimony of Ana is a documentary that is current and urgent. Documentaries are a great fusion between factual knowledge, storytelling, and change- making work. In the UK, examples of this include the groundbreaking art and history series Civilisations presented by Kenneth Clarke for the BBC in 1969 and, more recently, Blue Planet, presented by David Attenborough, also for the BBC, which made waves and put the tragedy and crime of plastic pollution in people’s minds and discourse. Testimony of Ana was done on a different scale, not least because its duration is a short 24 minutes, but it is as powerful as the emblematic programmes above. The subject matter is hard-hitting: an elder woman of a village in northern India is accused of witchcraft, and subsequently faces a barrage of unspeakable misogyny and abuse. The narrative choices made in telling Ana’s case are deeply humanistic, and reflect every human being’s survival instinct and pride of place. It is an intensely interesting perspective, because Ana’s fight is based partly on her right to not be driven out of her home with misogynistic abuse. At the same time, her key word is ‘dignity’, and she is clear it has been taken. The documentary works from this premise, and it does so with noticeable technical flair. The cinematography engages with the landscape and climate of its location in a deep, almost sublime way. In particular, the extreme wide shot of the lake early on in the film, framed upside down, is one of the greatest and most poetic I have seen. There is immense and intense beauty, but it has been disrupted. Still, the place stands stable and eternal. This is, perhaps, a source of strength for Ana. This film is, in essence, a great work. It embraces the theory of documentary making, containing aspects of observation, exposition and reflection, and does not exclude bold facts. After all, true documentaries impart knowledge and this one does well not to shy away from that. The road to justice is long and bumpy but it can be travelled on.

★★★ Directed by: #MarkElias & #ReubenWilliams Written by: #MarkElias & #ReubenWilliams Starring: #HarrietFisher, #LizzieDaykin, #MarkElias Film Review by: Patrick Foley Driving in London is a nightmarish horror you wouldn’t wish on your worst enemy. And finding a place to park your car when you’re not driving it is probably the only thing that really comes close in terms of stress. It is easy to see why drivers would want to go full Frances McDormand and abandon society altogether, a point NoParkingLand makes with its hilarious, parking-themed send-up of this year’s Oscars darling. Returning home to find her street has now become a controlled parking zone, Heather (Harriet Fisher) decides to join up with a secret community, the RPC, a group who meet up to avoid paying for parking and are led by a man who looks a LOT like Santa (Reuben Williams). As part of her new community, she gains a new appreciation of taking life slower and identifying what really matters – though she still doesn’t quite understand why she’s expected to use a bucket as a bathroom… NoParkingLand is a solid short parody of Nomadland (of course) which cleverly and amusingly parodies its inspiration with witty lines and imitations but loses sense of its own story and theme in pursuit of this as its own story develops. Parodies of course are, by their nature, based upon a pre-existing work. But NoParkingLand could kept its focus a little more on its target that is more relatable to its audience– the outrageous cost and difficulty of parking in the capital – as opposed to following Nomadland’s story beats and script to a tee in order to cram in as many gags at its expense as possible – which become tentatively linked to its own plot at best. However, related to the story or not, those gags almost all hit the mark and will get plenty of laughs from their audience. Beginning with Heather informing her sister she is “not parking spaceless, just parking permit-less” sets the lampoonish tone excellently. Unveiling Richard Smells – the man who looks like Santa – in a red suit and fake beard is the film’s prime laugh-out-loud moment. And a quick nod towards the McDormand/Strathairn romance story shows an appreciation for the source material whilst still poking fun at the expense of big budget Hollywood Oscar-bait films. Straight-up parodies often face a common pitfall of becoming overly outlandish and over-the-top as they chase cheap gags to ridicule their source. Directors Mark Elias & Reuben Williams largely avoid this and provide the humour from witty dialogue rather than zany sight-gags or eye-rolling toilet humour – which is rather ironic considering one of Nomadland’s most famous scenes! Fine camerawork and an unexpectedly accomplished score even allow the film to hit upon some emotional moments it may have never intended upon. Whilst NoParkingLand could have been more incisive in targeting London’s parking labyrinth, it is a fine watch as a straight-faced send-up of Hollywood’s favourite film of last year. A clear appreciation and love for its foundation, and some clever and comical lines make this an enjoyable watch for anyone who has seen Chloe Zhao’s masterpiece.

★★★ Directed by: Szabolcs Hajdu Written by: Szabolcs Hajdu Starring: Orsolya Török-Illyés, Szabolcs Hajdu, Lilla Sárosdi Film Review by: Vikas Yadav The conversations in Szabolcs Hajdu’s Treasure City (aka Békeidõ) are intense and involving. Hajdu avoids the traditional method of using the combination of over-the-shoulder and close-up shots for exchanges. There are close-ups, all right, but they make you a part of the discussion. The camera holds a face for a long time as if comprehending every word coming out of the person. It turns the viewer into an active listener. You are so embroiled in the conflicts of the characters that you feel the tension rising with each passing moment. In the very first scene, we drop in on a woman, Kinga (Orsolya Török-Illyés), trying to understand why a girl, Dorottya (Fanni Wrochna), has a tendency to sprout lies in every situation. This entire portion informs us that Treasure City would contain adept handling of dialogues. Not only that, even the actors deliver with such proficiency that you get hooked to their words. You hold your breath with trepidation when a mother Angéla (Lilla Sárosdi), begins arguing with a florist (Enikö Molnár). Later you experience shock when this mother’s husband hits her on the head. She has a daughter (Magdó Pálfi) who introduces witchcraft into the narrative. This is where the film slips a bit as the supernatural element feels out of place from the rest of the setting. Hajdu, undoubtedly, uses Treasure City to exhibit the tribulations between the Hungarian government and its citizens. He channels his rage via a group of activists. But this political adversity can be metaphorically seen in the parent-child relationships. Angéla takes advantage of her daughter to fulfill her requests. Inside a restaurant, she sends the waiter to inquire why the man sitting behind her is looking at her. She does so by saying that her daughter feels uncomfortable. Then there are the parents played by Szabolcs Hajdu and Nóra Földeáki who quarrel over their son (Ábel Krokovay). Both think they know how to handle the boy, but he just keeps on disconnecting from them. The film opens with a Thomas Bernhard quote - “As if just then everything was possible: the ugly approaches the beautiful, and vice versa, the ruthless and the weak.” This quote distinctly echoes in the scene where a director (Árpád Schilling) takes an unpleasant turn with Dorottya in the car. The ruthless meets the weak. For all its technical bravado and fine showmanship, Treasure City falters because the characters don’t come across as lived-in sentient beings. They appear as creatures manufactured solely for the requirement of this particular night. You don’t believe they would continue to exist after the end credits. Movie over, suffering over. Their form, their problems start and finish with the film. This undercuts the effect to a certain degree, especially when you consider that ending where a car runs in circles as if to say life goes on despite your troubles and difficulties. What an irony! In Cinemas From Friday 18th June, 2021.

★★★ Stars Directed by: #JulioQuintana Written by: #JulioQuintana, #ChrisDowling Starring: #DennisQuaid, #JimmyGonzales, #FernandaUrrejola, #BruceMcGill, #DanaWheelerNicholson Film Review by: Alicia Moore “To save their cash-strapped orphanage, a guardian and his kids partner with a washed-up boat captain for a chance to win a lucrative fishing competition.” Written by Chris Dowling and Julio Quintana, Blue Miracle presents a story that film watchers have seen a thousand times before: the type of ‘underdog’ plot basis that can be hard to navigate due to the amount of films made under the heading. However, Blue Miracle is one that has the ability to stand out a little more in comparison to others as it is based on a true story, fuelling the sense of inspiration and motivation that audiences feel when immersed in a film of this nature. Blue Miracle’s screenplay is extremely well written and held together quite strongly despite the somewhat imitative approach. I don’t intend that phrase to be taken in a negative way either; the predictability of the story that viewers are following is rather comfortable here. It doesn’t slip into a boring place nor does it reach original heights – it’s simply just as it is and it’s good hanging in the balance as such. It’s a warm drama to plunge yourself into with each section throughout its duration falling into its rightful place, harmoniously joining together. There is little focus on different production elements which brought me disappointment to see because, with a film that is set next to the sea/on the sea, there is so much to work with in terms of visual enticement. There are many moments where the camerawork is wonderful and truly takes you on the journey that the characters are involved with but, for the most part, there is a lot of missed opportunities. The existing vibrancy of colour where blues and greens pull in the focus of the viewer is beautiful, however the use of more experimental techniques in regards to cinematography could give extra enchantment to Blue Miracle. Especially with the screenplay laid out in easily anticipated ways, other aspects of production taking an exploratory shape would add eagerness to the success of the story. The characters are nicely developed, mainly thanks to the established acting performances seen throughout the film. In particular, Dennis Quaid fits his character’s essence and stance within the story perfectly. I’m not surprised to see that many other viewers have mentioned that this might be one of their favourite performances from him. Quaid holds an admirable approach to his character; the way he presents himself onscreen from the beginning brings characterisation by itself which is always an astonishing feat in cinema. His tone of voice and wide understanding of the character results in an immersive performance. Personally, and rather sadly, the overall experience felt from the characters as they travel together just wasn’t interesting enough to really grasp and hold my attention. I don’t think that this is down to acting or how the cast approaches their roles, I think that it is due to the fact that there is little time for the plot itself to let personalisation of the characters and their place in the story blossom and thrive. Blue Miracle is definitely a good piece of film – despite any factors that I’ve negatively commented on, there isn’t actually any features that have something overly ‘wrong’ with them or feel out of place. It is worth reading about the true story that is seated behind the inspiration for the film to feel the full impact that the story intended to have on audiences as well. In its entirety, it’s an easy and enjoyable watch with a familiar perspective.

★★★★ Directed by: Jerry Rothwell Written by: Naoki Higashida Starring: Amrit Khurana, Joss Dear, Emma Budway, Benjammin McGann, Jim Fujiwara Film Review by: Jason Knight An emotional insight into the lives of several individuals across the globe who live with autism. This informative and intriguing documentary is based on the book of the same name by Japanese author Naoki Higashida, who wrote it at the age of thirteen and was diagnosed with severe autism when he was five. The book was published in 2007, became a bestseller and has been translated in over thirty languages. This success resulted in the creation of the critically acclaimed, award-winning documentary. Basically the feature is separated into chapters, each of which focuses on an autistic individual. These individuals are all youths and they live in various countries, such as England, United States, India and Sierra Leone. The audience looks into their lives, observes the challenges they face and how they behave and interact with their surroundings. Apart from the ones with autism, the documentary also shows their family members, who are interviewed and share their experiences regarding what it is like living with a person who has such a condition. Among the interviewees is David Mitchell, who helped translate Higashida's book. There are also frequent sequences that include actor Jim Fujiwara, who portrays Higashida as a child, as he walks in the countryside. There is voice-over throughout by Jordan O'Donegan as he recites passages from the book. Listening to his words helps bring the viewer into the world of people with autism. There are beautiful sequences of slow motion and composer Nainita Desai does a remarkable contribution with the powerful and moving score, creating the right atmosphere. David Charap's editing is very well executed, making effective use of fast cutting and Ruben Woodin Dechamps develops terrific cinematography. The Reason I Jump is a touching documentary, which explores autism. It shows how autistic people behave and communicate and by presenting autistic individuals from around the world, from different backgrounds and nationalities, it proves that this disorder can affect anyone. #JasonKnight

★★ Directed by: #LeandroNeri Written by: #AudemirLeuzinger, #LuisaMascarenhas, #LeandroNeri Starring: #GiovanaCordeiro, #BrunaInocencio, #GessicaKayane, #SamyaPascotto Netflix Film Review by: Emily Davison After a bad breakup, social media influencer Nina (Cordeiro) takes her three girlfriends on a free trip to Bahia’s colourful, exciting Carnival and learns the true meaning of life over her social media status. Carnival (2021) is Brazilian Netflix romantic comedy released on the streaming platform June 2nd, perfectly timed for the summer period. The film offers light, easy-going fun for an hour and a half with a bare, slim plot which is somewhat forgiven because of the compelling vibrant qualities the production has to give. The film’s opening gives us a flavour of how the rest will pan out, with a quick exposition sequence of Nina briefly describing the stereotypical personalities of her friends before we move on to the next scene with barely any time to breathe. The girls are first introduced at surface level: the nerdy friend, Vivi (Pascotto), the flirty friend, Michelle (Kayane) and the ‘soul sister’, Mayra (Inocencio), but each are given some development at various points in the film. Although the pacing is very brisk as if the movie is on speed, it does fit the quirky and flashy style of comedy the simplistic, generic screenplay presents and does maintain constant engagement throughout despite its flaws. The film does suffer from trying to cover too many real issues and some do fall short as a result. The toxicity of the social media business is explored in more depth with Nina attempting to reach more and more followers to keep up with her surrounding influencers and learning the true meaning of life along the way. The message is obvious and predictable from the beginning and there is not much subtlety in showing how Nina is becoming increasingly self-obsessed and dismissive of her friends and (unsurprisingly!) she makes up with them at the end and learns the mistakes she has made in her quest for popularity. The final message is delivered with overexaggerated voiceovers and flashbacks, leaving the drama feeling stale and the other themes of coming out and celebrity culture are not touched on enough. Despite the film’s shortcomings, its biggest strengths are the charming and quick witted humour riddled throughout and an overall fun, irresistible spark. It captures that lovely feeling of summer perfectly with the stunning locations, bright costumes and youthful vibes. The inclusion of the film nerd Vivi also leads to some well realised comedy when she finally meets a man who shares her passion for fan culture, with her asking guys various questions relating to Star Wars (1977-), Harry Potter and Back to the Future (1985) in the hopes that she will finally find her match. All of the girls and the rest of the ensemble cast perform with an inviting energetic, bouncy presence and it is believable that the four girls have been best friends for years due to the infectious chemistry of the young leads. Overall, Carnival offers a rhythmic, fun time for friends and family to kick back and enjoy a harmless summer movie with a vibrant tone and an important, if overplayed and predictable, final message. #EmilyDavison Carnival (2021) Trailer:

★★★★ Directed by: David Bickerstaff Starring: Jamie De Courcey, Louis Van Tilborgh, Martin Bailey Documentary Review by: Vikas Yadav Anyone familiar with Vincent van Gogh knows how breathtaking his paintings are and how tragic his life was. While he was alive, his work didn’t fetch him commercial success. He suffered from depression and cared less for his physical health. To mend himself mentally, he took up painting and loaded his canvas with brightness and optimism. But we know his life only descended into madness. After his friendship with Gauguin terminated, he dissevered his ears and was committed to psychiatric hospitals. On 29 July 1890, Van Gogh died from the wounds he inflicted upon his body by means of suicide. With Sunflowers, director David Bickerstaff imparts valuable insights into the art and the artist. He takes us on tour inside the National Gallery of London, the Neue Pinakothek in Munich, the Sompo Museum of Art in Tokyo, the Philadelphia Museum of Art, and the Van Gogh Museum in Amsterdam. We go to these places to marvel at the paintings of sunflowers. These are Van Gogh’s Sunflowers, and we come to know a great deal about its history and why he chose to depict these flowers. Van Gogh was experimenting with colors when he was putting sunflowers on his canvas. He had made various versions of sunflowers against distinct backgrounds. One of them went to an unknown American collector while another, obtained by a Japanese collector, got destroyed in a U.S. air raid. When the camera reaches close to the sunflowers, you witness fine details and the beauty in them. No wonder Van Gogh was inspired by them. The sunflowers get so near to the screen that you reckon you could touch them with your fingers. As an expert informs us about its texture and structure, you unmistakably identify every part he says and admire the flower’s splendor. In the process, a popular myth is busted: Sunflowers do not follow the movement of the sun. Fans and those who are interested in art would surely have a good time with Sunflowers. But I think the general audience too should give it a try. The documentary does not merely celebrate the achievements of an influential personality. But also raises curtains to show how he worked and how his work is now preserved by these museums. It’s worth walking into this virtual exhibition, and I am sure you won’t come out disappointed. In UK Cinemas on Tuesday 8th June

★★★★ Directed by: #MiguelAngelCaballero Written by: #MiguelAngelCaballero Starring: #SalLopez, #MathiasPonce, #LuisAldana Film Review by: Patrick Foley The path of finding your true self is one that people all over the world struggle to walk, regardless of cultural, social, or national background. And far too often, those same backgrounds make the journey all the more difficult. Acuitzeramo is a story of self-acceptance, and one man’s struggle to attain it leads to affirming revelations after his death. Salvador (Sal Lopez) has lived in secret with his partner Roberto in the small Mexican town of Acuitzeramo for 15 years. When Roberto passes away, Sal contacts his son Anthony (Luis Aldana) to tell him of his father’s passing. Unaware of their relationship, Anthony travels to the town to attend the funeral. Whilst he is there, the two men bond and come to terms with their roles in Roberto’s life, discovering truths about themselves in the process. Beautifully shot and bittersweet to the soul, Acuitzeramo is a brilliant short that packs an emotional punch. Salvador’s sense of loss following his lover’s death is palpable and affecting, yet his inability to fully admit the nature of his relationship to Anthony matches this in terms of tragedy. Whilst bullish in the face of suspicious glances and whispered insults, it is his internal struggle to accept himself which is his true adversary. The mystery of Anthony’s perception of his Father, and why he left his life provides an undercurrent that is at times uncomfortable. But as we spend more time with Anthony, we discover he has complexities and secrets of his own. Director Miguel Angel Caballero expertly contrasts the pair in the initial stages, telling the audience the story largely through Salvador’s perspective with Anthony very much as an outsider whilst the pair are closed off. As Anthony learns more about his father, Caballero grants us access to his life as well. Showing us both men’s perspectives is essential in demonstrating how their meeting, despite difficult circumstances, is essential for their own self-acceptance. Sal Lopez’ performance as Salvador is exceptional. His initial stoicism barely conceals his emotional struggles at the loss of his long-term partner, as the gloom trails him as he slowly trapses around the town. Yet his ability to brush off homophobic slurs speaks to a dignified and strong core, that can no doubt re-emerge as he recovers from trauma. Mathias Ponce is similarly affecting, though necessarily more closed-off until the film’s later stages – with his more memorable moments coming once we have seen under his shell. The film’s plot is rather minimalist and is at its best when the focus stays with the two leads. Cutaways to dreamlike dance sequences give an ethereal quality to the film that never really feels necessary. The closing plot twist also feels overly convenient and is arguably pointless, almost weakening the plot which did not seem designed to lead up to such a development. The film’s strengths still far outweigh these stumbles, which feel included as differentiators rather than because they were natural for the film. Tinged with sadness but emotionally uplifting, Acuitzeramo is a wonderfully shot and performed short that is a wonderful watch despite some niggling flaws. Its story of self-acceptance is a powerful message that is inspirational to those on their own journeys, whatever the nature of their own struggle may be.

★★★ Directed by: #JoePenna Written by: #JoePenna & #RyanMorrison Starring: #AnnaKendrick, #DanielDaeKim, #ShamierAnderson, #ToniCollette Netflix Film Review by Taryll Baker Netflix’s Stowaway concentrates its focus on a slow-burning story elapsing almost two hours, simmering and sparking with subtlety. It’s a film that plays with the Sci-Fi genre in a more grounded and simplistic way; leaning into scenes filled with dialogue that encapsulate meaning and character, developing the people onboard this doomed-to-fail mission. A harsh reality is embedded at the midsection, and the four silently troubled crew persons must collectively make a string of difficult decisions. Stowaway presents delicate, confined storytelling inside a Hollywood-budget space drama. It features stunning cinematography that captures every inch of the spaceship with immaculate detail; we’re shown through the rooms in the first act by way of character introductions, which then brings us to a meeting with the secret passenger somehow “missed” in checks pre-launch. If you can get past this slightly barbaric inspection error (a vital part of space travel), there’s some enjoyment to be found in the discussions and problem-solving included in Stowaway. Anna Kendrick, Daniel Dae Kim, Shamier Anderson and Toni Collette are supporting this story with everything they’ve got. They really put the work in. Films that focus mostly on dialogue require skill in understanding and delivery and it’s very clear that these four actors have what it takes. Given its simplistic nature and fairly quiet aura, the film places some importance on the music score. Volker Bertelmann uses traditional synth layers to create tension underneath the few big set pieces in the film, and otherwise underscores dialogue scenes with very little going on musically. Though played safe, this score supports Stowaway’s effort to provide an intimate but equally epic piece of entertainment. The aforementioned sets look great and the external of the ship that we’re allowed to explore in the third act is kept to a minimalistic level. This approach makes a situation that would otherwise seem too “normal” for a film, more thrilling. Penna’s direction throughout is calm and collected; his eye for character interaction is fantastic. It seems as if he likes to explore the many possible scenarios of humans in danger, and it doesn’t look like he’s going to be letting up on that notion any time soon. Stowaway is one of many films hitting Netflix this year, so you’re probably wondering if it’s worth checking out. Given its easy-to-digest diegesis and strong performances, it’s certainly worth your time if you’re willing to sit back and be a little more generous with criticism. It isn’t by any means perfect, and the story does seem to just... end. But it has a beautiful atmosphere, solid sound design and mixing, and a pretty relatable through line of sacrifice that makes it at least worth your time on a quiet Sunday evening. Stowaway is now streaming on Netflix. - #TaryllBaker

★★★ Directed by: #NicolasMorgantiPatrignani Written by: #StefaniaAutuori Starring: #GiorgioColangeli, #ValeriaCavalli Short Film Review by: Corey Bulloch Loss is a part of life, an unavoidable part that we wish to avoid at every interval but to no avail. Whether it be freeing or tragic, loss shapes our future and past in unsuspecting ways. Losing those cherished to us is one of the most haunting pains we can experience in this life, but Departures showcases the solemn beauty of saying goodbye and letting grief pave the way to celebration. The film focuses on an older couple portrayed by Giorgio Colangeli and Valeria Cavalli; Cavalli’s character on her death bed, Colangeli’s preparing a euthanising agent in the form of a foreboding red drink. Stefania Autuori’s script pushes away from dramatic exposition on how these characters got here, instead builds the scene with the little details of life and memory. With an ornate glass, a photo album, a favourite record playing as the characters lay together, director Nicolas Morganti Patrignani lets the audience fill in the gaps for themselves. They shared a life together, through good and bad, and now it is time to say goodbye. It’s a universal bond we have all shared, and the intimacy in Colangeli and Cavalli’s performances makes their scene bittersweet. The production design also enhances these emotions, with the scene taking place in a pale looking bedroom, almost sterile. The only noticeable colours being the vibrant reds of a lone flower and the aforementioned drink; life and death. These characters, especially Colangeli, can’t avoid their fate as Patrignani keeps the camera close to them, reminiscing over memories, trying to stay focused on the past as long as possible. Marta Mazzucco’s cinematography does good work in creating visuals from these intimate moments. Beyond just close-ups on Colangeli, Cavalli and reverses, the camera focuses on the little details of Autuori’s script. One of my favourite shots was a low angle reflection on the platter held by Colangeli, framing both the red drink and his unease. Though Patrignani bookends the film with two scenes between Colangeli’s character and his daughter as they fondly remember her mother after the fact. While the latter scene definitely adds emotional resonance through Colangeli’s monologue, the editing of the two sequences could have been handled better. Departures avoids easy traps of theatrics and maintains a respectful tone to its themes of love and loss. The structuring could have been smoother, but Patrignani doesn’t let it detract from the strength of Colangeli and Cavalli’s layered performances. #CoreyBulloch #shortfilm