★★★★★ Directed by: Robert Bierman Written by: Joseph Minion Starring: Nicholas Cage, Jennifer Beals, Elizabeth Ashley and Maria Conchita Alonso Throwback Film Review by: Rachel Pullen Vampire’s Kiss (1988) Film Review I was chilling with my homie the other day and he showed me a 4-minute video on YouTube where someone made a montage of Nick Cage having breakdowns on screen. It was beautiful, an emotional offering from the internet gods, but a lot of the clips were from a movie I had never seen, and when I saw him running down the street screaming ''I'm a vampire'', I knew I had to hunt it down. Turns out that film is Vampire's Kiss, and turns out, Vampire’s Kiss is the number one source of Nicholas Cage memes, so to say I was pumped was an understatement, but nothing could have prepared me for one of the greatest movies from the 80s I have ever seen. Vampire's Kiss is about a man who has a brief encounter with a bat, when it flies into his apartment one evening when he was entertaining a lady, essentially the bat cock blocks him, which in turn leads him down a path of psychosis whereby he is convinced he is turning into a vampire, and day to day life becomes harder and harder for him to conduct, as his blood lust grows. He starts to fear the light, sleeps under a couch which becomes his makeshift coffin, he starts to try to suck blood from people wearing fake plastic teeth...it’s breakdown central for old Mr Cage! Yet his main focus is to harass his secretary about a contract that he needs her to find, she becomes more and more fearful of him not just as a boss but as a person, as he constantly oversteps the line of professional relationships, she, and the unfound contract, seem to be a huge drive for his breakdown; the longer she takes to complete the task, the more insane he becomes. All that aside, this movie is a gem! And while we could watch it and simply just laugh at the funny acting man and his shouting style, what we are really watching is a study of psychosis, we see someone at the top of their game fall deeper and deeper into an absolute fantasy, and any sense of reality falls further and further away, which is somewhat profound. Vampire's Kiss has the subtle madness of shows such as Twin Peaks, that David Lynch vibe oozes off the screen, and couple that with the eccentric acting style of Cage and you can get a feel for what I'm talking about here. Did I love this movie? Yes. Would this movie be for everyone? No, but for any fans of comedy horror or films such as Fire Walk With Me or Mulholland Drive then Vampire's Kiss is a film you can enjoy again and again. This week we can learn... Bats can cock block Plastic vampire teeth can kill And compilations of Nicholas Cage breakdowns soothe the soul. #RachelPullen

★★ Directed by: Anson D'Costa Written by: Anson D'Costa Starring: Anson D'Costa Film Review by: Jason Knight Time for some magic tricks. A filmmaker has made a film in which he also stars as a wannabe magician, who has decided to take part in a virtual magic event, which is an online competition. In order to take part, contestants need to film themselves performing magic tricks and send the footage online. Anson is determined to do just that and he has many tricks up his sleeve. Operating like a documentary, this uplifting short moves from one trick to another, as the hero demonstrates his skills. Some of the acts take place on a bed, with Anson filming his hand interacting with the objects, while others happen inside a living room, with another person filming him as he sits on a couch and does his tricks on a table. Closeups are often utilized, so that the viewer can see the actions create the act. Many magic tricks are shown in this forty-minute film and they involve a variety of items. The magician utilizes a hat, playing cards, coins, a coloring book, small yellow balls and plastic cups to name a few. And watching him (or his hands) do the actions that result in the trick is rather amusing. The film includes voice-over that belongs to Anson. With his narration, he enthusiastically talks about himself, his passion for magic tricks and how excited he is about taking part in the competition. Anson himself comes across as likable and intelligent and is convincing as a person focused on becoming a magician. The soundtrack consists of various club tracks, which tend to accompany the tricks being performed. They are nice to listen to, but some of them are heard repeatedly and it can be frustrating. Filming took place inside Anson's household, during a lockdown due to COVID-19, and therefore there are creative restrictions. The use of lighting is poor and the handheld camerawork often appears clumsy. The editing also has flawed at times. This is a film that obviously had a very tight budget, but it still gives the impression that it could had been better if things had been done with more care. It should also noted that sometimes when the tricks are shown, the performer takes too long to do them. The main focus of this short is the display of the magic tricks but, apart from entertainment, the objective is to motivate the viewers to pursue their ambitions, as the film is about a man becoming what he wants to be. Anson might succeed in doing that, although the film is not a great deal of fun, due to some of the trick performances being too slow, poor film-making techniques and the songs that are played over and over. #JasonKnight

★★★ Directed by: #SantiagoPiqueras Written by: #SantiagoPiqueras Starring: #CatalinFilip, #LucieTreacher, #CatalinFilip Film Review by: Patrick Foley You have to give credit to Life on a Boat: it’s exactly what it says on the tin. Santiago Piqueras’ short film explores the alternative and quirky lifestyle of a couple who live on a barge, traversing London’s waterways. Piqueras introduces us to his subjects, Catalin Filip (known by his surname) and Lucie Treacher, and their home – a quaint narrowboat located on the Thames. The pair guide the viewer around their small but homely boat, and give an insight into their daily lives – from maintaining their roof garden to the navigating their rather complex bathroom – as well as more personal stories of how they met and formed their relationship. Piqueras is present throughout the film, and through his time on the boat learns lessons about sustainability and how cutting back to basics can be good for the soul. Life on a Boat is an affirming short which provides plenty of charm, but lacks the depth required to really engage audiences looking for more than a therapeutic watch. The story of the relationship is a delightful one, but viewers may be wondering why much of the film focuses on this rather than Filip and Lucie’s unique lives on the water. These details make up a shorter amount of the story than audiences may expect, and focus more on the practicalities such as the lack of space or facilities rather than the emotional or personal side of their existences. Little examination is given to whether life on the boat is lonely, or whether the prospect of raising a family is an intimidating one in such a small space for an example. These deeper issues may have clashed with the more mellow tone of the film, but would have allowed us to get to know the pair more intimately. Sustainability is a key theme of the documentary; however, this again does not receive the level of exploration as it deserves. The couple are both clearly passionate about living environmentally friendly lives, and the director gives a degree of focus to this aspect of the boating lifestyle. Unfortunately this focus is really in passing and we do not delve deeper into the significance of the choices and sacrifices the pair make. We see that water usage is restricted for example, but with little context as to why, or what difference this makes. More time spent on these matters would again have added some meat to the film that otherwise seems purely to be a project devoted to the couple’s lives. The tone of the film is uplifting and ethereal. The handheld view of Piqueras’ camera places viewers directly onto the boat, and the guided tour of the living quarters is intercut with footage of the barge’s outside. The result is a whimsical atmosphere to the piece, which really helps to establish the oddness of Lucie and Filip’s lives, without making it seem unwelcoming. The film’s music is composed by the pair, who utilise their extravagant collection of unusual instruments to create an immersive Irish-inspired score which suits the quasi-nomadic lives they lead wonderfully. Life on a Boat is exactly what it promises to be. It’s life, on a boat. And it’s to the filmmaker’s credit that the lives we see are enriching and warming to the spirit. The film does suffer from lack of much else besides this however, and would have benefitted from a little more in the way of depth or informative content to give audiences a real insight into what boat life is really like. Although given what we see of how bathrooms work, many viewers will already have made up their minds!

Filmmaker Interview by Chris Olson As a legend of action short filmmaking, the career of Tim Earnheart is always worth checking in on. After a sublime festival run for his short film NEMESIS, I caught up with Earnheart to talk about the process of getting the film made and out to festivals, ahead of its big-screen premiere later this year. During the filmmaker interview, we also talk about his other short films Ricochet and Safe, as well as some of his filmmaking heroes - including David Fincher. Check out the full interview below or watch it on YouTube. Please feel free to Like, Share, and Subscribe film fans. To find out more about Tim Earnheart check out the following: Tim's YouTube Channel: https://www.youtube.com/channel/UCtKx... Tim's Vimeo Channel: https://vimeo.com/timearnheart Nemesis website: http://nemesis.film #ChrisOlson

★★ Directed by #ArmandoFonseca #KapelFurman Written by #ArmandoFonseca #KapelFurman Starring #NatalliaRodrigues Film Review by Hope Madden Practical effects, hallucinatory sequences and a throwback exploitation vibe keep Skull: The Mask interesting enough to watch. The film’s opening is its strongest segment, a grainy video portrayal of a 1944 political bloodbath with the goal of enacting an ancient pre-Columbian ritual. Directors Armando Fonseca and Kapel Furman bring a retro violence to the effort that makes the most of limited resources. Flash forward 60 years or so and we move from the Amazon to Sao Paulo and a convoluted police procedural led by a one-note performance from Natallia Rodrigues as Det. Beatriz Obdias. She’s bad news! Damaged goods! She also has no idea how to treat a crime scene, but there’s a lot of questionable policework going around, with no real leads to connect these corpses strewn from one end of town to the other. All of their hearts are missing. Sometimes their guts. Once in a while their faces. The best thing about Skull: The Mask is Furmam’s extensive background in gore effects. You’ll find plenty of it here, some of it inspired, all of it bloody. The goregasm is in support of a story of a marauder in a stone skull mask, the same cursed mask from the 1944 massacre. Brought to Sao Paolo by nefarious men with nefarious intentions, it falls into the wrong Goth girl’s hands early on and soon there’s a housecleaner ripping the hearts and guts out of club kids, drug dealers and priests all over town. Does it make sense? Not really. Does it have to? Probably not. The film is a callback to a style and brand of movie that didn’t need an airtight plot or convincing performances as long as it did very nasty things in novel ways to the human body. Skull: The Mask is a pretty dumb movie. Hell, even the title is dumb. But it knows where to invest its energy and money, and you cannot say it skimps on the goods. #HopeMadden

★★★★ Directed by #AlexandreAja Written by #ChristieLeBlanc Starring #MelanieLaurent, #MathieuAmalric, #MalikZidi Film Review by Amber Jackson A woman (Mélanie Laurent) awakens in a cryogenic chamber with no idea who she is or how she got there and has to find a way to escape before running out of oxygen. Here begins a horrific countdown that makes the viewer question every image they are confronted with. Oxygen (French: Oxygène) is a French sci-fi thriller that tests the boundaries of futuristic science that is considered unfathomable and also incredibly stressful. The woman learns information on her whereabouts through an inbuilt A.I. voice MILO (Mathieu Amalric) and discovers that her name is Elizabeth Hansen. She must figure out the correct questions to ask MILO before she can no longer breathe. Throughout her remaining ninety minutes (which is cleverly the length of the film), Elizabeth is mostly alone and drip-fed facts about herself and events happening in the world and experiences unbearable isolation, panic and hopelessness as a result. This chaos is exaggerated through sound effects of an irregular heartbeat and Elizabeth’s shaky and rapid breathing and panting as she frantically attempts escape. Alexandre Aja is known in the French film industry for his horror films and Oxygen does well to live up to his legacy. This film is not an easy watch. It screams with intensity from the offset with lots of flashing lights (trigger warning if you are sensitive to flashing images), rapid flashbacks and persistent machine sound effects all contributing to a constant feeling of panic and a lack of control. Claustrophobia dominates the plot, taking a potential future of medical care, something arguably hopeful and exciting in preserving life, and warps it into a painful and inescapable nightmare. This is amplified through long scene takes, interspersed with rapid action, that are cleverly shot so that it feels as though it is happening live. Close-ups on Elizabeth and up-angled shots from her perspective are also extremely unnerving as it is though we are viewing the chamber from her perspective. This entrapment makes this the type of thriller that makes you really need to concentrate on your breathing because the focus on a lack of oxygen makes you feel out of breath. That, combined with horrible imagery of animal testing and medical trauma, is sure to make anyone watching gasp in shock. Christie LeBlanc’s writing is both complex and chilling in that nothing feels real, yet everything is really tangible as Elizabeth scrambles for survival. As she becomes more overwhelmed, so does the viewer with an overload of sensation as sound and lighting becomes louder and brighter. As the oxygen ticks down, filming becomes more disorientating as Elizabeth loses more focus. The camera becomes shakier and shots rotate more frequently to add to the visual and cognitive confusion that Elizabeth has. As she attempts to communicate with the outside world, she does not know who to trust because she is not sure what is real - and neither are we. This issue of memory and an unreliable narrator excels this film to maintain tension and suspense throughout. Oxygen creates more questions surrounding the ethics of preserving humans in cryogenics. Intelligent and thought provoking, it is worth a watch. Oxygen is streaming on NetflixUK now. Watch the trailer here: #AmberJackson #Oxygen #AlexandreAja #Netflix

★★ Directed by: Charles Ross, Mukesh Asopa Written by: Rajesh Asopa, Twinkle Asopa, Stephen Banko IV, Jessica Golding Starring: Mukesh Asopa, Christine Saade, Lee Anne Ford Film Review by: Vikas Yadav Chambers Gate commences quite strangely. First, you hear religious chants set against the names of the various production companies and then greeted with Film Review Board which says this film may contain violence, sexual content, and strong language. Then, in the end, after seeing an entire movie in English, you hear a song consisting of Hindi lyrics. What an odd shift in the mood it is. I almost laughed at it. This is, alas, the peak of my enjoyment. Chambers Gate, directed by Charles Ross and Mukesh Asopa, is so hell-bent on being “cool” that it forgets to be coherent. It’s not every day I walk out of a film feeling dazed and wildly confused. If you were to ask me the plot of Chambers Gate, I would slap the IMDb summary on your windshield because I am not really sure what happened in the movie. I tried to clear my uncertainty by going through the IMDb summary, but that didn’t help either. So this is what I understood after viewing Chambers Gate (and reading IMDb): There is a government official named Jules Akola (Mukesh Asopa) who wants to eradicate crime from the streets. There are two criminals, Aaron (Dave Bath) and Moor (Khalid Klein). I am not sure what they were actually doing, but they are the most fun thing about this film. These two seem to be the only actors who got the correct memo on how to proceed with their roles. In the midst of heavy seriousness, this duo sprinkles joys of humor. When one tells the other to search the entire house, he replies, “The whole house?” Why couldn’t the others, and this film, share this sense of drollness? It would have imbued Chambers Gate with entertainment. Instead, the whole affair comes across as unintentionally funny. The characters take themselves so seriously that you cachinnate and wish they would just cheer up already. When a cop asks Akola’s fiancé whether she would like to go out and continue with the interrogation, I was not expecting them to change their clothes and drive towards the beach! How is this not a parody? Watching Chambers Gate is like watching someone trying to hold their laughter so as to appear grave and solemn. Another issue with Chambers Gate is that it doesn’t develop characters. It creates vague figures who follow the route set by the writers through the screenplay. Every action, every dialogue is stimulated by the words written on the pages of the script. There is no personality in any of the people in the film. Add to that the film’s “art house approach,” where it pretentiously shows a man walking on the road or views a waterfall from above or follows the cracks on the road. These shots appear more gaudy and straight out of a film school project. Chambers Gate, in the end, is cold and distant and locked.

★★★★ Directed by #JohnKrasinski Written by #JohnKrasinski Starring #EmilyBlunt #CillianMurphy #MillicentSimmonds #NoahJupe Film Review by George Wolf and Hope Madden For a few well-placed and important seconds, there it is: the much-discussed nail from A Quiet Place. And like most everything else in writer/director John Krasinki’s thrilling sequel, the nail’s return carries weight, speaking visually and deepening our investment in these characters’ terrifying journey. But before we see that the Abbotts have learned to avoid that nail, we go back to how it all began on “Day 1.” And Krasinski knows it doesn’t make sense now to tease us with monsters we’ve already seen up close, so beginning right from that pulse-pounding prologue, he keeps ’em coming. So while there’s no shortage of exhilarating, squirm-inducing and downright scary moments, Krasinski instills it all with an impressive level of humanity. As Evelyn (Emily Blunt), Regan (Millicent Simmonds), and Marcus (Noah Jupe) continue traveling on foot with baby Abbott in tow, they enter the fortified compound of old friend Emmett (Cillian Murphy), who is not nearly as welcoming as they hoped. But when Regan heads out alone to find the permanent safe haven she’s sure exists, Evelyn convinces Emmett to follow, and bring her daughter back to the family. From that point, the film splits into two parallel narratives that Krasinki layers with some nifty intercutting and clever, crowd-pleasing plotting. As the threats keep coming for Regan and Emmett in the wild, and for Evelyn, Marcus and baby back at the compound, the tensions build simultaneously via storytelling that’s primarily visual and wonderfully economical. The editing gives the enterprise a welcome retro feel and Krasinski’s flair for visual storytelling has only strengthened since the last film. Jupe is tenderly terrific, and it’s no surprise that Blunt and Murphy—two exquisite actors who never let you down—carry their own, but the one who carries the most weight in Part II is Simmonds. Regan is the film’s believable and capable hero this time, in a narrative choice that underscores the entire film’s optimism for our future and Krasinski’s reminder that there are always “people worth saving.” AQPII is lean, moves at a quick clip, thrills with impressive outdoor carnage sequences and yet commands that same level of tension in its nerve-janglingly quiet moments. Krasinski had a tough task trying to follow his 2018 blockbuster, one made even tougher now having to prove the sequel was worth saving for a theaters-only release. On both counts, we’d say he nailed it. #GeorgeWolf #HopeMadden

★★★★ Directed by: Rinoshun Written by: Rinoshun Starring: Jerin George Film Review by: Jason Knight A ghost story. A spooky and thought-provoking film about the relationship between a living person and a dead person. A single man grew up with the habit of writing letters to God whenever he felt down. One day, he wrote a letter wishing for a ghost, in order to keep him company and his wish became true. Now, he lives inside his apartment with the spirit, who claims to have a name, which is Yamini. The man cannot see his unusual flatmate. Yamini communicates by moving a coin over letters written on a piece of paper (kind of like a Ouija board). The ghost has the ability to move objects around and therefore could be categorized as a poltergeist. As time goes by, the two flatmates get to know each other and develop a rapport. This supernatural tale is based on a story by Paul Melio and its original title is Peyum Nannum. The main focus is the relationship between the man and the ghost. They have their ups and downs but generally, they appear to like and respect each other. Yamini seems to be a bit mischievous and puts on loud music in the middle of the night. The man is Things turn dramatic after the man becomes ill and proceeds to gradually lose his hearing. The entire narrative takes place inside the apartment and the man is the only person seen in the film. The lighting in the apartment is quite limited, creating a dark atmosphere. George is convincing as a well-meaning individual who wants someone to keep him company and it is interesting watching him communicate with an invisible entity and also putting on a white sheet and dancing, in a way becoming a ghost himself. The score is one of the film's strongest aspects. It is kind of creepy but also beautiful at the same time, creating a mood that is frightening but also emotional and mesmerizing. James Kannanthara is responsible for the visual effects, which look great, especially when the spirit briefly becomes visible and shows its true form. The filmmakers also make very effective use of lighting techniques. Rinoshun has made an atmospheric ghost story whose intention does not seem to be to scare the viewer, but rather to provide them with an experience that deals with loneliness and isolation and the suggestion that people need others into their lives. #JasonKnight

★★★★ Directed by: #ShivaanMakker Written by: #ShivaanMakker & #SullivanMcGuffin Starring: #AlexMontaldo, #NickDeMatteo, #AlexPerez, #MarkFOBrien, #BrandonScottBrown Short Film Review by Taryll Baker Trigger warning: this review mentions graphic violence. After a home invasion, a depressed father must save his family, or they'll be premiered in the prime time news. Radiating from the chaotic energy in Kubrick’s A Clockwork Orange (referenced in the film’s poster), Shivaan Makker’s troubling house invasion short, Pastiche, is a twisted look at violence and how it can be both pleasurable and painful for those that are involved in such acts. Recovering from being fired from his job for seemingly slacking and looking up disturbing news on the internet, a depressed father (Nick DeMatteo) returns home to a grim scene. His son has been brutally murdered and he and his wife are now captives of a crazy duo that want only fame for their violent crimes. There’s always been experimentation with how much violence can be shown in cinema; from close-realism to beyond ridiculous Tarantino bucket-like blood spurts. Most of the time it’s shown in a way that bridges between the real world and a cinematic one. In Pastiche, visionary filmmaker Shivaan Makker aims for the more exaggerated approach. Opening with little background on the Goodwell family, Pastiche plants viewers straight into a frenzy of heightened chaos. From the flimsy and energetic performances to the crisp, gory imagery, this film crosses from a grounded home invasion to an ever-escalating fever dream. A nightmare that continuously gets worse and worse. But it’s that keen interest from Makker to portray such acts as ‘playtime’ (like A Clockwork Orange) that makes Pastiche absolutely worth your time. Sadistic as it is energetic, depressing as it is weirdly intriguing, his approach to minimal storytelling with importance on action is sensational. Though it’s grimy and horrid to watch, it’s strangely exciting and creative. It’s clear how Makker is inspired from the classic era of cinema; Kubrick’s mark is visible in his style and execution. Even though the budget makes for a rough-edged film, and the sound mix battles the ears a little too heavy, the creative flow is fully present and it’s inspiring. I’d certainly avoid Pastiche if you’re squeamish; this is not for the faint of heart. All the senses are attacked by sound, visual and feeling. From the perfect cinematography, to the biting score by Pierre Vaucher and Ryan Wood, this is an unrewarding and unrelenting depiction of graphic violence that will surely stick with you after the credits have rolled. There really isn’t much to it beyond that, so be warned if you venture into the home of the Goodwell’s… Watch the trailer for Pastiche below. - #TaryllBaker

★★ Directed by: Ivan Malekin Written by: Ivan Malekin Starring: Tom Vogel, Stevie Hall, Heath Novkovic Film Review by: Vikas Yadav Dace Decklan: Private Eye is made by a crew that dedicates itself to the film’s ridiculousness. Everyone is in on the jokes, which mostly (or only) consists of dicks, sex, and female anatomy. It uses Star Wars-type crawls filled with gibberish to introduce us to its galaxy far far away because this level of absurdity cannot exist in our reality. Take a look at the opening credits featuring animated penises floating around the screen. The film is unabashedly crude and has no intentions of deviating from its route. Dace Decklan sets its plot in motion in the typical film noir format. A sultry femme fatale like figure enters the office of Dace Decklan (Tom Vogel). She is Lena (Stevie Hall), and she wants Dace to track down her missing father. Dace is sexually aroused by Lena as he imagines her doing a sensual dance for him. His fantasies are cut short by his girlfriend Pollyanna (Heath Novkovic). Furthermore, Dave knows Lena’s missing father as they were together in the Rambosian civil war ten years ago. As the search deepens, we come to know about some pills invented by Lena’s father that do the work of Viagra (or, in the film’s term, Tentigo). Will Dace be able to find the father? Can he stop a local drug cartel from using the pills for world domination while simultaneously preventing a militant Church from also getting its hand on the pills? The surprises, however, don’t lie in the answers to these questions. Why? Because Dace Decklan is not concerned with the plot. It casually inserts one just to throw all types of farcical humor at us. Characters shamelessly masturbate, their hands are covered with bodily fluids, incest takes place openly in the forest, and boobs are framed in closeups. Lena becomes the sexual object of desire for the camera as it ogles at her body with lust and lechery. If all this sounds like your type of trashy movie, then go ahead and watch Dace Decklan. You may be satisfied with it. I, too, love trashy exploitative cinema, but I didn’t have any fun with this film. I suppose the trouble resides in its attempts to forcefully evoke laughter from the audience. The characters scream, shout, and endlessly circle around a topic in an effort to generate guffaws. This results in scenes that are stretched beyond their capabilities, like the one where the bad guys seem to laugh forever or a musical number near the end that just goes on and on without any impact. Even the gags that do work don’t have you rolling in the aisles. You just appreciate them mentally with a shrug. These include the Marlon Brando On The Dining Table joke (it’s as silly as it sounds), the Fight That Turned Into Sex joke, and a shot that has Dace with his mostly unbuttoned shirt standing heroically facing the wind. And that’s the main issue with Dace Decklan: it’s devoid of hilarity. Every scene appears as if it should be funny, but it’s not. The film wants you to participate in its insanity, but you barely move a muscle to smile for any of it. But you know what they say: comedy is subjective. Give Dave Decklan a try, if you want. Maybe you will have more fun than me.

★★★★ Directed by: Jonathan Taub, Leandro Taub Written by: Leandro Taub Starring: Leandro Taub, Elizabeth Ehrlich, Christian Bargados Film Review by: Jason Knight A powerful businessman and his ways of doing business and dealing with crisis. Operating like a documentary, this feature follows Joseph (Taub) as he gives advice regarding success in business and talks about who he is, his achievements, how he handles business. Then he has to deal with a global threat. Generally, this unusual film focuses on the life of an eccentric individual and his views on life and it explores themes of business, money and power. There isn't much of a narrative. This multi-award winning movie is separated into chapters and during the majority of its duration, the feature feels like a lecture about business. Things start to become tense as Joseph attempts to resolve acts of terrorism and a threat that might lead to a Third World War. Most of the time Joseph is by himself, walking through rundown buildings and talks on his phone with acquaintances about work. He comes across as an intelligent and determined individual and also a bit awkward. There are also sequences that show him speaking to and interacting with a woman (Ehrlich) inside a room with limited lighting and scenes where he is doing woodwork inside another darkened room. The filmmakers make extensive uses of voice-over, utilizing the voice of Joseph and an unseen man. There is also the voice of a reporter, as they announce events unfold during fictional news reports. Throughout, texts appear that either announce the beginning of a new chapter, highlight significant facts or are the exact words the reporter is saying. The film has some rather surreal and awkward moments that involve Joseph's behavior, the way he interacts with the woman and a sequence during which the movie turns into a music video, with him dancing in slow motion. Externo is an unusual piece of work and offers an experience into the world of business and power and is filled with drama and tension. With great performances by Taub and Ehrlich, a beautiful score and wonderful cinematography, it is an achievement worthy of praise and recognition. #JasonKnight