★★ Directed by: #JamalHill Written by: #MiashaColeman & #JamalHill Starring: #ReynaLove, #EricaPinkett, #VivicaAFox, #JeremyMeeks, #VincentDePaul Film Review by Taryll Baker Celess (Reyna Love) and Tina (Erica Pinkett) play the game too well to be considered your average gold diggers. And they're winning too. But when the jaw-dropping secret they both share is exposed, the same shovel that got them out of the dirt could very well bury them. We’ve seen gold diggers, but we haven’t seen them like this. Celess and Tina are women who have been stepped on ever since they were kids, but the time has come to take something back from everything that was stripped away from them. Secret Society, the energetic drama from Jamal Hill based on the novel of the same name by Miasha Coleman, spins comedy and thriller into a crazy, boozey piece that explores the highs and lows of playing the game. In an “eat or be eaten” world, the two women discover who they are inside themselves and beside each other, through creating a way of life that works for them. Though Secret Society boasts an exciting story with potential for great use of serious themes, its clunky structure and presentation displays cracks and becomes a bit of a bore. The performances from Love and Pinkett are great and show a decent amount of depth, but the way scenes are captured and edited create some form of disconnect. With choppy music cut-ins and quick scene changes, it’s unfortunately giving the impression of a rushed job that could do with some polishing. Celess and Tina are interesting enough characters, and the direction the story dips and weaves in shows potential; it reminds me of Hustlers in its smokey look and visual palette, but not quite as engrossing. The focus shifts from past to present as we see the women’s history with their parents who refuse to accept them, and the affects of that in their life decisions. Admirably, the two stick together throughout it all and that bond we’re shown is one of the more rewarding parts of the film. Beyond the two leads, there’s not much else on offer. Jetting from city to city, country to country, the story jumps around a lot but in a way that doesn’t allow for a chance to settle. Side characters are sparsely intriguing; though some of them prove vital to the story, one in particular who stirs up some problems as the film comes up on its dizzying climax. Secret Society floods viewers with a not-so seamless string of events that continuously pile up and as Celess and Tina navigate through them, they’re confronted with situations far out of their control. As they lose their grip on the game they rolled the dice on, they tighten the grip on each other. If only the direction and execution of Secret Society had that same grip. Watch the trailer for Secret Society below. - #TaryllBaker

★★★ Directed by: #AlexKavanagh Written by: #AlexKavanagh & #ParvinderShergill Starring: #ParvinderShergill, #ShaziaMirza, #ChristineWalsh Short Film Review by Taryll Baker Two young women live together in a happy, domestic relationship, one of whom "Saira" is pregnant. Her existence takes a dark turn, resulting in a moment of horror that leads Saira to believe her unborn baby is in danger. In this short film from writer and director Alex Kavanagh, a couple who are expecting face challenges that put pressure on their relationship and their future. Phantoms is an eerie and, in some ways, thrilling film that explores trauma and stress, and how that can bleed into the subconscious during sleep, and also leave daunting effects on the mind. A mentally taxing watch, but fiercely important one too. The two women (Parvinder Shergill & Christine Walsh) bring up hints of an abusive past, a contrasting relationship that doesn’t seem to work. It’s unclear exactly what happened or why, given the short duration of the film. But we do see glimmers and, as Saira (Shergill) heads to her doctor for a routine check-up, she learns that some things may not be as they seem… Moving on from the story in an effort to leave it a mystery, the technical side of Phantoms is better than the actual content. A lot of the dialogue is written quite unrealistically, and therefore the delivery isn’t the greatest from the performers. Phantoms doesn’t feel very natural in some places, but the creepy tones that sneak in with the nightmare scenes make it a little more meaty. It takes domestic relationships and places focus on the strain that comes with pregnancy and the heated verbal abuse that can occur alongside it, and in most cases, without it too. There are physical moments in Phantoms that could be triggering to someone having experienced it, but it’s great to see it implemented into a short-form story. Not everything is as it looks on the cover. As the film unravels, the deeper truth comes to light and the overlapping scenes from past and present weave together to assist its revelation. In terms of its deliverance on such promising ideas, Phantoms struggles to invest. It feels like a good effort, but a cleaner and more sharply written script would have benefited the actors, and in doing so, the film as a whole. The concept is an interesting one, and the result of its twisted net is fairly good, though slightly underwhelming. Kavanagh’s direction is tighter than his writing, so perhaps exploring that role further would be the more rewarding as a career. - #TaryllBaker

★★★ Directed by: David Bradburn Written by: John McCombs, Maayan Atias-Golbus Starring: Jonah Saesan, Chris Wayne, Sabeen Sadiq, John McCombs Film Review by: Jason Knight Time for some military training. A comical look into the lives of members of the United States armed forces. Second lieutenant Joshua Copeland (Saesan) is just starting at the Combat Engineer Battalion. It is his first day there and he meets his superiors and general staff. Nervous and keen to make a good impression, each time he encounters a new face, he ends up having awkward conversations. Eventually, he ends up meeting martial arts expert Li Kuntz (Wayne) and the two develop a rivalry between them. Meanwhile, two clumsy marines are assigned to drive to the airport and pick up a new member of their unit. Shot like a mockumentary, this TV comedy humorously brings the audience into the world of the U.S. army. The opening sequences are quite cool. It starts with a montage consisting of black-and-white footage depicting soldiers undergoing tough training and utilizing weaponry. It then moves on to the story. Each protagonist is introduced with a title card and they sometimes look into the camera as they speak. Occasionally, when a scene ends, it cuts to a brief sequence involving an army symbol moving towards or away from the screen and then cuts to the next scene. This interesting technique goes well with a story that takes place in the armed forces. The filmmakers also make effective use of split screen and wipe editing. The humour is mostly verbal. Characters have awkward dialogues, during which they unwillingly make themselves look stupid or insult each other. Some are no-nonsense, while others are childish and play video games. There are misunderstandings and hand-to-hand combat training. The narrative contains two story lines: one focuses on Copeland as he attempts to learn who is who and what is what in his new regiment and the other is about two incompetent marines, whose task of locating a new marine goes wrong in many ways. The cast do a good job in presenting themselves as military personnel and deliver entertaining performances. Saesan leads well as the main character, a well-meaning man, whose dream is to be part of the army. Wayne is the one who steals the show, as the aggressive, combat sports enthusiast. Field Day is not anything special, but it is a good laugh. and the uniforms look great. With humour and an amusing soundtrack, it gives the viewers the opportunity to spend half an hour relaxing and enjoying themselves. #JasonKnight

★★★★★ Written & Directed by: #AaronCarroll Starring: #CariadWallace Short Film Review by Taryll Baker Sarah receives a message that her beloved will be late home tonight. What will she do to pass the time? Whatever she wants. This intriguing little short written and directed by Aaron Carroll shows a woman who usually spends each evening with her other half, seemingly clueless as to what she should do when he’s caught up at work. Smartly opening with the title “While the Cat’s Away…” sweeping onto the screen as we pan into a close-up of a toy mouse on the floor, then cutting to a vibrant burst of colour as Sarah dances like she’s in a music video, this film clearly has the goal of being completely free-spirited and fun. But there’s a little more to it. While the Cat’s Away… doesn’t waste a second with the character of Sarah. Wallace brings forward a great energy to her role, and the layers that Carroll wrote into the script begin to unravel in such a genius and satisfying way. Both the performance and direction of the character make this striking film an extremely entertaining watch. From the neon-drenched music video vibes, to the fast cut montage-esque scenes where we see Sarah just prancing around the house, this is a stunningly crafted piece. There are clues scattered throughout the film that on rewatch would make a lot more sense, and it’s this kind of attention to detail that grabs the viewer and gives them something to think about whilst the story unfolds. While the Cat’s Away… is a simple film, but the execution is more extravagant than you might expect. The subtleness present makes everything hit a lot harder, and to go along with this is the moody, textured music score by Andrew Worboys. His keenness to play it light suits the film, and when the moment is right he kicks it up. This is technically and visually top-notch stuff. This is an Australian production, so of course it’s brilliant. There’s something about the quality of their short films that just clicks; it’s not uncommon to witness a ton of great filmmakers coming out from this country, and While the Cat’s Away… just gave us another reason to admire and cherish that creativity. Aaron Carroll’s previous short Harvey showed a strange quirkiness while tackling a serious topic, and here he is again with his unique storytelling style and wonderful dark humour. It seems most of the creative team from the latter is back here too, including cinematographer Cameron Zayec, who perfectly captured both films. So it’s in good taste to say that this is a must watch. - #TaryllBaker

★★★ Written & Directed by: #AnastasiyaYevchenko Starring: #OleksiiOleksiuk, #ViktoriyaLevchenko, #KirillZhylin Short Film Review by Taryll Baker A soldier is thinking about his family, by opening door after door in his corridor of opportunities but everything we know about him changes with an explosion. Will he have his tomorrow? Opening with a shot of an open field, covered with dirt, a trench cutting through the clearing. A man sits within that trench, staring into the delicate flame from his lighter, reflecting on memories or fabricated possibilities of past, future or beyond. He is clearly war-torn and thinking up a million ways to cope with his situation, but these dreamy illusions begin to falter after a poetic dance with his love. The man (played by Oleksii Oleksyuk) sees a whole family blossom before his murky eyes as the painful effects of tinnitus flow in as a result of an explosion. His doors of opportunities burning before him, everything foreseen now seemingly straying farther from his grasp. This is a film that concentrates its time on the helplessness felt within soldiers; the sense of inner defeat. A corrupted personality now only fit for battle, the simple innocence of life gone. You hear tales of soldiers dreaming of being back home when they’re at war, but then wishing to be on the battlefield when with their families because, nothing feels real anymore. At least this is a theme most commonly utilised in war films, so If We Had Tomorrow takes that idea and gives the viewer a soldier’s perspective of that. The way thoughts may creep into the mind of a soldier as they sit in the dirt with chaos all around; we see the journey your mind will take you on if you allow it to, with colourful imagery and sharp framing. If We Had Tomorrow features a stunning technical sheen; beautiful camerawork though quite subtle, suitably jarring editing for the more twisty moments, and a solid sound mix. A vibrant palette takes your eyes on a trip through memories and possibilities, with an array of fitting music to support these visuals. Oleksyuk’s withdrawn performance maintains a steadying handling of care throughout, and his scenes with Levchenko play off quite well. There’s also a dog. Animals are tricky to direct, so it’s nice to see one so effortlessly integrated into this story, and this dog is tied into the climax in a deeper way than expected. Though it has a great concept and execution, If We Had Tomorrow leaves more to be desired. Playing more on this idea of flashbacks/flashforwards alongside additional footage of the soldier (and not the man) in his trench, perhaps seeing his slowing, degrading mentality would make for a more interesting film. That would make his character a more layered and perhaps relatable one, which feels like the only thing If We Had Tomorrow lacks in. However, Yevchenko’s direction is fantastic and the final moments leave you wondering with hand to chin. Watch the trailer for If We Had Tomorrow below. - #TaryllBaker

★★★★★ Directed by: Tom Pickard, Bobby Goulding Written by: Tom Pickard Starring: Nathan Hamilton, Jack Warner, Livvie May, Sue Bowmer, Nicola Wright Film Review by: Jason Knight An emotional story about a warmhearted young man's determination to make a final gift for his dying grandfather. Ben (Hamilton) is a mechanic and decides to repair a bus with the number 30, which is personally valued by his grandfather (Warner). Ben intends to take him on one last ride in it. Although his grandfather and their relatives attempt to persuade him not to do so, Ben is stubborn and ignores his other responsibilities, including his pregnant wife Kate (May). This short, moving drama explores themes of love, death and family values and focuses one a person's mission to do what they believe is the right thing. The narrative is nonlinear and consists of two story lines: Ben, as he works on the bus and his grandfather lying in bed, surrounded by loved ones. Although the mood throughout is generally sad and upsetting, the film ends on an uplifting note: with the birth of a child. The performances are terrific by all protagonists. Hamilton is very touching as a good individual, who wants to make his grandfather happy during his final days, but unwillingly forgets about his other relatives. Warner delivers a beautiful portrayal of a kind, elderly man, who is nearing the end of his life and watching him pass away is heartbreaking. May, Bowmer and Wright are all very convincing as the supportive relatives who are devastated by his passing. Directors Pickard and Goulding do an outstanding job and create many fantastic establishing shots of the countryside and buildings, effectively capturing the beauty of the locations. Pablo Scopinaro's score is an amazing contribution, developing a dramatic atmosphere. The Number 30 looks into the realities of life. On one hand it presents the inevitable fact of death and on the other it shows the joy and wonder of birth, of a new life beginning. It also suggests that even when one sets out to do something they perceive as just, one must not forget their other priorities. #JasonKnight Trailer:

★★★ Directed by: #SaheerAbbas Written by: #MadhuRamanathan Starring: #RashinKhan, #AnuroopThekkumkadan Film Review by: Patrick Foley As with so many eccentric artists who die before their time, Vincent van Gogh has been the subject of countless films of varying quality over the years. Cinema’s obsession with one of history’s most tortured, innovative geniuses is an understandable one – with dark, dour biopics of the Dutchman’s mental struggles offering as much potential for acclaim as fantastical and trippy pieces which seek to homage his most famous works. Death Offers Life leans to the latter end of the scale to present an intriguing, if underdeveloped exploration of the artists’ final moments. In the midst of a deep depression, Vincent Van Gogh (Rashin Khan) awakens from his sleep to find he has been shot – and the man holding the pistol is Death himself (Anuroop Thekkumkaadan). Reacting without panic or distress, Vincent is happy to accept his fate rather than live his life as an unrecognised failure. Taken by surprise, and impressed with his calm acceptance, Death decides to offer him a choice: Rid the world of his paintings for the chance to be reborn again as an artist, or leave his paintings as a legacy, to be reborn as an ordinary man. Death Offers Life does not pretend to aim for authenticity. The circumstances of Van Gogh’s suicide are torn up – and of course the slender red-headed Dutchman bears little resemblance to the buff, Indian Rashid Khan. However the heart of the character is what matters – and director Saheer Abbas ensures this is firmly in place. Khan’s Van Gogh is damaged and vulnerable, yet impressively holds a control over his emotions upon his confrontation with his fate. His quick decision making when presented with Death’s choice is the ultimate example of this, and exemplifies the assurance the director has of the artist’s soul. Moments of mania and erratic outbursts conflict with this image and feel like an unfortunate effort to introduce B-movie level demonstrations of his ‘insanity’ – that pulls the rug out of an otherwise gripping performance. The dialogue is clunky in parts and feels far too scripted. It is likely an inevitable consequence of the high concepts presented in the film’s 8-minute runtime – but does feel unnatural especially in the film’s opening exchanges. The aforementioned ‘crazy’ outbursts from Van Gogh also subtract from the rest of the tightly constructed portrayal of the artist. These are forgivable with the otherwise fine scripting of the theoretical conversation. The film’s central theme and moral quandary – of whether it is better to create something beautiful without ever reaping the rewards, or live life as an ordinary man without the torture of one’s own genius – is a fascinating concept that is presented intriguingly – but answered all-too suddenly. Van Gogh’s certainty over his own preference is effective for the representation of the character – but it robs the audience of any time to contemplate the different outcomes of the decision. It is a shame that this is rushed through, and the director does not spend a little more time filtering this dilemma through Van Gogh’s situation. Death Offers Life is an interesting and well-made short that presents a fascinating question to its audience through an engaging portrayal of Vincent van Gogh’s final moments. It unfortunately fails to fully develop the question at its centre, and rushes a little too much to its determined conclusion. More time to ruminate would have served the film well, and satisfied both the director’s passionate characterisation of the Dutch master and the moral complexity the film poses.

★★ A film by: #JohanneChagnon Short Film Review by Taryll Baker An experience like no other, Walk in the Forest offers up an ASMR-like atmosphere with gentle sounds amongst terrifying, eerie tones and screams. Gleaming with many festival selections and laurel leaves covering the official poster art, it’s hard to pin-point exactly what hooked the attention of those selecting films for showcase at all these big festivals, but I’m assuming it’s the nature of the film. Walk in the Forest isn’t really a film at all; it’s a venture through a dark and spooky terrain of sound. An audible situation in which your ears are held captive and forced to retreat to this gloomy place. Visually chaotic with plenty of strange triggers, provoking deep thought and questions. Perhaps the intrigue is what pulls people in, and understandably so, but the ruinous and unsettling nature of the film makes it tough to sit through, even in its short length. Walk in the Forest doesn’t seem to present anything else beyond its unique look and feel. There’s an admirable sense of exploration perhaps not just for the viewer but the creator, Johanne Chagnon. Evidently, there must be a reason and purpose for this sort of content to come flowing out of her brain and onto our screens. It’s not something I particularly care for, but I can appreciate the approach; it’s right out of left field. Creeping up on the senses, the film becomes progressively darker and more interesting though no less confusing. It’s left unclear, at least to me, what Walk in the Forest actually wants to tell us. And there lies the issue; spoon-feeding isn’t the goal here, but a more careful and succinct explanation, even subtly, can help the viewer along to understanding intention. Chagnon’s mind is clearly raging with ideas, and seemingly resonating with many. But it’s a very odd experience and selective of whom in the audience it will click with. When the film cuts to black after a strange “climax” (if you could call it that), you’re left feeling nothing but a chilled emptiness. Perhaps that was the intention all along; to drain us of any consciousness and just take us on a trippy ride, and if so, it succeeds. But alas, I’m left in the darkness; as if I was lost in the forest myself. - #TaryllBaker

★★★★ Stars Directed by: #ParkHoonjung Written by: #ParkHoonjung Starring: #EomTaegu, #JeonYeobin, #ChaSeungwon, #ChoDongin, #ParkHosan Film Review by: Alicia Moore Hiding out in Jeju Island following a brutal tragedy, a wronged mobster with a target on his back connects with a woman who has her own demons. No description of Night in Paradise can truly give you an idea of what story you are about to watch unfold. This gritty Korean crime drama, which has been newly released on Netflix, holds many intriguing aspects that make potential audience members want to join in on this brutal journey; such as the talented main cast and well known individuals who are part of the filmmaking team behind the scenes. Taking a slight sidestep from this, the story itself is so perfectly coiled and corrupt that there isn’t a way to lay it out in a synopsis – for some, this may be a tedious feature, but to me it’s the most intriguing of all. The idea one has of the plot before viewing isn’t nearly matched to what carries out. The single downside I have to declare with the plot is that it moves rather slowly at times. Unnecessary silences and drawn out scenes appear every so often, however I think that must be a directorial style choice overall and I can almost see the impact that was hoped for here… but it doesn’t quite meet the mark regardless. Taking the attention away from the lagging moments within the film, I cannot speak highly enough on how the plot catches hold of the mind as it progresses. This isn’t like the typical gangster-type film where one side eventually triumphs, still concluding with deaths of significant characters through dramatic climaxes. Instead, Night in Paradise follows a story of revenge at many lengths and that is its baseline. Each action has consequences and those consequences are revealed on screen; at no point does violence feel either doubtful or lacking. Honour and trust is broken and a punch to the gut is taken, these elements are broken between the characters again and again which leads to the ultimate climax to officially conclude. There are no saviours or a sense of escape which is so very thrilling. There isn’t love either, which you might be surprised by if you read the short introduction included at the start of this review. There is only a connection and bond in revenge and sacrifice. Without sounding quite insane, I dare say it’s life-like. There isn’t a place to hide and live peacefully, nor is there a certified feeling of trust in close, mobster partnerships. Seriously… 10/10 for this concept. Night in Paradise is jam-packed with spectacular acting of different ranges, but I want to particularly highlight the skill shown by Jeon Yeobin who plays Jaeyeon, the ‘woman with her own demons.’ This character requires an immense amount of passion and talent to perfect as she comes from a background of continuing trauma, made worse by having to share a living space with a mobster who is closely tied with those who have caused her pain. She holds an incredibly emotional stance in the film as the rest of the characters are somewhat ‘immune’ to the sight of blood and injury – that’s what they experience on a weekly basis after all. Jeon Yeobin showcases an impressive display of despair, desperation, and also a sense of freedom that has resulted from being at peace with the thought of death. Jaeyeon is a complex character, but with Jeon’s striking acting abilities every emotion that she feels is immediately transferred to viewers through their fixated gaze. The highest praiseworthy component of Night in Paradise by far is the music. When I saw that Mowg composed the music for this film my excitement grew in abundance even before viewing. Lee Sunghyun has composed some of my favourite film soundtracks throughout the years, like The Witch: Part 1 – Subversion (2018), The Age of Shadows (2016), and most notably I Saw the Devil (2010). His work on this film definitely did not disappoint either. Knowing when to add to suspense and enhancing emotional impact is a valuable trait Mowg carries with him to every project. As a great lover of cinematic gore and violence, Night in Paradise definitely satisfies my need for bloody and expertly directed fight scenes/sequences. The visuals are absolutely stunning (cinematography by Kim Youngho) which adds more bliss to the experience too. I enjoyed this film even more than I thought I would; always a pleasant surprise to uncover at the end of a film.

★★★ Written and Directed by: #KemalYildirim Starring: #NatashaLinton, #KemalYildirim, #NicolaWright, #TessaMcGinn and #SeanBotha Film review by: Brian Penn The concept of time and memory is increasingly fertile territory for film makers and Wastelands is no exception. Director Kemal Yildirim creates a desolate landscape and pulls no emotional punches with a narrative that works like a magnet. The first twenty minutes of the film are dialogue free; a risky strategy that fortunately pays off as the audience are able to observe the central character and draw their own conclusions. Alice (Natasha Linton) leads a solitary existence in a sleepy commuter town. Endlessly distracted and bored with the present she dreams of the past. Flashbacks to a passionate relationship with Tristan (Kemal Yildirim) provide cold comfort. Elements of compulsive behaviour are obvious as she constantly washes and grooms, bordering on self-harm. She finds some focus as a café employee but cannot escape the predatory attention of the owner. Her world grows darker when step mother Dolores (Nicola Wright) pays her a visit. Her father Willhelm (Sean Botha) is now seriously ill and requires constant care. Dolores unloads responsibility on Alice as old tensions begin to fester. Visions of mother Mary-Rose (Tessa McGinn) return to Alice as she cares for her father. Her relationship with Tristan is rekindled, but is unsettled by her father’s presence and emotional baggage he carries with him. All try to find resolution and peace but will the future be ruled by the past? Where Alice begins as a one dimensional character further layers are added to create a fully rounded and complex persona. Family dynamics come to the fore as key events are seen in flashback and we gain a much clearer idea of the life she led. The troubled individual we now see requires our empathy and support. The surrounding characters seem to have their own agenda and invite the audience to pick a side. Which itself is a true indicator of effective storytelling as it becomes an immersive experience. However, the film is too often buried in a pit of depression that threatens to rob the narrative of any hope or positivity. However, cast and creatives should be satisfied with the end product and prove they are to be watched with interest.

★★★ Directed by: Peter J. Calvin Written by: Brent Crable Starring: Brent Crable, Jeff Garlish Film Review by: Vikas Yadav The word “patriotic” is synonymous with our brave soldiers. They tirelessly serve their country and expect nothing grand from the citizens they protect. We all know about the dangers and troubles faced by our men in uniform. There have been jillions of movies depicting the gallantry of the soldiers, sometimes plunging us in the middle of a war at Omaha Beach (Saving Private Ryan) or by taking us along a race-against-time objective using the trickery of one-continuous shot (1917). Over the years, these men have formed a sharp image of courage inside our minds. They are always on alert. They always do their jobs. They have no days off. This is where Peter J. Calvin’s No Dayz Off comes to invert your notions. In fact, its entire concept is based on this reversal. Instead of daring fighters, No Dayz Off introduces us to two meek German soldiers. They are Franz (Jeff Garlish) and Hanz (Brent Crable). The day we meet them, i.e., when the short begins, the two are shown reluctant to go and do their jobs. It’s not hard to imagine that they would have felt the same way almost every day. I can imagine them being forced to join the army against their wills. Or they could have passion for it at some earlier point of their life but now dread every single day of it. And so on this particular day (on their daily route), when their car breaks down and catches fire, they start to see everything as a sign from the universe telling them to skip the daily task for this one day. Franz is more than willing to flee from the responsibilities. “What’s the worse that could happen?” he asks his partner Hanz. Well, Hanz is the type of person who wants to have fun but also assumes the worst outcome of every situation, probably to prepare himself mentally for any unwanted surprises. We all know such people who crave thrills though not without preaching caution to us. So while Franz sparks plans of bunking from the routine, Hanz shows faint encouragement followed by a pool of disastrous probabilities. The duo never even bother to acknowledge the bombs and gunshots being fired at a distance. Even to these protagonists, these sounds become nothing more than background noise. I would have liked to know more about these people. It’s clear they have no interest in the ongoing fight and would have nothing to say about their current state. But it would have been richer to know at least about their likes and dislikes. Do they enjoy cooking? What are their hobbies? Or any other personal detail informing us more about them. I understand you can’t do much in a short film, but a line or two would have sufficed. And while I didn’t laugh the way the lead performances demanded, they nevertheless put a smile on my face.

★★★ Directed by: #SamQuah Written by: #KaihuaFan, #JeethuJoseph Starring: #YangXiao, #ZhuoTan, #JoanChen, #PhilipKeung, #AudryHui, #PaulChun Film Review by Taryll Baker Desperate measures are taken by a man who tries to save his family from the dark side of the law, after they commit an unexpected crime. Sheep Without a Shepherd follows a family man who discovers his daughter has committed a murder in self-defence and must protect her and the family from serious consequences. Sam Quah’s remake of Jeethu Joseph’s Indian Malayalam film Drishyam takes the liberty of refitting the original story for a Chinese audience, in a new setting. An engrossing film from the outset, Sheep Without a Shepherd speeds along through its almost 2 hour runtime at a break-neck pace (with sprinkled-in moments for a breather). Sporting a fairly dark colour grade that progressively darkens as the film weaves through its narrow and twisted web of a story, it’s a thankfully entertaining thrill ride that throws us on a bumpy journey with the titular character’s family, though arriving at an underwhelming final stop. Writing the family as a smart, more cool-headed bunch is quite fun to watch. They step around lies and instead remember every detail of the night the crime was committed, in an effort to only tell the truth, threaded within conspiracy. Joan Chen is a triumph. She’s so effortlessly badass even when still; it’s something I promptly noticed in Netflix’s Marco Polo, so it was pleasant to see her in this film. This is very much an ensemble movie, so the entire cast shines, especially Yang Xiao in his subtle role. The way the story unravels the string of misdirection is as you’d expect; big heads in the police force on the tail, fast-paced scenes of bodies flicking through CCTV and gaining intel, the usual. But everyone does a solid job with the material, even if it’s a little predictable. The sound and music is clean and sharp; some scenes including hard-hitting punches are, well, hard-hitting and attack the ears with power. A Hollywood-esque score from Cho Hye Won highlights some of the film’s pivotal moments and reflects the action and emotions coming from the performances on-screen. There are the expected high-octane cues for fight sequences, but a more downplayed tone of suspense and mystery lay underneath. A piercing sound mix makes for a much more exciting experience, so to pair that with a strong cast is a real treat. Sheep Without a Shepherd is a stunningly crafted Chinese film. It’s unfortunate that the climax be as ill-rewarding as it is, but you can’t deny the strength in its characters and the journey they take us on, even if the destination wasn’t as hoped. I have not seen the original film this was adapted from, so I cannot compare, but I wonder if it was better handled with Jeethu Joseph’s direction. It’s a cat and mouse chase, and like most, the mouse is caught. It’s the “how” that intrigues us the most, and Sheep Without a Shepherd plays with that concept well. Trinity CineAsia presents Sheep Without A Shepherd released in virtual cinemas and screening as part of Chinese Cinema Season from 12th April. - #TaryllBaker