★★★ Written & Directed by: #AndrewHyatt Starring: #JamesFaulkner, #KerryKnuppe, #AaronDallaVilla, #GloriaLaino, #LacyHartselle Film Review by Taryll Baker Long time British game show host, Jonathan Robbins, finds himself questioning his mortality and legacy after the recent death of a close friend. When he comes across an unexpected letter from a young fan, he heads into the backwoods of America in search of deeper meaning for his life. What is the meaning of life, really? Jonathan (James Faulkner) loses a close friend and regrets missing his funeral and becoming distant. Too caught up in his career as a TV host, he begins reflecting on his life and legacy. After receiving a letter from a fan, he sets out on a trip of self-discovery in America, though what he finds isn’t quite what he wanted or expected. But, he is determined to find an answer to that very big question. Along the way, Hyatt’s All Those Small Things finds some charm in the morbidity and grief of Jonathan’s character. He meets some interesting people on his travels; including a bartender who isn’t as simple as she seems. His evolving bond with Ruby (Kerry Knuppe) is a pleasant part of his story to finding his peace of mind. Then there’s his unexpected meeting with a young rapper ‘Tiny Hammer’ (Aaron Dalla Villa); a character who’s presence brings forward the weak and strong elements of the film. Some enlightening conversations among boozey house parties makes All Those Small Things both an engrossing and annoying watch. Something interesting about All Those Small Things is that is directly references Faulkner being in Downton Abbey, though through his character of Jonathan. It’s sort of a self-reflective piece for him as an actor, who at his age must be wondering the same as his character. Starring in some huge shows, being in the spotlight but feeling somewhat empty of real meaning. I think it’s comforting to know that even bigger names can feel crushed by life, that no amount of success can truly bring fulfilment. That is something you must find yourself. One character mentions that if you could change just one life, it’s worth it. All Those Small Things tackles a hefty subject with great care, and while not every minute of it is enjoyable, there are some genuinely nice moments sprinkled throughout. Faulkner’s performance is very strong, even in its underplayed way. He really gets into the mind of Jonathan, and that may be because he’s not so different from him after all. Hyatt’s direction is graceful, his writing wonderful, and even though it’s a film that doesn’t satisfy viewers with the one true answer to that very big question, it does offer some good perspective. Watch the trailer for All Those Small Things below. - #TaryllBaker

★★★ Directed by #JessicaKavanaDornbusch Written by #JessicaKavanaDornbusch Starring #TylerDeanFlores Film Review by Brandon Thomas Based on a true story, Jessica Kavana Dornbusch’s Reefa explores a short period in the life of street artist Israel “Reefa” Hernandez. As the film opens, the Hernandez family is about to get what many immigrant families can only dream of: their Green Cards. Originally from Colombia, the Hernandezes are in the United States – Miami to be specific – as asylum seekers. Young Israel Hernandez has a potent love of art, and has become quite a well-known graffiti artist around the city. As Israel begins to think more about his future away from Miami and his family, the complexities of life as a young immigrant make themselves more and more evident. Reefa is the kind of film that proudly wears its heart on its sleeve. This has both positive and negative sides to it. The movie is charming and gets a lot of mileage out of the fantastic chemistry between the actors playing the Hernandez family. The same can be said of the cabal of young people playing Israel’s friends. These are the kinds of scenes that don’t necessarily move the narrative forward, but they do allow the characters to come alive in a way that many melodramatic plot threads do not. While the majority of Reefa is tonally light, there’s an overarching sense of dread that cannot be ignored: whether it’s the constant state of worry felt by Israel’s parents over their status as refugees or the threat of an overzealous police officer who lets his disdain for immigrants be known. You know tragedy is coming – you just don’t know how. The film occasionally dips its toe into After School Special territory. The real story of Israel Hernandez is compelling enough, and the more embellished aspects added to the film have a phony feel to them. The shoe-horned romance between Israel and a New York model, Frankie (Clara McGregor), lacks any spark. The eventual conflict that arises in their relationship only highlights many of the weaker story issues in the script. The performances are generally quite good with Tyler Dean Flores impressing as the titular character. Veteran character actor Jose Zuniga (Con Air, Alive) delivers in a small, but impactful, role as Israel’s demanding father. The rest of the cast doesn’t leave the same impression, but they do well with the material provided. While not the most successful film it could be, Reefa still ends up serving as a touching tribute to a young man taken too soon. #BrandonThomas

★★★ Directed by: David Bradburn Written by: David Bradburn Starring: Tom McElroy, Jake Moore, Lindsay Rathert Film Review by: Vikas Yadav It’s true that today’s generation cannot replicate the care and treatment given to them by their parents when they were growing up. The busy lifestyle and the race for earning countless bucks have extirpated basic decency. Emotions have been substituted with luxury. You flaunt not the strength of your family but the vastness of your property. Older folks are registered into the care facilities due to the unavailability of their progenies. David Bradburn’s Home begins with an image of optimism. A man (Jake Moore) fondly feeds his father (Tom McElroy), who is suffering from a disease that has apparently left him paralyzed. He cannot feed himself, and as per the man’s wife (Lindsay Rathert), he cannot understand what’s happening around him (the man protests otherwise). The couple undoubtedly has a job that pays well. The house looks splendid, the furniture is polished, and there are no specks of dust as far as the eyes reach. Although these outer surfaces appear to be firm and shiny, the people living in them are crumbling and rotting. The wife complains that her husband has turned all dull and humdrum. She accuses him of trapping her in a lifeless marriage after presenting an alluring version of himself on their dates before the union. The husband, in reality, has just shifted his priorities. He wants to dedicate his time to look after his old man. He puts in an effort to strike a balance between his father and his wife, but the latter does not welcome his acknowledgments. Despite being in the same room, she is more responsive to the notification sound of the phone than the soft voice of her husband. The cause for this rift sits motionless in the picture. I imagine if the father could have responded to the situation, he would have left the house to prevent further deterioration. There is a shot at the end which shows how sad the father is and how he blames himself for the current condition. That face, that expression speaks many words, and not one of them seems to blame the wife for her impertinent demeanor. The camera begins from a distance to reflect upon affluence. As it slowly progresses towards the father, it lifts the veil from its beautiful aesthetic to reveal its decomposing interiors. By the time the word “home” makes an appearance, it vibes of something viperous. The film suggests that inclusivity is no longer synonymous with family and that home has attained a more exclusive status.

★★★ Written & Directed by: #DaniSchoffman Starring: #NannKhinMinMyatNoe #MaungMaungKhin #SalaiKyawMin #AungPyaeShan Short Film Review by: #ChrisBuick Inspired by his life and observations while living Myanmar, writer/director Dani Schoffman’s short coming-of-age tale Aye Ko tells the story of the titular 12-year-old girl, who after being entrusted with looking after their blessed goat for mere minutes by her hard-faced and hard-hearted father, inevitably lets it momentarily slip from her grasp, sparking a unique chain of events and taking them on a journey that will affect both of them forever as they try and make their way home in time for a family wedding. Initially conceived as a full-length feature film, Aye Ko now finds life as a twenty-two-minute short but still manages to do a whole lot in that short space of time, most notably creating an indelible and somewhat uplifting sense of spirit that runs right through the centre of this well-told story of determination and perseverance. It’s hard not to fall for this film’s charms, Schoffman’s deft filmmaking and clear knack for storytelling makes sure of that. Elegantly edited (award-winningly so in fact) and almost always inch-perfectly framed, Schoffman along with cinematographer Mg Mg Tha Myint also really make the vibrant and often chaotic Burmese landscape as much a character of the film as the rest. And for the most part, Schoffman succeeds in gaining our affection for his characters as well; Aye Ko’s fast-growing attachment to the goat is increasingly endearing, a spot-on portrayal of how young people can grow such quick attachments to things and Aye Ko’s initial innocence of youth beautifully metamorphosing into a realisation and ultimately acceptance of life’s difficult truths is really eloquently done, amplified brilliantly by Nann Khin Min Myat Noe’s performance and both combined means the film succeeds in giving Aye Ko as full and satisfying an arc as you could hope for. Better the journey than the destination, no? The supporting players perhaps don’t get quite as much attention and care however. To be fair the characters of the biker and taxi driver are fun and serve their purpose in terms of the film’s bigger picture, and while this may of course be Aye Ko’s story to a certain degree, it does seem that perhaps a couple of the essential building blocks around Maung Maung Khin’s father character in particular (that may well have been present as part of the full-length script) seem to have fallen away slightly and might have tied the film together just that little bit more. There are some disparate pieces of backstory and character moments here and there that definitely pique interest, the exchanges between the father and his inquisitive taxi driver for example seem fertile enough for deeper exploration; we want to know more about him but ultimately it feels like a slightly missed opportunity, and there seems to be no real resolution to the film’s core relationship between the Aye Ko and her father even though it seems that is what the film is trying to build towards. Nevertheless, Schoffman and co can be incredibly proud of what has been achieved here. Aye Ko is not simply a great coming-of-age tale, but also an accomplished story about staring in the face of adversity that is a joy to be swept away by. #ChrisBuick Watch the trailer for Aye Ko here:

★★★★ Directed by: Michael Anderson Written by: David Zelag Goodman, William F. Nolan, George Clayton Johnson Starring: Michael York, Jenny Agutter, Farrah Fawcett and Richard Jordan Throwback Film Review by: Rachel Pullen Logan's Run Movie Review The future, ooooh what will it hold? Hover cars and hypno toads? Food in pill form and an applicable living wage? Don't hold your breath. But it may hold cool primary colour outfits and crystals in the palms of our hand and a thing called carousel where we kill people who get to the age of 30...well that’s me dead I guess. No, wait, that's just Logan’s Run, a film about a society of people who live a fun, sexy carefree lifestyle, whereby they all party and shed their colourful robes and hump on the low-to-the-ground future couch, but don't get to thirty because then you have to die to be reborn and not be a useless wrinkly bag of bones. Logan is hired as a sandman, someone who polices the city to make sure people don't run away when it’s their time to face the carousel, which is not actually a fun ride with horses and good times, no it’s just a place you die. Anyway, he is then asked by the higher powers to find out where the runaways are trying to get to as a rumour has gone around about a place where they can achieve sanctuary. Logan is all down for this action and being the sexy under 30's stud he is, he finds a lady who he thinks can help him run away and together they start to peel the layers away from the city that they have never seen the outside of, and surprise, surprise they fall in love and he ends up thinking freedom is more kick-ass than the death that awaits him on his return to the city...not a hard choice but hey. This film is split down the middle, city life and outside life, for once they are outside they meet an old man living in the crumbled remains of Washington D.C. with his many cats, they learn that life does not end at thirty, you can get old and it does not mean the end, and with this knowledge, they work to inform the city and for everyone to be free. They hike him back to the city and he is uber keen to meet some young people and then they all accept him and everyone lives happily in their crystal-free society! The end...but I was annoyed we didn't get to see more of the cats, I mean there are a f*ck tonne of cats, and I needed more. Logan’s Run is a prime example of the sci-fi genre before Star Wars rolled into town, making it all robots and lasers (there are some lasers and one robot but we will get to that in a moment), its subtle approach to futuristic aesthetics are pleasing, everything is not hyper futuristic, most of it looks pretty homely and how you would imagine it with the right amount of tech spliced in when needed, just think IKEA with some flashing lights. The contrast between the claustrophobia of the city scenes, compared to the open and vast shots of the real world are stunning, we feel the freedom, the desire to run and breathe the air and simply live life sans hand crystals and death carousels, we can empathize with both sides of the world, the city offers beauty and community, while outside, although scary you have the chance to be free, and I think as humans we flirt between both ways of life. But don't think I could talk about Logan’s Run without mentioning the robot in the ice cave....he is the god of this film, a fashion icon, someone who needs protein and kelp and to freeze humans and if you look real close you can see those fun human teeth beneath the tin foil, I love you robot iceman and hate everything else in the world but you. So what have we learned a lot about living in 2274? Robots have human teeth If the gem in your hand flashes...run Primary colours are for all occasions. #RachelPullen

★★★★ Directed by: Louis Maxwell, David Gilna Written by: David Gilna Starring: Tony Cash, Jane Brennan, David Gilna, Wayne Lynch Film Review by: Jason Knight An emotional story about an elderly widower struggling to come to terms with his wife's passing. Tony (Cash) has lost his beloved wife Jackie (Brennan). He spends a great deal of time by himself, listening to birds chirping. One day, his son David (Gilna) pays him a visit and asks him to go with him to the local tavern, as he has something for him. Tony agrees and in turns out that something is a letter from Jackie for Tony. This wonderful short drama brings together feelings of loss, love, family and support. The narrative is set during the Covid-19 pandemic and it is indicated that Jackie lost her life due to the virus. The cast deliver moving performances. Cash is very convincing as a grieving widower and it is sentimental watching him sitting on a bench in his garden by himself and pretending that Jackie is sitting next to him and he is talking to her. Gilna is great as the supportive son, who cares deeply for his father and wants to make sure that he is doing OK. Brennan's performance exists as a voice-over, bringing to life the words written on the letter and her words are tender and full of emotion. She begs Tony not to forget about those who love him and assures him that she will always be with him. Listening to her kind words while Tony reads them with a sad look on his face and while David walks in a cemetery to place flowers at her grave is quite touching. Although the main subject is grief, the film ends on an uplifting note. Having read the letter, Tony appears to have an epiphany and realizes that he still has plenty of good things in his life. Regarding the audio, there is no music throughout, apart from the end credits during which the song Home by Ryan Sheridan ends the film beautifully. One For The Ditch looks at the effects a person's death has on people, but also shows that people need each other's support in order to get through hard times. Very well acted, with an emotional script, this achievement deserves praise and recognition. #JasonKnight

★★★★ Directed by: #AdamBailey Written by: #SophieDutton Starring: #EmillieThomasCurtis, #MarkLewisJones, #SharonMorgan Short Film Review by Taryll Baker Winter is fast approaching, and everyone is getting ready for a nice long sleep… but a certain Little Partridge can’t quite contain her excitement! What could possibly go wrong? It’s the winter season and Partridge’s family house is missing a roof. They will surely not survive the freezing temperatures without one, so Partridge sets out into the woods in search of some help. Along the way she bumps into several quirky characters, and one unexpected meeting with a bear could provide her with exactly what she needs… Partridge in a Bear Tree is a light-hearted animated short created by Cloth Cat Animation, written by Sophie Dutton and directed by Adam Bailey. Running at only 6 minutes, it introduces the family of partridges, sends Partridge (Emillie Thomas-Curtis) on her way and provides a message that friends can be found in the most unlikely of places. It’s a nicely animated film with brilliant voice talent; all of the characters feel vibrant and full of life. In terms of audience, it’s very clearly directed at young children and it works as a nice wintery treat with a heart-warming story resolution. The original music score by Kirsten Evans uses plucky strings and wiggling wind melodies to accentuate on the mystical and fun-loving nature of Partridge in a Bear Tree. Her attention to detail in the orchestration is wonderful, with plenty of charm in the musical journey she takes. You’ll hear twinkling hits of what sounds like a glockenspiel, guitar rhythms and a soft brass for the sluggish characters. As Partridge goes on her short adventure, the music does too and supplements the colourful imagery very well. Partridge in a Bear Tree is a warm and fluffy-feeling short with bursting energy and a lovely theme. The animators did a great job with the movement and colouring/shading for the characters and environments. Seemingly, a lot of care went into this film and it’s all the better for it. As children’s films go, this is certainly not holding much content for the older audience that may be viewing, but some enjoyment can be found in the technical execution. It’s flowing with style and showcases fantastic voice work and recording; Partridge in a Bear Tree is a nice little bundle of joy. - #TaryllBaker

★★★ Directed by #StevenAscher #JeanneJordan Written by #JamesFallows #DeborahFallows #SteveAscher #JeanJordan Starring #JamesFallows #DeborahFallows Film Review by George Wolf If all politics is local, then Our Towns is the most political film you’ll see this year. Because authors James and Deborah Fallows had one rule as they traveled the country looking for towns with interesting stories. Never, ever talk about the national political climate. The Fallowses, both longtime writers, reporters and academics, have lived and traveled all over the world. Their 2018 bestseller Our Towns: A 100,000 Mile Journey Into the Heart of America was based on their extensive reporting for The Atlantic on the civic and economic renewal of America’s towns. Oscar-nominated directors Steven Ascher and Jeanne Jordan (Troublesome Creek: A Midwestern) put the gentle, reassuring authors front and center for an easygoing documentary from HBO that touts possibilities over partisanship. From the influx of refugees in Sioux Falls, South Dakota to the twenty percent unemployment of Columbus, Mississippi; from the end of logging in Bend, Oregon to the climate change fears in Eastport, Maine, we see how these towns have adapted and thrived. And, by the way, what we see is gorgeous, thanks to the drone footage from Bryan Harvey and the cinematography from him and Ascher. The solutions – diversity, investment, innovation, local engagement – may not be revelations, but the surprise comes in seeing how some communities have actually been able to move these ideas from buzzwords to policy. The film skirts specifics, as well as the deep ideological divisions that stand in the way of such progress, but even that seems true to the stated goal of locality. It never wavers, even in the face of celebrity. Because even though you clearly see actor Jeff Daniels playing guitar and singing with a band in Charleston, West Virginia, his national fame is completely ignored, as it should be. It is not lost on The Fallowses that their book research coincided with a national recession and their film project debuts during a global pandemic. But even with such large-scale challenges, they say the building blocks for recovery are the same, and they start in our own neighborhoods. For 97 minutes, Our Towns shows you that underneath all of our ugliness, there are success stories we can look to for examples of hope and possibility. And now feels like a pretty good time to see them. #GeorgeWolf

★★★ Directed by #BenWheatley Written by #BenWheatley Starring #JoelFry #ElloraTorchia #ReeceShearsmith #HayleySquires Film Review by Hope Madden If there’s one Ben Wheatley film people don’t seem to like, it’s 2013’s A Field in England. That film feels a lot like an experiment made with limited resources about strained friendship and hallucinogenic substances. Wheatley’s latest, In the Earth, is a lockdown film—a kind of experiment made with limited resources about strained friendships and hallucinogenic substances. Wait, wait—it works better this time! Made during and ostensibly about the pandemic, Wheatley’s film finds more terror in avoiding the virus than other lockdown films have found dealing directly with it. We open, Romero-like, with hazmat suits and government facilities, but that makes way pretty quickly to a dreamlike—one might even say enchanted—trek into the woods. Scientist Martin (Joel Fry, Yesterday) joins park ranger Alma (Ellora Torchia, Midsommar) in an infection-free zone of forest to make a 2-day trip on foot into the depths of the woods. They are here to check in on a scientist (Hayley Squires, In Fabric) who’s been incommunicado. But we all know that you should never go into the woods no matter the reason. Honestly. In its best moments, the film feels a bit like the director shaking off the style-over-substance films he’s made lately. (I’m looking at you, Rebecca.) Instead, he leans toward the genre-bending, lower-budget thrillers like those that got him noticed in the first place: Down Terrace, Sightseers, and especially Kill List. And, yes, A Field in England. In the Earth blends ecological terror, pagan ritual horror and Lovecraftian SciFi into a dreamlike episode. Performances are wonderful, and when Wheatley gets gritty, watch out. (Oh, Martin and his poor foot!) Fry’s energy in the film is so thoroughly honest. Martin is not really outdoorsy, he’s a little butt hurt about something, and he’s probably not that used to human company. And thus, his character is entirely articulated before he even speaks. Torchia’s grounded, handy performance makes a perfect counterbalance, which prepares us for the two wildcards (played brilliantly by Reece Shearsmith and Squires). It’s expert casting within top-notch visual storytelling. It’s also a bit exasperating, especially its closing moments. The drug-fueled mayhem and madness work to an extent, but also feel a bit like a narrative cheat. For longtime Wheatley fans, In the Earth feels like a return to form – or at least a step in that direction. It delivers a couple of good wallops, too. It’s no Kill List, though. #HopeMadden

★★★ Directed by: Christopher Smith Written by: David Beton, Dean Lines, Ray Bogdanovich Starring: Jessica Brown Findlay, John Heffernan, Anya McKenna-Bruce, Sean Harris, John Lynch, Shudder Film Review by: Chris Olson The Banishing review A 1930s haunted house tale from writers David Beton, Dean Lines, and Ray Bogdanovich, in which a woman (Jessica Brown Findlay), her priest husband (John Heffernan) and their daughter (Anya McKenna-Bruce) become victims of a secret buried in the depths of their new home. The mythical manor with a menace plot has been done to (literal) death and The Banishing, directed by Christopher Smile (Severance, Creep) brings nothing original to our screens. There are also horror tropes aplenty with the vague “motherhood-gone-wrong” thread for Jessica Brown Findlay’s character, as well as the church being patriarchal arseholes as always. Where the film mostly shines is in the performances. Brown Findlay is utterly mesmerising in the role of Marianne, offering up a turn that lends a much-needed gravitas to the film. She navigates the sinister corridors of her new abode with an impressive gusto - even when the lukewarm jump scares are rolled out like yesterday’s cadavers. Heffernan is also excellent as the priest in turmoil, struggling with his faith, marriage, and celibacy in equal measure. Together, their chemistry works brilliantly and screams out for a more coherent script and formidable narrative. The Banishing explores some admirable topics such as patriarchal interference, religious zeal, and the enduring battle between good and evil (the story takes place against the backdrop of Britain’s journey into WW2), but none are delivered particularly powerfully or memorably. There seemed to be an ambition to wrap multiple threads under the cloak of classic ghost story that just never comes together in any meaningful way. Some of the technical visuals are enjoyable, such as a few mirror tricks and people hanging from the walls and the foreboding atmosphere of the manor is at the very least palpable. It’s a shame the plot trips itself up with so many unnecessary obstacles and distractions. This is forgettable horror fodder destined to be banished to the bargain bins. A lacklustre that spectacle that cashes big with solid performances, so much so that it will have you aching for a better movie to put its leads into. UK CINEMAS AND DIGITAL PLATFORMS MARCH 26TH #ChrisOlson

Press Release Kinofilm Manchester International Short Film Festival is thrilled to announce that the Kino festival will return to celebrate its 25th Anniversary with its first online premiere Edition taking place from 10th - 16th May, promising an exciting global short film celebration! For the 16th edition of the ever-popular celebration of independent short film in the city of Manchester, the new initiative splits into two showcases (National & International), with the Spring festival edition, Part One featuring over 200 International diverse short films, presented in 28 programmes digitally. Our British section, Part Two will be presented in a live Autumn edition (19th – 24th October), screening in-person across multiple venues in Manchester and showcasing the very best of local, North West and UK wide filmmaking talent. Festival Director John Wojowski said: “The festival couldn’t go ahead as planned in 2020 for our 16th edition due to the Covid lockdowns, however, we now can’t wait for everyone to see the amazing films we have lined up. With the first part of the festival being online this year, it’s a chance for everyone to experience the festival, no matter where they’re from”. “It offers the chance for filmmakers to have their short film seen by people across the globe. Although we would like to be together in a live festival, it’s a fantastic opportunity to create a global community from this shared audience and online experience !” Due to COVID-19, Kinofilm has been subject to three postponements which, as an independent and unfunded event, resulted in severe losses. The festival’s small advertising budget has been sapped as posters, booklets, flyers, and more were wasted and later put to recycling in the Spring of 2020. It’s now time to put our plans for the 16th Edition of the short film festival into action as part of our 25th anniversary year - we simply cannot wait any longer! With 200 short films selected from over 1000 entries submitted from 70 countries worldwide, we will be blasting a feast of brilliant new independent cinema from talented new young filmmakers and established directors, directly into homes virtually for everyone to enjoy and to join in our celebration of the art of short film. There will also be workshops for aspiring filmmakers, engaging Q&A’s and more; it’s a varied and entertaining programme for everyone and anyone across the country and internationally, featuring many European and International film Premieres and award-winning short films! We are excited to announce our official programme selection will include Euro Cinema, Iranian Cinema, International Panorama, BAME film, Women in Film, Made Up North, International Students, Documentary, Animation from across the world and a special strand of themed programmes such as Romantic Tales, Comedic Tales, Sci-fi and Fantasy, Crime and Horror Tales. This year’s online edition will kick-off with an International and UK programme called “Stars in Shorts”. In this Kino opening programme special, there’ll be many famous faces and something for everyone in our exceptional Stars In Shorts programme curated from films in various programmes throughout the festival. So for this opening taster (and there’s much more to come), have some fun and Spot the Stars in this year’s Kino Fest! Feature filmmaker and director for BBC TV Jason Wingard said: “Kino has been instrumental in showcasing Manchester filmmaking talent for twenty-five years. The vanguard of film culture on the city and a massive influence on filmmakers throughout the region. If there is one festival that deserves support, this is it!” Kinofilm Festival will also feature a virtual awards ceremony to celebrate the filmmakers in this year’s festival with a mammoth 15 Awards for the International section, selected by a panel of twelve UK and International jury members. This year’s jurors, invited in recognition of their accomplishments and commitment to the industry, will participate in the hard job of choosing award winners. KinoFilm have screened thousands of short films from every corner of the world, some of which have starred Whoopi Goldberg (The Colour Purple, Ghost), Maxine Peake (Silk, Black Mirror), and Gemma Chan (Humans, Crazy Rich Asians). Previous directors whose films have featured at the festival include Lynne Ramsey (You Were Never Really Here, We Need to Talk About Kevin), Andrea Arnold (American Honey, Fish Tank) and Neil Marshall (The Descent, Hellboy). Kino is Back after these extraordinary times, this Spring on http://bingewave.com.

★★★★ Directed by: Cody Calahan Written by: Peter Genoway Starring: RJ Mitte, Peter Outerbridge Film Review by: Vikas Yadav A man walks into a bar. No, I am not about to dispense a joke here. Quite the opposite, in fact. Because this man enters to release old wounds, personal history, and a consternating story. With its heavy snowfall coupled with an empty bar, the chilly weather boosts the horror tone of his story. The night is cold and full of snow. The man is persistent, and there is no place to go. Amidst the foggy suspense, a fleeting ray of laughter breaks through. Let me introduce you to the players. The man I am referring to is Steve (RJ Mitte). He sets foot in a bar where the bartender is Paul (Peter Outerbridge). A long time ago, Steve admitted himself into a college and then never returned to his home - not even when his father died. After meandering for all these years, his sudden and unexpected appearance baffles and angers Paul. He is enraged with Steve. Anyhow, Steve has come bearing a story Paul cannot refuse. But this is what Steve thinks as Paul, eventually, refuses to hear even a word of it. A phone call is made in frustration, setting the deadline as midnight when the person - to whom the call is made - will arrive at the bar to wrap things up. Writer Peter Genoway and director Cody Calahan expand on the power of storytelling. The case they present is simple: If the person narrating the story is a good teller and the person listening to the story is a keen listener, then the most mundane of accounts can be as vigorous and enthralling as a well-crafted suspense thriller. Paul is a bartender, and one of the qualities of a bartender is that he listens (Paul agrees with this notion). Thankfully, Steve is so engaging as a raconteur that he blends the camera with his words and gives visuals to his story (the same can be applied to the other characters in the movie). There is no place better than a bar for eavesdropping on kooky anecdotes. A couple of drinks or a bottle of beer resuscitates your inner talkative personality. It vastly helps when there is a stranger on the receiving end. You are saved from discarding that extra baggage of revealing your history to have a consuming conversation. You have the liberty of pulling up any page from your life without pausing for second thoughts or fearing moral judgment from the other side. If your partner is too drunk (or if you are alone), then you can reach for the services of the bartender, who is always ready to hear your mind. Paul’s profession has exposed him to many tales from the drunk customers, and it has also made an attentive auditor out of him. The Oak Room asks its viewer to be as alert as Paul. The movie is populated with stories and their storytellers and what It needs is an audience that is willing to submit itself to the many narrations in it. The Oak Room swaps urgency with recountal. Steve apprises his story in a non-chronological order - is he a fan of Christopher Nolan? Your liking for this film will depend on your level of capitulation. The more you suspend your disbelief, the more The Oak Room will hook you in its insinuation. Its sole impulsion is to convey a nightmarish experience. This ambition obliterates the resolution of the main thread, ending matters with equivocation. I hesitated when the camera took a 180-degree rotation for arranging a bottle on the table. “Great, this is going to be one of those heavily stylized works that content itself with weird movements of the camera,” I thought to myself. The Oak Room, though, won me over with its dedication and efficacious delivery of its intention. If you are a patient hearer, then it’s worth hearing to this film’s recital. The Oak Room will available on Digital Download from 26th April.