★★★★★ Directed by: Anya Chirkova Written by: Anya Chirkova Starring: Maziyar Khatam, Andrea Pavlovic, David Richard Film Review by: Vikas Yadav What are movies but a collection of moving images? These moving images can show us a heist thriller, a haunted mansion, a blooming romance, and a traumatic drama. They act as a transportation machine, taking us to places without moving our muscles physically. As we are generally carried to the confines of a fictional setting, it’s then only natural to be taken aback by movies that manage to show a page out of your own life with utmost intimacy. Anya Chirkova’s Flower Boy is precisely that movie. Tinted with the color of nostalgic yellow, watching it feels like revisiting an old memory. Chirkova has not made a film but captured personal feelings. Nav (Maziyar Khatam) loves music. He is a teenager figuring out what to do with his life, what course to apply for, and where to go with his music. His path is not as clear and planned out as Sarah (Andrea Pavlovic), a painter who knows exactly where to go for her studies and what to pursue (she has taken up visual arts). The two used to be in the same school, but the romance between them develops when one day she just breaks into his swimming pool. She invites him to come on a trip. To make cash for it, Nav takes up a job as an employee for a laser tag owner named Frank (David Richard). We find out that Frank used to play drums. He had studied music and wanted to be “a part of a big jazz band.” This dream, however, dissipated with his age. The older he got, the less fun he found in the music. Add to that the sense of settlement, the safe income, and the comfort that came with being a tag owner. Frank found serenity in his job and lifestyle. His aspirations could have very well been a product of teenage verve and overexcited hormones. One of the most striking aspects of Flower Boy is that when the characters talk, it doesn’t seem as if they are repeating a memorized dialogue. Instead, they speak from experience and emote with convincing honesty. When Sarah gets selected at her desired institution, Nav looks at her with a poignant face mourning their eventual geographical separation. The conversation between Nav and Frank as they sit and talk to each other is filled with inward expressions. This is a film where everyone mostly lives in the past or the future. Your mind is rarely in the present. You might be drinking coffee and also thinking about an assignment you have to submit on a deadline. As Frank plays drums, Nav recalls the day he spent with Sarah at the beach, which is conveyed with the sound of waves that continues from the “beach scene” to this “drum-playing scene.” Flower Boy ends on a crossroad with Nav promising Sarah that he will "be there" while the visual shows him enjoying the company of Frank. Will he follow his dream like Sarah or end up within the safe confines like Frank? Flower Boy is not about the answers but the exploration of various emotions. It’s evocative, not definitive. This is personal filmmaking at its finest, and I wish more people would get the chance to see it.

★★★★★ Directed by #StevenSpielberg Starring: #HarrisonFord #KarenAllen #PaulFreeman #JohnRhysDavies Film review by Nathanial Eker Undoubtedly one of the most iconic blockbusters of all time, Raiders of the Lost Ark largely holds up in 2021. Certainly with greater fortitude than two of its sequels; but we'll get to those. The first of Indiana Jones' adventures is a little darker, a little tighter, and a little less silly than those that follow. Renowned university professor and archaeologist Henry "Indiana" Jones (Ford) spends his time salvaging lost artefacts. His world becomes intertwined with magic and the Third Reich, as he's approached by the US Government to track down an ancient religious artefact: the Ark of the Covenant. Along the way, he meets old flame Marion (Allen) and rival archaeologist Belloq (Freeman), both of whom become entangled in the search for the Ark. Raiders is most notable for its homages to classic serials of the 1930s, 40s, and 50s, like Zorro Rides Again and The Naked Jungle. Many elements of Indy's now-iconic look herald back to the Golden age of Hollywood; from his whip, to his jacket, and even that famous fedora hat. What's clear is that this film is a love letter to classic Hollywood, and Spielberg and Lucas' passion for this era of cinema is apparent from the opening credits. Fittingly, this first scene would go on to become synonymous with blockbuster filmmaking in its own right, and the boulder trap and idol snatch would be forever cemented in film history. Today, Raiders mostly holds up when viewed through a 21st-century lens. Unlike its inferior successor, Temple of Doom, which relies on lazy stereotypes and ignorant sensationalism, Raiders' use of a Christian artefact and the Nazis as its villain allows it an earnest narrative. However, though Karen Allen's Marion may be seen as a protofeminist female character, it's hard to deny that she's little more than an object for Belloq and Indy to fight over. Regardless, Allen's energetic performance is still one of the film's highlights, and Marion may as well have the depth of a Phoebe Waller-Bridge character when compared to Temple of Doom's deeply problematic Willie Scott. The rest of the supporting cast portray their archetypical roles well, though it's unclear what nationality Paul Freeman's Belloq is supposed to be. However, it's Harrison Ford that unsurprisingly steals the show. Equal parts Han Solo and Robert Langdon, Indy is and always will be the quintessential adventure hero. Furthermore, his persona is far less diluted in Raiders and he's characterised more by cold-blooded ruthlessness and a desire for knowledge than his quips and hatred of snakes (though both are still present). It's no surprise that Raiders instantly became a studio darling and was commodified with action figures, spin-off media, and theme park attractions. The set design is as much of an homage to classic adventure films as Indy's costume, and each individual tableau is a testament to the power of practical effects and non-CGI sets. The same goes for the wonderfully grim deaths of the three main baddies; there's no child of the 80s who doesn't recall being scarred by Toht's melting face. Thanks, Ark ghosts. If there's one man more crucial to the identity of the Indiana Jones franchise than Spielberg, Lucas, or Ford; it's John Williams. Raiders is a masterclass in atmospheric composing, and the use of leitmotif to orally call to mind Indy's heroism, his romance with Marion, and the Ark itself are musical elements that would stay with the franchise forever. But of course, it is the "Raiders March" that is the stand-out musical motif. Immensely hummable, it has surpassed its filmic origins and become synonymous with any child wearing a fedora, pretending to be everyone's favourite whip-cracking, idol-finding, student-mesmerising archaeologist. There's a reason that Raiders is remembered so fondly. It's not simply one of the best adventure films; it's one of the greatest American films ever made. Bravo, Dr. Jones. See you next week, for (sigh) Temple of Doom. #NathanialEker

Filmmaker Interview by Chris Olson We recently reviewed Screw the Pooch, a short film written and directed by Amy Brandis (read our review here). Synopsis: When Kay's mother dies, Death sticks around for some unfinished business, and the two become unlikely roommates. I caught up with Brandis and lead actor Nadia Lamin... How did your short film, Screw the Pooch, come about? Amy: "Screw the Pooch" was made in the midst of a challenging period for the film industry. It is a reaction and an attempt at some form of respite from the pandemic that changed our lives forever. A time of tragedy, fleeting comedy and loss. Nadia: Well this short was solely birthed by Amy, I'm just so honoured she thought of me and asked me to be part of it. Why did you want to tell this story? Amy: Kay’s journey is one of tragedy and comedy, all mixed up in the mundane. I was drawn to wanting to tell a story that to me felt both bizarrely specific and strange, but somehow universal at the same time. I’m in my twenties, and it’s a time when you experience loss more than you have before, and our relationship to it is complicated and varied and head-bangingly chaotic. I wanted to put that relationship in a strange little story. Nadia: The minute I read this script, I knew it was being told from the heart. Anything that holds a lot of heart and soul will be a project I want to tell and be part of. Over the past year, the whole world has lost someone or experienced the ‘fear to lose’ someone close to them. It’s the dance with death that we all hope to not come across although it is certainly inevitable. This story is most certainly a dance. What drew you to the role Nadia? Nadia: I think the relationship that Kay had with ‘Death’. The script was incredibly poignant and it made me laugh, as well as feel deep sorrow. I loved how it went from her being confused and scornful towards death being there, but when she needs him the most or accepts that she needs him, she searches for him. I loved that contrast and was very eager to play with that. What were your influences (if any) when making this film? Amy: Martin McDonagh and Phoebe Waller-Bridge are two of my favourite writers. Not only do they know how to weave a wonderful plot, but they balance the tragedy and comedy of ordinary people’s lives on their knife edge. I love that. What have been the challenges getting this film made and out there to audiences? Amy: A fairly major global pandemic was just a tad disruptive to production (!) Our crew was small because we wanted to create a bubble for the duration of the shoot. Our funds were very limited anyway, this being a part crowd-funded and part self-financed production. But with the support of the local Oxfordshire community who pulled together to create a raffle to help our fundraising, and the tireless commitment of the production team, we pulled it off. Nadia: I think with any independent short film there are always challenges with funding and also time, not to mentioned we filmed in the middle of the pandemic! So there were a lot of safety measures to adhere to. But the challenges make it, add to the journey and also make you think outside the box! Why do you both make films? Amy: Pure joy. Frustrating labour-intensive joy. I’m a screenwriter first and foremost, and it’s an agonizing but addictive process telling stories in a visual format. As the writer, and even the director, you can only contribute a certain amount to the storytelling, because there are so many other contributors. The actors, the DOP, the composers, the editors, the list goes on. It is intensely collaborative storytelling, like sitting around a campfire. Nadia: I make films because I love to tell stories, I love to read & watch stories and I think it's an integral part of living, we do it every day. It's as simple as that, ha! What are you both working on next? Amy: I have just finished a feature film script which I’m looking forward to shopping around. It’s the story of an older woman reclaiming her power once more by searching for her lost identity. I’m excited to share it. I’m also looking forward to shooting another short with my brother later this year. Nadia: I'm currently working on a few little projects that I am co-producing, nothing finalised yet but they're both short films. I am also working on another project, scheduled to shoot in summer time which is exciting. And I have a film coming out this year called Giddy Stratospheres which is a feature film set around the indie music scene in the 2000s, so, very excited for the world to see it. What would you say if you were a dolphin? Amy: Bit sombre, but, please stop chucking so much plastic in the sea, I’m choking. Nadia: Because I live in the sea, does that mean I can't go to bed? #ChrisOlson

★★★ Directed by: Yavor Petkov Written by: Yavor Petkov Starring: Dimo Alexiev, Kate Nichols, James Babson, Emil Kamenov, Borislav Markovski Film Review by: Jason Knight A film crew follows an eccentric businessman around, documenting his lifestyle and activities. This is the directorial debut of Petkov and the filming took place in and around Kyustendil and Sofia, Bulgaria. The languages consist of English and Bulgarian, with most of the dialogue spoken in Bulgarian. A British film crew, consisting of Susan (Nichols), Jamie (Babson) and the cameraman are in Bulgaria, with the intention of making a documentary about money-laundering and a wealthy entrepreneur named Danny (Alexiev) has agreed to let them film him, as he reveals his social and working life to them. Danny, who is believed to be a criminal, is more interested in having a good time and he takes the crew on an outrageous journey around his hometown, involving appalling situations and unacceptable behavior. As time passes, the crew become more and more familiar with Danny's extreme personality. This mockumentary is not for the easily-offended, as it contains intercourse, scenes of a sexual nature, offensive behavior and frequent explicit language. As the story is about a film crew following Danny around, he is the center of the movie and he certainly grabs the viewer's attention and perhaps not in ways that most people would approve. Danny is certainly a jaw-dropping individual and he will most likely be hard to forget. When he is first shown, he is urinating on a door, making it clear that this is no ordinary person. Saying that he is insane might not be an exaggeration. He constantly talks about whatever is on his mind, he uses profanity, he behaves in childish ways, he is constantly smiling and generally almost always seems to be in a good mood. He shouts and laughs a great deal and acts aggressively, kicking things around and assaulting people. He does not seem to take anything seriously and even devours a kebab like a child, making a mess, while he is having a meeting with a banker and a lawyer. Although he appears to enjoy people's company, at the same time he is quite disrespectful and insulting and at one point his behavior is so bad that one of the filmmakers quits. He does not regret his actions and thinks very highly of himself, believing that he is untouchable and will let no one bring him down. Alexiev delivers a rather unforgettable, over-the-top performance as Danny, a near-crazy man and he is always full of energy. He is clearly having a lot of fun with his character. As the film is shot like a documentary and focuses on an unusual individual doing abhorrent stuff, it will probably make the audience think of Borat or Bruno. Danny often looks into the camera and speaks and Petkov creates some wonderful shots that capture the beauty of the surrounding landscapes. This mockumentary may not be for everyone and it is overlong. But to those who appreciate dark humor, it provides an enjoyable experience and contains an unforgettable character in Danny. #JasonKnight Trailer for Danny. Legend. God. :

★★ Directed by #GuyRitchie Written by #NicolasBoukhrief #EricBesnard #GuyRitchie #MarnDavies #IvanAtkinson Starring #JasonStatham Film Review by Hope Madden I’m not saying Jason Statham is unconvincing with a gun. Nor am I saying that Guy Ritchie is ill-suited to direct a humorless vengeance drama. I’m just saying that these are not their strong suits. Wrath of Man shadows a very dour Statham—just call him H, like the bomb—as he begins training for his new gig with a cash truck crew. Something’s up, obviously, and the only fun to be had in the film is trying to figure out what it is, so do not watch the trailer. At The Depot, where all the trucks come and go and all the crew mock and belittle one another, we meet the assortment of characters you will not come to know or care about: Boy Sweat Dave (Josh Hartnett – where have you been?), Dana (Niamh Algar), Bullet (Holt McCallany). All of them choking on ludicrously overwritten banter, none of them drawing even a single compelling character. Which is fine because there are at least 16 more people you won’t get to know, won’t care if they’re killed, won’t be invested in their conflicts. Ritchie is usually much better than this at scattershot introductions of oddball lowlife clusters, each pod with its own story, each story intersection every other story at one turn or another. Maybe he’s just too out of his element setting the action in LA rather than his beloved London, but the lived-in feel of a reprobate world that’s usually a high point to a Ritchie flick is sorely missing here. And what is the deal with these accents? By now, we know better than to expect Statham to attempt a yank accent, but what exactly is Eddie Marsan’s nationality supposed to be? Or Andy Garcia’s, for that matter? Hell if I know. I do know that casting Statham generally guarantees some nifty fisticuffs. Not today! He shoots a bunch of people, sure, but there’s no panache to anything. It’s a heist movie without the meticulous execution, a vengeance thriller with no emotional connection to the villain, a Statham movie with no ass kicking, and a Ritchie movie with no humor, no flash, no style. No thank you. #HopeMadden

★★★★★ Written & Directed by: #MuratSayginer Short Film Review by Taryll Baker The journey of a flying fish marks the beginning of the transition to a new era. Wow. Talk about an experience. Murat Sayginer is all about focusing the mind on the abstract in The Flying Fish; a crystallising, immensely engrossing experimental piece crammed with symbolism. The metaphorical elements are overflowing, paired with insanely colourful visuals masterfully coordinated from scene to scene. This is truly an inspiring build of visual storytelling. Even if it’s not understandable to some viewers, The Flying Fish holds an extremely beautiful display of animation and music. The film opens with what appears to be shiny, very nicely rendered balls, that form around a circular shape… from there it escalates and evolves into scenes of vibrant imagery, deep thinking and exploration, dark inklings inside futuristic bodies. There’s constant construction happening throughout this 20-minute work of art that encapsulates the human evolution and experience. As the film journeys through these experiences and key moments, the soundtrack by Jochen Mader, Murat Sayginer and Onur Tarcin journeys with it. Having Sayginer as writer, director and composer makes for an entirely ‘hands-on’ project, in which the music and visual language can become fluent. The Flying Fish isn’t dissimilar to that of a crazy high-budget visual that would go with an artist for a music festival. Imagine you’re in a crowd dancing to the latest influential DJ, while they blast their electronically dripping music with a killer amount of visual effects and dry ice machines. Putting the entire audience in a trance with their ears musically blessed with pumping beats and soothing synths. The Flying Fish does that for all its runtime, while offering up the story of man and woman created. Life is begun, and then ended, but when that door closes, does another open? Do we earn credits from our years on Earth that can then be used to subscribe to a whole new life, dropping a different pin on the map? The Flying Fish has an interesting idea of ‘the end’ during the final minutes. A meaty and enticingly sharp concept has been strikingly brought to the screen with stunning visual effects, lighting, colouring, music and editing. This is a fantastic experimental film that goes full throttle into the ultimate experience of life. - #TaryllBaker

★★★★ Directed by: #MatHodgson Written by: #MatHodgson, #EricCantona and #PatrickNathanson Starring: #EricCantona, #DavidBeckham, #MarkHughes and #RyanGiggs Documentary film review by: Brian Penn Football is now a global phenomenon fuelled by TV companies and a corporate bandwagon eager to share the spoils. But the game has its roots in the working class pockets of Great Britain where it became a diversion from the daily grind of life. The United Way is a touching portrait of Manchester United, and how it grew from the community to become one of the world’s greatest football clubs. Constantly living in the shadow of its own achievement the pendulum has swung from tragedy to triumph. At the heart of the piece is Eric Cantona, an infuriating genius with a penchant for drama in the theatre of dreams. The film begins with Cantona on stage facing an empty auditorium. It sets the scene for a gently unfolding tale with contributions from major figures in the club’s history. The maxim of legendary manager Matt Busby soon comes to the fore; the need to entertain and send fans home with a smile on their faces. Give them reassurance their team works hard for them as they return to the factory. The 1958 Munich air crash is a key reference point; the unbearable loss of 23 lives including 8 members of a team ready to dominate Europe. The story spins forward ten years to 1968 as United win the European Cup for the first time. For Busby, it was vindication and laid to rest the guilt of having taken his boys into Europe in the first place. The dream that died on a Munich runway had been fulfilled. The post Busby years are well represented as the quest to find a suitable replacement gathered pace. The narrative reaches a crescendo with the arrival of Alex Ferguson in 1986. He signs Eric Cantona in 1992 as they bid to end United’s famine of 26 years without the league title. The United Way is a slick and solidly produced film that ticks all the boxes. However, football fans will find nothing here that isn’t already known. Aside from some unseen footage, there are no revelations or insights to stir the interest. Eric Cantona’s decrees are eloquent but occasionally annoying, and feel like a showreel for his next audition. For those new to the subject it presents an effective assessment of the game’s social and cultural significance. However, the united way is not the exclusive property of any one club but belongs to the game as a symbol of what sporting endeavour can achieve. The United Way is released on 10 May on Blu-ray, DVD & Digital Download and launching on Sky Documentaries and streaming service NOW May 24

★★ Directed by #BillyCrystal Written by #BillyCrystal #AlanZweibel Starring #BillyCrystal #TiffanyHaddish Film Review by George Wolf Billy Crystal is a likable guy, and frequently funny. Tiffany Haddish is a likable gal, and often funny. So there are possibilities for some odd couple fun in Crystal’s Here Today, but almost all of them are wasted in an overlong, self-indulgent, misguided and unfunny misfire. Crystal, in his first big screen directing effort since 95’s Forget Paris, also co-writes and stars as Charlie, a legendary comedy writer currently working on a TV sketch show. Haddish is Emma, a singer whose boyfriend wins lunch with Charlie in a charity auction. But when the boyfriend becomes an ex, Emma shows up at the restaurant instead, and an unlikely friendship is born. Charlie’s memory problems are quickly becoming an issue, as are the flashbacks to a vaguely traumatic event involving his ex-wife (Louisa Krause). Frequent visits to the doctor (Anna Deavere Smith) help Charlie hide his condition from his grown children (Penn Badgley, Laura Benanti), so the speed with which Emma sniffs it out is just one example of the falseness that plagues the entire film. From phone conversations to reaction shots to skits on Charlie’s TV show, there’s hardly an ounce of authenticity to Crystal’s direction. And because none of these characters feel real, Charlie’s dismissive attitude toward the younger writers’ brands of comedy – complete with an embarrassing riff on Network‘s “mad as hell” speech – comes off as sour grapes from Crystal himself. The script, based on co-writer Alan Zweibel’s short story “The Prize,” has only enough humor to elicit some scattered smiles. The bigger goal quickly becomes telling us how Charlie comes to grips with his condition and his past, and more disappointingly, showing us how Emma puts her own dreams on hold to pursue her magically healing effect on this white family. Crystal has enjoyed many high points in a long and legendary career. He may very well have more, which would help everyone forget the lowlight that is Here Today. #GeorgeWolf

★★★ Directed by: Gulinoz Javodova Starring: Derek Norman, Leandra Mira Film Review by: Vikas Yadav We don’t need to be reminded how bad 2020 had been for all of us when its adverse effect continues to live in the current year. Plans were canceled, and humans were quarantined as a lethal virus roamed throughout the globe. The event was/is not far from a version of those fictional sci-fi apocalyptic movies. With Pandemidoc, Gulinoz Javodova documents our living conditions during the pandemic through the stories of some individuals that will surely resonate universally. Javodova picks certain people and unfurls their thoughts as per their profession. For example, Leandra Mira, the leading organizer of Pittsburgh’s FridaysForFuture and Youth Climate Strike, will normally chat with us while Dahlak Brathwaite, a hip-hop artist, will sing to us. The videos are honest and sincere. I liked the section featuring the journalist from The New York Times named Derek Norman. We are aware of the struggles faced by the healthcare workers - the real heroes - during the pandemic. It was interesting to hear how the reporting changed at a time like this. (Norman posted the news on social media by writing “update” in a thread and then updating it with the latest happenings like the announcement regarding the closing of schools.) It was a tough time, and major decisions were made almost constantly. Everything came with the label of “breaking news.” Not everybody simply tells us about their experience. Olad Aden, a street social worker in Germany, gives a glimpse of a typical day at his work, showing how he has been doing his job during such a bleak time. His segment is light and breezy, like a grateful relief after excruciating pain. Pandemidoc does not just take you back a year to show the harmful result of the coronavirus. It also shows how the world simultaneously grappled with other heinous crimes, including the horrifying and disgusting George Floyd incident that gave rise to the #BlackLivesMatter movement. Darnnell Dorvil, aka Story Teller Gordon, recites a heartbreaking poem regarding the incident (his website says “I’m No Poet” in bold). While reporting the episodes from the past, Pandemidoc concomitantly shows the victory of humans in the face of catastrophe - How we stood up for each other or how some of us graduated even during such a difficult time in history. Pandemidoc is itself a win for Javodova, who completed this documentary despite the prevailing calamity. Though the shift from one piece to the next is not always smooth, it nevertheless makes for an uplifting reminder about the positive power of human beings.

★★ Directed by: Neal Israel Written by: Dan Gordon Starring: Ernie Reyes Jr, Rob Schneider, Ernie Reyes Sr and Nicolas Cowan Throwback Film Review by: Rachel Pullen Surf Ninjas (1993) Film Review So I was with pals the other day, chatting Throwback Thursday and trying to remember some of the worst movies we saw as kids….we all cited the ones I had talked about, Power Rangers, Twister, all that stuff and we started to struggle. We Googled film trailers of terrible flicks, the search seemed hopeless, nothing was terrible enough when my friend turned to me and said: “How about Surf Ninjas?”. Surf Ninjas? Now you have got my attention. We gathered around the phone, like people did in the old days with a fire and clicked play on the trailer, it had everything, choppy editing for cool points, bright clothing and lettering being thrown at me until the point of needing sunglasses, kids shouting “radical” and driving down the Californian beachfront in a drop-top Jeep, oh and ninjas kicking them for some reason! It seemed like the perfect match…oh I was about to be so wrong. Surf Ninjas is the tale of two young boys who are kicking it surf style in California, hitting the waves and chatting up babes, but wait…a bunch of ninjas keep trying to kick em in the balls or something and then this guy with an eye patch is saving them and we have like twenty minutes of this before he is introduced or any of this explained. He tells them that they are the sons of a king in another country and it’s their destiny to go back to the homeland and run the empire or whatever. The kids are like nah, that is lame we want to surf, but eye patch man blows up their house and renders them homeless so they kind of have to at this point. What ensues is a journey story, where they fight more ninjas and teach people to surf, get captured by baddies, then get loose again, climb a mountain and eventually get to the homeland and fulfil their destiny - the end. What I’m trying to say is this film follows a very basic adventure plot, and that’s fine, what else did I expect? But I found this film insanely boring, and it’s not just the repetitive plotline, there is little to no connection with the characters, they all put out some funny one-liners and that’s about it, there is nothing where we really connect, I mean for once Rob Schneider was the saving grace of this film, he seemed to be the only one who had a bit of a story to his character, but everyone else had the spice of a bag of plain flour. But if you love 90s throwbacks, dungarees and avoiding getting kicked in the nads, Surf Ninjas could be for you, it serves a purpose in regard to entertainment for kids, but maybe anyone over the age of ten would check out…also a kid has a Game Gear in it, which can like predict the future…I only had Mickey’s House of Illusion on mine in the 90s, guess I missed out. So, what can we take away from Surf Ninjas? What is it that the waves of California will teach us? If your Game Gear shows you the future…burn it Ninjas only go for the nads And if Rob Schneider is the best thing about a movie, don’t expect too much. #RachelPullen

★★★★★ Directed by: #JonathanWilhelmsson Written by: #JonathanWilhelmsson Starring: #KarenOlrichWhite, #AlexandraFrick, #JamesPeterFraser Film Review by: Patrick Foley Simulation theory is given a quirky and comedic examination in Jonathan Wilhelmsson’s Untitled Earth Sim 64, a brilliant short about how one woman reacts when she finds out that she is a glitch in the matrix. Marie (Karen Olrich-White) becomes suspicious when she starts noticing irregularities throughout her day. Purple dogs, vanishing ice-cream, lampposts being teleported into her path – something very strange is happening. To her shock, a voice (James Peter Fraser) is keen to stress these disturbances are just temporary bugs in the system, and will be fixed in due course. But with this accidental confirmation that the world is a simulation, Marie struggles to adjust to her new reality. An outstanding and affirming short, Untitled Earth Sim 64 pushes boundaries of what smaller, lower-budget sci-fi movies can achieve. The film is exceptionally well-produced and directed - featuring a strong story and performances, as well as impressive visual effects and slick editing that complement the plot and add genuine laugh-out loud humour. The film utilises authentic-looking erratic ‘glitch’ effects especially well, teleporting objects and characters around for some great sight gags. As impressive as the effects are, the film is far from reliant on them to impress. Quite the opposite – as the tightly-woven script and witty dialogue provide enough entertainment for the visuals to be deployed to greater impact when required. The bantering between Marie and The Researcher is amusing and believable, with both parties as confused and worried as each other to be involved in the conversation. The film also packs a surprisingly emotional and heartfelt punch – Marie’s conversation with her friend (Alexandra Frick) and a closing exchange with The Researcher covering madness, God, and the meaning of life in profound terms which fit within the themes of the short without altering the light-hearted tone too much. Jonathan Wilhelmsson understands exactly when to counter-balance heavier drama elements with humour, and vice-versa, to keep the film tonally exactly where he wants it. Karen Olrich-White is charming and eccentric as Marie, whose journey from a curious lost soul to tinfoil hat-wearing true believer, is both believable and hilarious. Her comedic talents are as key as the visual effects at selling the innovative gags as Marie is tormented by bugs in the machine. And as she falls into a depression, Olrich-White opens a new side of the character to let the audience into her struggle. James Peter Fraser’s voiceover as The Researcher is similarly heartening, as he hurriedly tries to correct his workplace gaffe in ever-more ridiculous ways until finally addressing Marie directly with life advice that we can all relate to – whether you believe life is a simulation or not. Packed not only with visual treats and gags, but also heart and deep conceptual ideas, Untitled Earth Sim 64 nails the essential elements of a Sci-Fi comedy. An enjoyable watch for both eyes and brain – you’ll be happy to spend some time in this simulated world.

★★★★ Written & Directed by: #ElinaSahlin Starring: #CamilaBejaranoWahlgren, #CeciliaFrode, #ElsaBotolfs, #ChristinaSörlén, #KarinAgstam Short Film Review by Taryll Baker A lovesick woman is forcibly taken to the world's first state-funded rehab for people unable to metabolize loss. Writer and director Elina Sahlin takes us into the world of heartbreak and secludedness resulting from loss of loved ones, leading to unhealthy grieving. Department of Detachment shows a rehabilitation home specifically designed to help those in need of direction and purpose following the fractured pasts of its residents. In a swift opening and introduction to the film, Sahlin’s striking style reflects a fragment of Lanthimos’ — with the camera movement and positioning, contrasting with a more classical-oriented music score. An interestingly strange atmosphere flows between the seams of this 6-minute short; an inviting and immensely enjoyable cinematic presentation. Department of Detachment spends all of its duration with the reluctant, lovesick woman who is dragged into the grounds of the rehab. She notices a strange site upon arrival, and after conversing with the head nurse of the home, eventually comes around on the idea of accepting some aid and assistance with letting go of her now unwanted and unneeded baggage. It’s incredibly hard to comment on this sharp film without mentioning the great detail in the stunning cinematography by Emil Klang; feeling like a great knowledge of shot choices and scene blocking is present. The beautiful location used is brought to life with vibrant colours thanks to Rickard Ahlbäck, and the aforementioned score from Mikael Lindblad Ehnborg and Daniel Kylén brings it all together come the credits. The story itself is very straight forward, in fact, the synopsis covers exactly what is contained within those short few minutes. But, the way in which it’s crafted along with these fantastic technical elements that were tackled with seeming ease, makes for a very fulfilling watch. It shows that a dream team of creatives and talent was formed for Department of Detachment, and it would be a win for all if this same team was assembled again in the future for more short-form storytelling, or a feature-length outing. The cast especially delivers believable yet playfully soft performances, leading to an already witty but somewhat serious display of dialogue. Department of Detachment leaves us on a fun note, and leads into an additional scene during the credits. It’s a little awkward as a short film, but the concept is solid. Also; power to women! Watch the trailer for Department of Detachment below. - #TaryllBaker