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CATACLYSM film review by UK film critic William Curzon . Starring Brigitta Egyed directed by Marcell Betlej. HOME | FILMS | REVIEWS CATACLYSM Film Review average rating is 3 out of 5 Critic: William Curzon | Posted on: Nov 24, 2025 Directed by: Marcell Betlej Written by: Marcell Betlej Starring: Brigitta Egyed CATACLYSM is a cinematic music short piece, a passion project born from the idea of the writer, director, and producer, Marcell Betlej. The filmmakers aimed to create a piece that bridged the worlds of surrealism and grounded reality through the mediums of dance and music. Marcell Betlej wanted the visual storytelling of the video to remain separate from being described as a music video to accompany the producers of the music and, preferably, to have its own singular directorial vision. It's evident from the awe-inspiring opening wide shot of the sky with the clouds in the centre that there is a distinct vision the filmmakers clearly aimed to set out. This is a jaw-dropping formal decision, and the cinematographer Milán Maruszki clearly has a keen eye for spectacle and drawing an audience into a piece of filmmaking from the landscapes alone. While the majority of the runtime consists of fixed camerawork, the delivery of extreme close-ups and the shallow depth of field is effectively implemented, although sometimes over-relied upon. The shifting aspect ratios can become jarring; however, they are an effective tool that anchors the frenetic edit from Marcell Betlej. This ultimately makes the experience pulse-pounding, accompanied by some pulsating music that works alongside the VFX. Visually, the piece at times feels claustrophobic with its use of surrealism and the incredible fantastical elements that close in on the central characters' dance choreography. Even with its minimal budget, the VFX are genuinely fantastic. Brigitta Egyed's dance choreography is breathtaking and consistently engaging to witness, thanks to Egyed’s committed central performance that never lets up until the end of the piece. However, it can become repetitive after a while and grating towards its conclusive moments thanks to a lack of thematic prowess visually. While its heart is clearly in the right place with the profound passion that lingers behind and in front of the camera, the piece sadly fails to elicit anything that is thought-provoking outside of its camerawork and central performance. Creating a bridge that blurs the line between the ‘world of unseen’ and grounded reality is an interesting concept on paper; however, the short-lived runtime and lack of visual symbolism make the whole experience feel undercooked and diminish its staying power after its conclusion. Perhaps tying the thematic nature of the music more with the visual flair could have anchored its symbolism and made the experience ultimately more rewarding. The conclusion to the piece also wraps up abruptly and, unfortunately, doesn't showcase anything that is momentous outside of its ambitious offerings formally. However, as a debut project, it's still an exciting piece of work that displays Marcell Betlej’s technical prowess and leaves the door open for more compelling work from him down the line. CATACLYSM is an ambitious independent offering from Marcell Betlej that demonstrates an exciting new voice, as his expertise as a writer, director, and editor is truly splendid. His commitment to perfecting the dance choreography is also commendable alongside Brigitta Egyed. It may suffer from offering fairly minor metaphorical symbolism outside of blurring the line between the ‘world of unseen’ and grounded reality, and tedious imagery. However, Brigitta Egyed’s dance performance is electrifying, and it boasts some astounding VFX along the way, even with its shortcomings. About the Film Critic William Curzon Short Film, Music Video < All Reviews Next Film Review >

Prisoners of the Ghostland film review by UK film critic Hope Madden. Starring Nicolas Cage, Sofia Boutella, Bill Moseley directed by Sion Sono. HOME | FILMS | REVIEWS Prisoners of the Ghostland Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Sep 16, 2021 Directed by: Sion Sono Written by: Aaron Hendry, Reza Sizo Safai Starring: Nicolas Cage, Sofia Boutella, Bill Moseley Nicolas Cage referred to Sion Sono’s Prisoners of the Ghostland as possibly the wildest film he’s ever been in. Wilder than Wild at Heart? Wilder than Mandy? Wilder than – I mean, it’s a long list. We’re talking about Nicolas Cage here. But Sono (Suicide Club, Antiporno, Tokyo Vampire Hotel, Why Don’t You Play in Hell, among others) is no slouch in the wild department. So, it would seem that he and Cage make a suitable match. Sono’s tale pits dastardly bank thief and all around nogoodnik Hero (Cage) against the clock, testicular bombs, and marauding trucker ghosts. Why? To return The Mayor’s (Bill Moseley) beloved granddaughter Bernice (Sofia Boutella) back to him. If that sounds simple enough —and it probably does not— the film’s even more unusual than the synopsis suggests. Prisoners of the Ghostland delivers a samurai cyberpunk musical Western dystopian neo-noir with flourishes reminiscent of Mad Max and Mulan Rouge . I wish that mashup worked better. The Mayor rules Samurai Town, a garish din of debauchery, color and indulgence. Here Sono delivers bold and bizarre visuals. He runs with the idea that the samurai and the cowboy are essentially, cinematically, the same beast. Bernice is held in Ghostland, all ash and cinder populated as much by mannequins as humans. Haunting imagery here as well, though less of it unique, marrying Western to dystopic fantasy. Plus the Greek chorus. Compared to Sono’s madcap antics, Cage is almost subdued. Does he ride naked on a child’s bike? Grapple with toxic mutant monsters? Sing? He does! It’s just that Sono’s vision is wilder still. The filmmaker’s aesthetic is jarring, disjointed, overwhelming, frenetic, sometimes stupid, other times glorious, and never less than mad. The fact that he tries to tie it all together neatly at the end may be Prisoners of the Ghostland ’s biggest drawback. The underlying story is of trafficked women taking control of their lives and bodies, though the fact that Boutella is essentially voiceless and in need of saving speaks louder about the film’s themes. She does a solid job in a thankless role, as does everyone in the densely populated ensemble. It’s bananas It doesn’t entirely work – sometimes it doesn’t work at all — but it is a bold mess that commands attention. About the Film Critic Hope Madden Theatrical Release, Digital / DVD Release < All Reviews Next Film Review >

Playdurizm film review by UK film critic Patrick Foley. Starring Gem Deger, Austin Chunn, Issy Stewart directed by Gem Deger. HOME | FILMS | REVIEWS Playdurizm Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Dec 8, 2022 Directed by: Gem Deger Written by: Gem Deger, Morris Stuttard Starring: Gem Deger, Austin Chunn, Issy Stewart It’s borderline impossible to summarise Playdurizm in anything less than a thesis. This LGBT, synth-drenched sci-fi horror thriller mystery is ruthlessly gory, unapologetically scandalous and effortlessly cool – if outright baffling and confusing for large parts of its runtime. One thing’s for sure – it leaves one hell on an impression. When Demir (director Gem Deger) awakens in a trashed, extravagant dream house, he has a sense that something is seriously off in the world. When Andrew (Austin Chunn), an adonis of a man claims to be Demir’s best friend, the strange unrecognised world feels a little more appealing to Demir. But Andrew’s psychotic girlfriend Drew (Issy Stewart) makes it her business to stand between the pair. But Andrew’s desires are more complex, and might be more than either of them can provide. Playdurizm is clearly the product of a defined vision from director and star Gem Deger – and qhat a vision it is. The world we see is tuned to the max – filled with over-the-top sex, violence, extravagant characters, memorable music and visuals and a story that ricochets from intriguing, charming, horrifying and traumatising. It is not a film for the faint of heart, and its horror extends far beyond buckets of blood and brandishing of knives. Psychological torture is imbued throughout the film, and a pivotal scene of rape towards the story’s end may be too much for unsuspecting audiences. Viewer discretion very much advised. But this overabundance of brutality should not dissuade willing viewers from what is a bold and memorable experience. The ambiguous dynamic between Demir and Andrew is a fascinating heart to Demir’s exploration of his strange new world, which feels alive, pulsating and vibrant. It seems to be Gem Deger’s personal goal to make sure that no viewer feels they can take their eyes off screen for even a second – lest they miss an unexpected twist in reality or a shocking new demonstration of sex, violence or depravity. This certainly can result in sensual overload at points, and the plot becomes muddled at parts in lieu of interpretive storytelling and experimental artistic expression. Multiple viewings are likely to be required to decode the story – whether audiences are willing to commit to this depends on personal preference. The director deserves praise for sticking to their vision, and originality is always welcome in filmmaking. But be prepared for a WTF-heavy watch. There’s an ‘uncanny valley’ feel to many of the film’s performances. Gem Deger’s Demir is our grounded entry into the film, who’s amnesia allows the viewer to emphasise with his confusion at the world around him. Issy Stewart’s Drew and Christopher Hugh James Adamson’s Jeremy are the most disturbing and unnerving characters he encounters – and the first hint that not all is as it seems. But it is Austin Chunn who, by design, is the film’s most mercurial, complex and interesting star. Andrew is the paradoxical object of Demir’s desires – part Chris-Evans-lookalike dreamboat with a clear caring side, part toxic, manipulative and deadly purveyor of twisted violence. The chemistry the leading pair share makes becoming invested in the unpredictable dance between the two that runs throughout the film impossible to resist. Playdurizm is an unforgettable, fearless watch. It’s unusual style of storytelling will confuse some viewers, and the abundance of graphic sex and violence may put off others. But it’s cinematic quality can’t be denied. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

White Noise film review by UK film critic George Wolf. Starring Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy directed by Noah Baumbach. HOME | FILMS | REVIEWS White Noise Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Nov 22, 2022 Directed by: Noah Baumbach Written by: Noah Baumbach, Don DeLillo Starring: Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy “All plots move deathward.” With an unusual foray into developing someone else’s work for the screen, Noah Baumbach delivers a satirical fantasy penned in 1985 that speaks so clearly of 2022 it’s almost absurd. Which makes the filmmaker’s approach to Don DeLillo’s White Noise that much more fitting. The film follows Jack Gladney (Adam Driver) – pioneer in the field of Hitler studies at the College on the Hill – his wife Babbette (Greta Gerwig), her important hair, collective trauma and pudding pockets. Jack is so preoccupied preparing for the international Hitler conference that he fails to notice how distracted Babbette has become. Denise (Raffey Cassidy), the oldest of their combined four children (one is Babbette’s, two are Jack’s, one belongs to both), notices. Her interest sets off a covert investigation that can’t even be slowed by the toxic airborne event that sends the family, station wagon and all, into quarantine. The fascinating ensemble also includes Don Cheadle, whose Murray is hoping to establish an Elvis Presley power base at the university, and could use Jack’s in giving his plan more relevance. The 2+ hour adventure takes unexpected turns, as does the tone of the film itself. Droll, prescient satire makes way for National Lampoon Vacation- esque exploits before finding a grim if tender resolution. The rapid-fire dialog keeps hammering away, as if characters are talking at us rather than to each other. On its face, this wouldn’t seem to be the best approach for effective film satire. But in time, the terrific cast carves out a strange, comfortable world for the many declarations to live, and Baumbach nurtures an ironically effective strategy for realizing the novel’s many big ideas. Check that, in the mid-80s these ideas were big. Now, they cast a post-internet and pandemic shadow that may be darkly comic, completely depressing, or both. From conformity to death culture, the cult of personality to disinformation and the warm embrace of consumerism, White Noise miraculously finds madcap, anxious entertainment in the blissfully unaware. True to its title, White Noise throws plenty at you almost all the time. And while the overriding aesthetic wallows in a bemused detachment, the film ultimately embraces important details that hint at actual warmth. It’s a film that might leave you giggling, scratching your head, or convinced that we’re all doomed, but you’ll be damned near helpless against the strange beauty of synchronized shopping. About the Film Critic George Wolf Theatrical Release, Netflix < All Reviews Next Film Review >

Nausea film review by UK film critic Swati Verma. Starring Kashyap Valle directed by Satvik Manepalli. HOME | FILMS | REVIEWS Nausea Film Review average rating is 2 out of 5 Critic: Swati Verma | Posted on: Mar 28, 2023 Directed by: Satvik Manepalli Written by: Satvik Manepalli Starring: Kashyap Valle The writer-Director Satvik Manepalli utilises a font for the title of the short film- Nausea to give a sense of disorientation to its audience and the need to focus on several aspects of the life- style one chooses becomes crucial when it comes to the male protagonist (Kashyap Valle). The plot of Nausea revolves around a young man’s exploration of loneliness, angst, and the fundamental absurdity of life. The film opens with a black screen and Nausea in white font in the centre with the eerie background music that suits the elements of thrill, mystery, and suspense to bind the viewers with the content and get them involved and make sure that they don’t lose interest. The black-white colour pallet is smartly used to evoke an emotional nostalgic bond with nature that Manepalli is trying to define through the creative choice made by him. The shadow figure is showcased to introduce the main character depicting an array of thoughts experienced by him helps the makers to the degree of engagement with it. The set design, dim lighting, sound, vegetation, landscapes, costume, hair, and makeup has been kept simple and natural so that it does overpower the subject matter and also the major life lessons Nausea tries to communicate to the audience. The filmmaker has open-ended closure incorporating no dialogues only music providing an opportunity for the viewers to understand the nuances and interpret it accordingly. In terms of performance, Kashyap Valle plays the unnamed young boy who is wandering out in search of the true meaning of life. Valle’s body language, facial expression, and eyes elevate the mood of the film per the brief given by the director making it relatable. The occasional eye contact with the camera is a good technic utilised for an interactive session with the viewers thus keeping the same close to reality. Nausea talks about the need to accept every shade of life as people don’t have the privilege to pick and choose every time. The short film reiterates the importance of the relationship between humans and nature, audience should realise that we have to go back to nature when we die so it is high time that people start respecting and acknowledging what it has given to us for years unconditionally. The cinematic piece restates the significance of silence as well as spending time with the natural surroundings can give answers to various issues and allow us to recognise the self-worth we perhaps are not paying attention to. The creative piece tells us that sometimes nature can be the companion one aspires for and help them to rejuvenate teaching survival skills, and boosting their morals to deal with problems life throws at humans. Nausea also talks about how crucial it is to take out time for ourselves to figure out and share with friends, and family and work together to mend something that is not right for the betterment of the person and other people related to him or her. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Dimension Slip film review by UK film critic Jason Knight. Starring Sophie Craig, Andrew Norman, Derek Nelson, Christian Blundell, Sally Rowe directed by Barbara Toschi. HOME | FILMS | REVIEWS Dimension Slip Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: May 27, 2026 Directed by: Barbara Toschi Written by: Jason Fite Starring: Sophie Craig, Andrew Norman, Derek Nelson, Christian Blundell, Sally Rowe Selected for Flicker's Rhode Island and winner of winner of the Directorial Discovery Award, this sci-fi mystery thriller marks Barbara Toschi's feature film directorial debut, written by Jason Fite and starring Sophie Craig, Andrew Norman, Derek Nelson, Christian Blundell and Sally Rowe. The plot? Think of Sliding Doors and The Butterfly Effect . Craig plays Kate, a young English woman who is plagued by frequent migraines. One day, she inexplicably finds herself in another reality, where she is Hannah, a woman with the exact same physical appearance, but who has a different life, surrounded by people who also look exactly the same in Kate's world, however, they also are different characters. Eventually, Kate (or Hannah, depending how you look at it) encounters Nickolei (Norman), an elderly gentleman who explains to her that she is now living the life of another version of herself and that version is now living her life. He also informs her that someone is looking to harm her. This slow burner pays a lot of emphasis on Kate's struggles to comprehend Hannah's life and adjust to it. We follow Kate as she deals with her annoying brother, Jack (Blundell), her ex-partner, Mike (Dan Deluca), her psychiatrist, Dr. Anscombe (Rowe) and her terrible boss, Andrew (Nelson Ward). The screenplay shows how Kate learns more and more about Hannah's issues and attempts to overcome them, finding out more about herself in the process and gaining confidence. Significant character development takes place, along with suspense and drama and the atmospheric music by Marco Werba is a big plus. Craig leads the film well, portraying a person trapped in an alternate reality that co-exists with her's. She plays a person who changes significantly by her new environments, resulting in her understanding herself and finding the courage to deal with problems. Norman's character is a mysterious man who comprehends Kate's extraordinary situation and wants to help her. Kierath Jandoo's role basically consists of Kate's supportive friend, her shoulder to cry on. By thinking about the plot, one could state that this film examines the theory of the existence of miltiple realities existing simultaneously. Via Craig's character (or characters), self-identity, self-esteem, self-discovery and mental health become subjects to be considered and Nelson and Perry Mavrides have roles that represent support. One could argue that there are elements of anti-male and they are evident via Mike, an aggressive partner, Andrew, an obnoxious employer and Jack, a dishonest sibling. Additionally, the narrative also involves the ruthlessness of companies. From another perspective, this film can make viewers think of how a person's life can take a variety of paths. A sci-fi thriller about alternate realities that concentrates on the heroine's character development. Strong performances and an intriguing add value, however, the slow pace might be an issue for some. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

Your Monster film review by UK film critic Hope Madden. Starring Melissa Barrera, Tommy Dewey, Edmund Donovan directed by Caroline LIndy. HOME | FILMS | REVIEWS Your Monster Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 23, 2024 Directed by: Caroline LIndy Written by: Caroline Lindy Starring: Melissa Barrera, Tommy Dewey, Edmund Donovan Often, the most useful way to revisit the worst moments in a life is through horror or comedy. Genre lets us distance ourselves from the truth of a situation—that people are often selfish and even evil, and that the world can be bone crushingly lonely and cruel—with laughter or screams while still acknowledging that reality. Surviving it, even. Writer/director Caroline Lindy navigates a blend of genres—comedy, drama, musical, romance, horror—with a clever “beauty and the beast” tale that acknowledges that each of us can be our own beauty and our own beast. Life may work best that way for everyone. Except Jacob. But Jacob’s a dick. Lindy expertly montages us through the backstory. Laura (Melissa Barrera, Abigail ) and Jacob (Edmund Donovan) are a cute couple working together on a musical. Laura will be the lead and she’s overcome with joy. Then there’s a cancer diagnosis, then a hospital room breakup that ends with Laura sobbing after a fleeing Jacob as she grips the IV stand she’s dragged to the hospital hallway. Without Jacob’s apartment to return to, bestie Mazie (Kayla Foster) drops Laura at the house she grew up in, where she will cry her way through many boxes of tissues as she eats her way through many boxes of snacks, all alone—except for the monster (Tommy Dewey, Saturday Night ’s Michael O’Donoghue) who used to be under her bed and who’s grown used to having the place to himself. From here, Lindy does an exceptional job of disguising a brilliant journey of self-discovery as a New York romcom about a budding actress denied her Broadway debut by her gaslighting ex. Barrera’s never been better and Dewey strikes the perfect balance between ferocious beast and supportive buddy. The metaphor is perfect. So much so that a lot of viewers may see right past it and believe this is, indeed, the story of a woman who falls in love with a ferociously loyal monster. And that’s fine. If you want a musical theater romance, Your Monster delivers. But it’s Lindy’s crafty subversion of all those tropes, and her game cast’s spot-on characterizations within this genre mashup, that makes the film—and, in particular, the final scene—so wickedly satisfying. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

God & Country film review by UK film critic George Wolf. Starring Rob Schenck directed by Dan Partland. HOME | FILMS | REVIEWS God & Country Film Review average rating is 4 out of 5 Critic: George Wolf | Posted on: Feb 21, 2024 Directed by: Dan Partland Written by: Dan Partland Starring: Rob Schenck When Rob Schenck was a young pastor, he was told never to prepare a sermon without consulting the Theological Dictionary of the New Testament , edited by Gerhard Kittel. Years later, Schenck learned that Kittel was also the man who gave Hitler a Christian blessing for his Final Solution. “That was an eye opener,” Schenck admits. The point—that there is no limit to what radical Christianity can be used to justify—is what drives God & Country. And much of the film’s success comes from how it combats that fanaticism with a measured, confident deconstruction. Director Dan Partland doesn’t insert himself into the conversation, but has no problem crafting a spirited one. Yes, he has a clear agenda, but includes enough footage from news reports, political speeches and televangelist messaging that the film’s worldview becomes the “other side” getting a chance to be heard. Partland relies on historians, authors, and theologians to trace the rise of Christian Nationalism, it’s deviation from actual Christian teachings, the quest for power over values that earns a rebranding as “White Religious Nationalism,” and how the true believers have been convinced that America has a God-ordained role in human history. And if democracy gets in the way? See January 6th, 2021. The attack on the Capitol is what bookends the film, and in between, Partland actually elicits sympathy for the attackers, who have been fed a calculated diet of lies, fear and outrage. The resulting echo chamber creates an alternative reality bubble, one that was always designed to burst. If you noticed the proudly theocratic ruling from the Alabama Supreme Court last week, you know that the threat to democracy is only becoming more dangerous. Partland makes it clear that the biggest hope is awareness, so that those led astray by the fervor (like Schenck) can experience a new awakening. Christian Nationalism has nothing to do with Christianity. And God & Country finds a useful tone between sermonizing and condescension that can help us see that light. About the Film Critic George Wolf Theatrical Release, Documentary < All Reviews Next Film Review >

The First Omen film review by UK film critic Hope Madden. Starring Nell Tiger Free, Ralph Ineson, Sonia Braga directed by Arkasha Stevenson. HOME | FILMS | REVIEWS The First Omen Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Apr 5, 2024 Directed by: Arkasha Stevenson Written by: Tim Smith, Arkasha Stevenson, Keith Thomas Starring: Nell Tiger Free, Ralph Ineson, Sonia Braga Just two short weeks ago, producer/star Sydney Sweeney’s Immaculate turned the threadbare “innocent nun bringing about the apocalypse” horror (it’s actually an incredibly common trope) into a potent and startling instrument of female rage. Thanks, by the way. But if all that remarkable sacrilege was a little too much for you, if you were looking for the exact same movie—just maybe not so hard on the patriarchy—can I interest you in The First Omen ? Arkasha Stevenson’s hands were a bit tied, of course, this being a direct prequel to Richard Donner’s 1976 classic. Donner’s film has already spawned three sequels and a remake, and now a reboot. A lot has happened since 1976 that makes a “trust the priest” narrative tough to swallow. Stevenson, working from a script she co-wrote with Tim Smith and Keith Thomas, digs into the sketchy side of Catholicism hinted at back in ’76. You know, the burned convent. The shady hospital baby switch. The jackal. And yet, for all the Omen specificity Stevenson sews into her antichrist apocalypse tapestry, the movie still feels for all the world like a neutered Immaculate . Margaret (Nell Tiger Free) is an American who grew up in Catholic orphanages and has come to an Italian convent to take her vows and become a nun. There’s a hospital wing at the convent. Margaret quickly decides things are unseemly but she’s powerless. Why yes, that is the exact set up as Immaculate . There’s also a saucy best friend nun who doesn’t seem cut out for the veil, and of course, the involuntary vessel of the antichrist. How do the films differentiate themselves? Well, Immaculate is not part of a decades-old franchise. The First Omen has a pretty great club scene. Other than that, they are essentially the same film. One just hits a lot harder. Back in 2022, Daniel Stamm’s Prey for the Devil tried to breathe a little feminism into convent horror. It wasn’t a great movie, but it was a nice try. Just two years later, a little feminism feels like a pulled punch. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

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Ben and Mimi - Mimi and Ben film review by UK film critic Jason Knight. Starring Megan Channell, Eric Whitten directed by Eva Cragg. HOME | FILMS | REVIEWS Ben and Mimi - Mimi and Ben Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 28, 2022 Directed by: Eva Cragg Written by: Eva Cragg Starring: Megan Channell, Eric Whitten A young woman is trapped in a dull marriage and comes across a caterpillar, which brings joy into her life. Mimi (Channell) lives a solitary life in a house in the countryside, with her partner Ben (Whitten). Ben constantly has a towel wrapped around each hand and it is up to Mimi to take care of him. She feeds him, changes the towels on his hands, gives him a bath and pretty much treats him like a baby. She is seemingly unhappy in her situation and one day she finds a caterpillar and decides to keep it. The caterpillar appears to brighten up her life. This fifteen-minute-long short drama has an atmosphere that feels poignant and surreal. The plot focuses on an awkward relationship and explores the character development that Mimi goes through, following the appearance of the caterpillar. According to Cragg, the film is a subconscious wish fulfillment for Mimi and the caterpillar could represent that wish because Mimi appears mesmerised by it and accepts it into her life, treating it with care and the fact that it is a caterpillar might signify a change that Mimi is longing for, as a caterpillar changes into a butterfly, representing change. Channell delivers a dramatic performance as a lonely woman who is stuck in a situation where she feels unhappy and wants something to happen that will set her free. She spends hers days looking after Ben and finds solace by listening to the sound of a large conch shell. The cinematography by Gabriel Wilson looks beautiful and Cragg directs very creatively, utilising static frames and well executed movement with the camerawork. The camera proceeds to move when the caterpillar shows up for the first time, possibly signifying that something different is taking place. Composer Andrew Howes does an amazing contribution with a score that is wonderful and the ocean sound effects are great. This is quite an intriguing story, one that is about the desire for change and freedom and that also shows how wonderful life is. There is drama and there are moving scenes of tenderness and the explored themes make this project well worthy of recognition. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Ego Death of Queen Cecilia film review by UK film critic Jason Knight. Starring Jo Schaeffer, Sam Stinson, Akasha Villalobos, Holt Boggs directed by Chris Beier. HOME | FILMS | REVIEWS The Ego Death of Queen Cecilia Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Apr 2, 2025 Directed by: Chris Beier Written by: Chris Beier, Daniel Wolfman Starring: Jo Schaeffer, Sam Stinson, Akasha Villalobos, Holt Boggs A feature-length crime thriller written by Chris Beier and Daniel Wolfman, directed by Chris Beier and starring Jo Schaeffer, Sam Stinton, Akasha Banks Villalobos and Holt Boggs. Cecilia (Schaeffer) is a former YouTube celebrity living in Texas. With her online career having gone downhill, in order to make ends meet, she now works as a delivery driver and is determined to revive her career. Having been in contact with an organisation that specialises in getting people's businesses back on track, she needs to raise a large sum of money in order to pay for the company's fee. To do that, she decides to blackmail Brad (Stinson), a former classmate who is now a drug dealer. However, things do not go in her favor. This film has an intriguing plot, interesting characters, suspense, desperation and nail-biting moments. The concept is a troubled individual attempting to make their life better and ending up in a heap of trouble, entering a world of criminals, blackmail, drugs and murder. Black-and-white flashbacks provide information regarding her past glory days and her acquaintance with Brad and the atmospheric and suspenseful music by Beier and Ryan Montavlo adds to the experience. The story comes to a slow start and it is not until the blackmail begins that things really start to pick up. This does not mean that everything prior to that is no good, as Cecilia's character and circumstances are well-explored during the first third of the film. Another element that some viewers might find negative, or perhaps puzzling, is the appearance of ants. There are several shots throughout the feature where ants are present. Ostensibly, the presence of ants symbolizes something, probalby regarding the story or Cecilia. This is just speculation, however, if the ants do represent certain things, then what could they be? It is not clear. As the main protagonist, Cecilia is more of an anti-heroine, a self-centred, quick-tempered, fame-hungry, dishonest and even criminal individual, who (among other things) tends to steal the parcels that are to be delivered. She is basically a loner who is willing to do pretty much anything in order to get what she wants and she is played brilliantly by Schaeffer. Stinson's character is a ruthless drug dealer, who is overshadowed by Matthew, played quite menacingly by Boggs. Villalobos plays the part of Abbey, Cecilia's estranged sister and perhaps the only main character who is an honest person. This is a story that involves blackmail, cybercrime and drug trafficking. Additionally, it also explores the world of online celebrities and people's desire to be famous. A crime thriller that keeps the viewer in suspense, taking them on a dark journey filled with danger. Overall, this feature offers an interesting story that is also thought-provoking. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >