★★★ Directed by: #AnirbanDutta Written by: Anirban Dutta Starring: #JahnabiMitra, #JagannathMondal, #RanadhirBiswas Indie Film Review by: Corey Bulloch Bolstered by its mesmerising imagery and tranquil editing, Anirban Dutta’s Jahnabi takes mythic inspiration from the river Ganges as its visual narrative explores femininity, love, loss and faith. Not presented in a traditionally told narrative, the film flows much like a river itself blissfully with hidden power and grace. It is easy to lose yourself to the serenity of Jahnabi’s imagery as the cinematography from Soham Dey and Dutta himself display such reverence for the history and legend of the river and the land around it. To the uninitiated like myself, who have little knowledge of the Ganges significance, the affection made clear in these visuals really takes hold. Beautiful vistas of rivers, waterfalls, forests and fields capture the attention and imagination. Dutta and Day are sure to convey the scope of these places, as their wide shots show the actors to be minuscule in scale to this monumental nature. Though that is the double-edged sword of Jahnabi’s direction, while Dutta delivers enthralling visuals (beautifully coupled with the musical score of Sushruta Goswami and Bhaswar Sen) it does leave the actual story floating adrift. Again to someone uninitiated like myself, while I can appreciate the visuals Dutta has put forth, fully grasping the significance of the narrative is a little more difficult. The gist of this is easy enough to follow; our titular main character Jahnabi reflects with sorrow and sentiment on her relationship with Lohit, her lover. Circumstance brings them together and keeps them apart, continuously shifting like the river itself as Jahnabi’s story is told through visuals and songs. The film takes on a dreamlike quality but when it's so easy to get lost in the music and scenery, that seemingly crucial plot lines fade away. The world Dutta portrays on screen is so large, epic and brimming with legend that the people within can become lost to it rather than be enhanced. Jahnabi and Lohit’s story does come across in pieces but Dutta struggles in finding a balance between his two storytelling methods, undercutting the more personal themes. These difficulties in execution make Jahnabi difficult to embrace as its narrative payoffs don’t arrive with the grandeur the film spends so long building. The film remains a spectacle on both visual and auditory fronts but audiences may be divided in what they can gather from the story. The respect and passion for this culture from Dutta runs through the whole picture; the journey through these landscapes is worth the experience, inexplicable awe at nature’s might. However, it may take longer to grasp how our human characters find their place in it. #CoreyBulloch #Indiefilm

★★★★ Directed by: Donato Carrisi Written by: Donato Carrisi Starring: Valentina Bellè, Toni Servillo, Dustin Hoffman Film Review by: Vikas Yadav Into the Labyrinth Review There is a lot going on in Donato Carrisi’s Into the Labyrinth. It is about this girl Samantha Andretti (Valentina Bellè), who was kidnapped 15 years ago and has now resurfaced. It is about this private investigator named Bruno Genko (Toni Servillo) who is dying and wants to redeem himself by solving Samantha’s case and catching the kidnapper (he refused to take the case when the kidnapping happened). He is not the only one after the abductor. There is Doctor Green (Dustin Hoffman) helping Samantha to regain her memories to catch the abductor. She talks of being held captive at a labyrinth with no entry or exit in sight. But that is not the only weird part. The kidnapper is apparently, wait for it, a rabbit! Referred to as Bunny, this coney is genuinely eerie. His presence fills the atmosphere with dread. Whether he is actually a rabbit or a person wearing the mask of a rabbit is another mystery. It would be foolish to box Into the Labyrinth into a specific genre. It is at times a thriller, then mystery, then horror, and then all of the three together. It does not end here. The film seems to be a fantasy or maybe a sci-fi which can be deduced from a scene where someone sees an event before it happens at a bar. And what to make of that abnormal movement of a woman who takes Bruno to the basement? Into the Labyrinth is not all thrill. Bruno’s repent radiates drama into this mind game. The entire film seems to take place at different individually distinguishable sets. One place differs from another in terms of color, lights, and ambiance. There is no continuity as they are all contained and separated from one another. What remains common between the interiors of a hospital, a bar, and a house is the sheer presence of a sinister force. Everywhere the camera goes, a feeling creeps in your mind that evil may be lurking in the corner or in the shadows. It is to Carrisi’s credit that he never lets the story break into fragments despite the shift in tone and genre. Though Into the Labyrinth is set on earth, its world appears to be something made from the amalgamation of our planet, heaven, and hell. The result is an apocalyptic setting with a selective crowd of people. A hellish fire burns outside. The night fills the surrounding with fiery orange more than the darkness. People complain that the heat is increasing. In such a mood, the color red sends its own signals. The walls of a house are painted red. It vibes of a strange, uncertain fear. This fear seeps into the red ball in the hospital, suffusing the otherwise calm and soothing white-colored confines with a sense of trepidation. Not many would understand Into the Labyrinth on their initial viewing. Some will scratch their heads. Some will dismiss it as hollow and pretentious. Others will dedicate their time to decode the meaning behind it all. Whatever be your reaction, for me, it was a visceral experience packed with moments of unfeigned horror. This is far from your regular weekly releases both in terms of its overall look and execution. Into The Labyrinth will be available on DVD & Digital Download from 19th April

★★★★ Directed by: Corinna Faith Written by: Corinna Faith Starring: Rose Williams, Emma Rigby, Charlie Carrick, Diveen Henry, Gbemisola Ikumelo, Nuala McGowan Film Review by: Chris Olson The Power Movie Review Set in the early seventies during a coal miners strike, a young woman called Val (a phenomenal Rose Williams) pushes for her first job at a local hospital only to end up working the terrifying night shift during the planned blackout. Fantastically realised with an authentic 70s aesthetic, writer/director Corinna Faith delivers an engrossing modern horror that gets deep under the skin of classism and sexism in Britain, whilst injecting a hearty dose of the scare factor. Our lead character is attacked from all angles: from the weirdo who gropes her skirt in the lift, to Babs (a scene-stealing Emma Rigby) a childhood frenemy who hopes to ascend her humble surroundings through marriage one day. Aside from a couple of fellow nurses for comradeship (Gbemisola Ikumelo and Nuala McGowan), these hospital walls are mainly filled with terror - and very few lights. Akin to a classic horror like The Exorcist and with plenty of horror films being set in a hospital (or asylum) viewers may find The Power to be a fairly familiar endeavour on paper. Rarely, however, do these films venture into stronger thematic depths like Faith does, especially ones feeling so importantly relevant right now. The ongoing debates around gender equality are an important element to this film which depicts a largely female cast of suppressed healthcare workers being forced into danger whilst the striking men and their opposing (mostly male) political opponents do battle over pay should not be ignored. In fact, watching the story of The Power through a 2021 lens can only serve to highlight the dramatic leaps we haven’t taken in almost 5 decades where the lights are still not on for so many in this country. #ChrisOlson STREAMING EXCLUSIVELY ON SHUDDER 8 APRIL 2021 Watch the trailer:

★★★★★ Directed by: Tim Lyons Written by: Tim Lyons Starring: Andrew McNeill, Paddy Duffy, Stephen Doring, Jack Doyle Film Review by: Jason Knight It is the Second World War and two members of the Allies are on an espionage mission to take down Hitler. In France in 1945, a German officer named Meyer (McNeill), is sitting comfortably on a chair, inside a large office with guards, waiting for the arrival of Adolf Hitler. Meyer has a special delivery for the dictator. A German superior arrives (Doring), very excited to greet the Fuhrer. As Meyer sits quietly, his superior becomes suspicious and begins to question his identity. Eventually, things get nasty and deadly. This rather interesting and entertaining short film tells a alternative history story about World War II, resembling Inglourious Basterds. There is betrayal, tension, confrontation and shootings. The atmosphere is serious and also comedic. The mise-en-scene deserves a lot of praise. The room in which most of the narrative takes place is decorated with Nazi flags and the furniture look like they belong in the forties. The clothing is great, with the military uniforms looking authentic. The weaponry also gives the impression that it belongs in that period and so do the haircuts. There is also a wonderful selection of teapots and teacups. McNeill delivers a strong performance as a calm, confident, intelligent and determined British spy. Duffy offers good support as Meyer's undercover associate, who is brave but less confident. Doring is outstanding as a member of the German armed forces. He can be joyful and in the blink of an eye can become furious and menacing. The soundtrack adds significant value. The intense score indicates danger and there are pieces of classical music that are very pleasing to the ear. The sound effects of guns being fired are quite realistic. The closing credits are terrific. They are animated and depict stills from the film placed into a forties newspaper during a montage. Accompanied by beautiful music, it is a very creative sequence. This very well made dramedy is a magnificent accomplishment. It is a war film, with great acting, interesting characters, an intruiging plot and believable costumes. It convincingly places the audience into the WWII era and it provides suspense, nail-biting moments, action and humour. #JasonKnight Trailer:

★★★ Directed by: #SidDuit Written by: #SidDuit Starring: #DirkGuntherMohr #ErinJoHarris Film Review by: Patrick Foley Writing seems to be a profession that has a knack for driving one crazy. From Hemmingway to Hunter S. Thompson, through to fictional cases like Jack Torrance, there seems to be something about putting words down on paper that overtakes the mind – although at least Hemmingway never chased anyone down with an axe (that we know of). Either way, if you’re going to lose it, you might as well do it somewhere scenic. The atmospheric Triora shows that Northern Italy isn’t a bad place to pick… Zeno (Dirk Gunther Mohr) is a struggling writer who receives an intriguing offer. He travels to a small Italian town – Triora – to meet his new employer, the enigmatic Livia (Erin Jo Harris). She explains the assignment she has recruited him for and the pair start collaborating. But as he delves into the project further, he starts experiencing strange incidences – all seemingly linked to his new partner. He is faced with a choice of whether to embrace the illusion, or to reject his experiences and seek out the truth. Triora is a deeply atmospheric and surreal short film that is strong on style but lower on story. The plot is light, and left rather open for the viewer to fill in many of the details for themselves. Given the mysterious theme of the film this easing on the side of the story serves the piece quite nicely, and leaves audiences ruminating on the nature of Zeno’s time in the town. There is enough here plot-wise to keep viewers engaged and on the edge of their seat without being unsatisfied in the end – despite much being left open to interpretation. The performances from Dirk Gunther Mohr and Erin Jo Harris as Zeno and Livia are charismatic and flowing with chemistry, as the exact natures of each character dances around the other. We experience the film through Zeno’s perspective and therefore see him as an open and honest book – contrasting brilliantly with the unknowable and illusive Livia. The unusual power dynamic between the pair is enough to make up for any plot elements that are lacking. The film’s real strength (and biggest appeal) is the stunning Italian setting in which it was produced. The medieval town from which the movie takes its name is a beautiful, scenic and calming setting when it is required to be, but able to switch to a haunting and darkly threatening labyrinth as Zeno’s sanity turns against him. The beauty of the film is a testament to the abilities of director Sid Duit and cinematographer Stefan Mandersloot, who make the most of every corner of the town and the rolling hillsides that surround it. Style alone would not have been able to sustain a feature length piece, but the shorter running time allows for the film to thrive on atmosphere first. Triora is very style-focused, but this should not be taken as a detraction for what is an engaging and mysterious short film for audiences to ponder.

★★★ Stars Directed by: #KitaoSakurai Written by: #KitaoSakurai, #DanCurry, #EricAndré Starring: #EricAndré, #MichaelaConlin, #LilRelHowery, #TiffanyHaddish Film Review by: Alicia Moore “This mix of a scripted buddy comedy road movie and a real hidden camera prank show follows the outrageous misadventures of two buds stuck in a rut who embark on a cross-country road trip to NYC. The storyline sets up shocking real pranks.” I do enjoy my fair share of road trip comedies but I’m always picky about the ones I choose to tell people about; was it really that good to want to share the experience? They aren’t my go-to when it comes to comedies. However, Bad Trip can be labelled in this category but sit in its own sub section within it as well. Two best friends find an opportunity to go on a road trip but things begin to swerve out of control very quickly – all with the added excitement of the public’s reactions thanks to hidden cameras. Bad Trip is an incredibly well directed film in my perspective. The story is composed of chaotic, slapstick scenarios that are smoothly pushed into real life and must be done so in a convincing way; Kitao Sakurai manages to pull this off brilliantly. With writing credits as well, it is obvious that Sakurai perfectly understood the project and its components and how the film needed to be developed which resulted in a cinematic journey of bountiful laughter. Of course, the delivery of natural acting also makes Bad Trip increasingly enjoyable. Each cast member (who knows that they are starring in a film to begin with that is) delivers great performances altogether. I don’t understand how they managed to run with a story so flamboyant without breaking character or accidentally giving away the ‘hidden camera prank’ aspect of the film. There is simply no room for actors to be embarrassed through these public outbursts as breaking half way through a scene or acknowledging their own subtle mistakes just isn’t an option — the cast definitely let their guard down to create the hilarious final product. The reactions of the unaware public makes Bad Trip even better once again, more than what I’ve already stated. It is nice to see how much good there is in the world when dangerous, and frankly confusing to the individuals walking back to work on a weekday afternoon, situations arise in the presence of strangers when they don’t have time to stop and entertain the idea that they might be staged – particularly when all that seems to be surrounding us right now is hurt and eyes that speak volumes of negativity. But don’t get too caught up in the kindness that can be seen; as Chris (Eric André) hangs from the side of a rooftop, a group of people watch his pending health bar from afar yet continue to enjoy their lunch regardless… I was rolling in tears while laughing at them but soon realised after that that was their genuine reaction to an extreme situation. It probably shocked them more than it shocked me though, which can ultimately be a good thing. Because of the film’s rich content, I’ve kept this review short and sweet to give you quite a clean slate before viewing, in the hopes that you can enjoy the content fleshly and fully. This isn’t a film to experience with your kids or younger siblings but be sure to usher them off to bed as quickly as possible to finally relax and cheer yourself up with Bad Trip on Netflix.

★★★★★ Directed by: #AndrewMcGee Written by: #AndrewMcGee, #TaraShehata & #BenSunnucks Starring: #MargaretClunie, #PhoebeFrench, #AbigailMoore, #ClaireMarlein, #LeeWhite Short Film Review by Taryll Baker As part of Lonely Wolf: London International Film Festival 2021 An insurgent mother uploads the consciousness of her tragically killed daughter, Iris, into a stolen synthetic body. Torn out of her idyllic digital world and left on the run in an oppressive futuristic city, Iris must confront her body's objectification and its violent capabilities, as well as the consequences of her mother's actions. This beautiful looking cyberpunk short, bursting onto screen from director Andrew McGee, is a tale of loss and grief. Presenting itself as a short film but laying the groundwork for a very strong potential as a feature-length; Venus sets its sights on familiar territory within a brightly lit futuristic city, but explores deeper into its own little dark corner, based on a concept by Ben Sunnucks. With an eerie atmosphere similar to that of the one in Ex Machina, McGee’s expertly crafted short pumps itself with plenty of luscious feeling and beauty. The story treads along with quick pacing and what we see feels like only a small chunk of the bigger story for Iris (played by Margaret Clunie). Venus opens up many possibilities for its feature counterpart, should such a thing come to fruition, whilst maintaining enough content for itself as a satisfying piece of short-form media. With visual nods to classic sci-fi — such as the shattering, glittery glass among the neon lights, similar to that in Blade Runner — and a punchy electronic score by Tracie Turnbull, this has all the ingredients of a cult classic science fiction triumph. The stunning camerawork by Miguel Cármenes makes everything attractive and appealing to the eye, as one should when working on something cyberpunk… I mean, that’s a key aspect to conquer in my opinion. If the story is engrossing, that’s great, but if the visuals can accentuate that greatness, you’re winning. Venus looks the part, sounds the part, and FEELS the part. Straying from speaking too much on the plot, since the synopsis does it well enough, I will declare that this is one of the most interesting and exciting short films I’ve seen so far this year, and I will be keeping an eye on the development of this project. There’s a great sense of inspiration for world-building and exploration in Venus, and McGee’s vision alongside his writers (Tara Shehata & Sunnucks) seems powerful and strong. As stated on the official website, they embrace themes of identity, gender and objectification and I’m sure a feature will give them plenty more room to play around and venture through ideas more broadly without constraint. Venus will spark a lot of anticipation and enthusiasm within the cyberpunk fan community. - #TaryllBaker

★★★ Directed by: #RyanWadeStott Written by: #RyanWadeStott Starring: #ChristienBartGittens, #JodiHutton, #SophieWhitebrook, #CarlBeech Film Review by: Julian Gaskell This short begins at a business motivational conference (The 5 Steps to Success) with the organiser (Jodi Hutton) preparing to introduce the next speaker who is due to arrive at any moment. Enter the room a sweating and slightly dishevelled young man (Christien Bart-Gittens) wearing a suit, black leather gloves and clutching a suitcase. When the organiser asks if he is Professor Kelly, he hesitantly says he is and then somewhat bewildered enters into the room and begins to bluff his way through a presentation. It is obvious to the viewer from the start that this is someone who is on the run having committed a crime which we later discover is a jewellery heist. He wants to evade capture and what better way than to take this timely opportunity he's been given to assume the identity of the scheduled presenter who hasn't arrived yet. Slipping straight into presentation mode he immediately starts adlibbing his way through the slides and even interacts expertly with the audience like a corporate speaking pro, showing impressive calmness and knowledge. He then goes 'off script' leaving the slides he had, thus far, navigated well and so he begins a short confessional speech about his life’s journey, from a university graduate to jewellery store thief (which explains his aptitude for making presentations). This makes the audience 'laugh' rather than raise any alarm bells . He continues with a long anecdotal speech about an inflatable orca whale he once wanted on holiday and his near death drowning experience. A metaphor about his life, we can deduce, which he follows by winding up into a tirade about the injustices of the world that have basically led him to this situation. His presentation style seems to have unsettled only the organiser whilst the rest of the audience sits totally absorbed, even when he shows a gun he has tucked into his trouser pants and a bleeding wound. Written and directed by Ryan Wade Stott, produced and starring Christien Bart-Gittens, this filmmaking partnership have made a curious short that has a message about society it wants to make. It lacks any real subtlety with the sweating jewellery thief who assumes the identity of the presenter. The producer, Christien Bart-Gittens, cast in the lead role is capable of delivering a good presentation, but he is more convincing as a motivational speaker than a jewellery thief. All of the action takes place in the conference room which works well as the sole location. It maintains an intensity and there are plenty of interestingly wide shots combined with some slow zooms, a mix of close ups and quick edits that keep the tempo of the film high. The sound design is effective too in aiding the emotion of the film without ever being intrusive with a suspenseful electronic score and there are the police sirens too are similarly blended in so well, it's difficult to tell whether they are in his head or from actual police in pursuit. The ease by which he manages to walk into a conference room in such a manner is a bit on the incredulous side especially with a room full of people that look so unmoved by everything that if there was a S.W.A.T team intervention they would probably be equally unstirred. But the film tries hard to deliver its message to make us empathise with this anti-hero’s fact driven monologue about the state of society. He makes his speech up on the hoof, which is a bit too polished for a passing thief on the run, even for an ex-graduate, but he takes the opportunity to get on his soap box to share a different kind of motivational speech about the world.

★★★★★ Directed by: #ChristosNikou Written by: #ChristosNikou, #AndrejŠtritof Starring: #ArisServetalis, #SofiaGeorgovassili, #AnnaKalaitzidou Film Review by: Isabelle Ryan After he awakes on a bus apparently unable to remember who or where he is, a man (Aris Servetalis) joins hundreds of other people who have suddenly and inexplicably been afflicted with amnesia. When no relatives appear to claim him, he joins the “New Identity” programme, an experimental treatment meant to help rehabilitate him. He dutifully starts this new life, but soon comes to question whether it is truly the best way forward. Unable to be cured, patients are given a camera and an empty photo album and told to make new memories, guided by a series of tasks provided by their doctors. Some are rites of passage from their forgotten childhoods: riding a bike, jumping from the highest diving board. Others are more extreme, like crashing a car on purpose. Still others reveal the doctors’ views on what it means to live a ‘normal’ life. They must go to a party and flirt with someone, visit a strip club and get a private dance, and then have a one-night stand. It is a cold, calculated form of treatment, administered on the assumption that everyone is the same, and must experience everything the same way. When the protagonist asks how long he is expected to live a life so regimented, his doctors are unable to answer. As such, his life is monotonous, simple and orderly, even with the variety of tasks. Bartosz Świniarski’s cinematography reflects this; it is crisp and brims with muted natural colours: greens and browns, greys and blues. Here and there are bursts of warmth, like the streetlamps which light the bus where the protagonist begins his new life, and a hospital room where a fellow amnesiac offers him an apple. This last, a small act of kindness, stays with him, perhaps some comfort in his confusion. In his new apartment, he immediately empties the fruit bowl of oranges and refills it with fresh apples. He also moves the bed, a little rebellion in a uniform life. Servetalis’ performance in the lead role is fascinating. He is haunted and distant. The film opens with him banging his head on the wall and then dissociating in his apartment. He appears visibly uncomfortable when confronted with any kind of adult experience, and even baulks at the swimming pool, wobbling away from the edge of the diving board and opting for a shorter drop. He seems unsure of everything, as if he is learning all over again that society is built for people who know how to interact with others, how to have small talk, how to flirt. Another patient (Sofia Georgovassili) asks him to help with her tasks, and there is an awkward innocence to their interactions, and in his confusion as to why she wants to spend time with him at all. There is joy here, too, most of which comes from the old life he shouldn’t remember. He sings along with the radio. An old neighbour’s dog bounds up to him at the park. When ‘Let’s Twist Again’ comes on at a bar, he does, in the middle of the dance floor, alone and uninhibited. He finds escape in childish things, like dressing up as an astronaut and pretending he’s on the moon. He seems by turns naïve and weary, exhausted with lives both new and old, with having to rebuild and remember. Apples is a strange and wonderful film about a man trying to adjust to a life not built for him, a life he should not have to live. Apples will be available exclusively on Curzon Home Cinema from Friday 7th May.

★★★ Directed by: Martin Grof Written by: Martin Grof, Magdalena Drahovska Starring: Eugene Simon, Emily Wyatt, Jennifer Martin, Alastair G. Cumming Film Review by: Jason Knight A group of individuals with unique abilities are assembled by a mysterious organization and go through training in order to learn how to control their skills. Andrew (Simon) is a postman who shares his DNA with a secretive agency, hoping to find out more about his past. The agency discovers that he has special capabilities: his senses are considerably more effective than other people. He ends up being taken to an isolated mansion, which is actually a research facility. There he meets several other people, who possess the same competences as him. Under the supervision two mysterious individuals, Nadia (Wyatt) and May (Martin), they will attempt to understand their powers and utilize them. As the training progresses, Andrew finds it increasingly difficult to separate reality from unreality. This is a suspenseful science-fiction thriller that blends what is real with what is not. The plot might make people think of Total Recall, as it deals with a man trying to find out information about his past and the training that he and the others go through resembles The Matrix, as it involves their minds entering imaginary settings. The pace might be a bit slow, however the plot is interesting enough: people who have strengthened sensations attempt to control them, with the help of a secretive organization. It is intruiging wanting to find out how they got their abilities, and whether the members of the organization have more sinister purposes. Most of the action takes place at the research facility, with Andrew and the others going through the training program. The focus is mainly on Andrew, as he experiences visions and struggles to keep his grip on reality. As the protagonist, Simon does a convincing job as a young man, who unwillingly finds himself in deep water. Wyatt and Martin have good roles as intelligent individuals who might be more than what they claim to be. Cumming offers significant support as Dr. Marinus, who knows a great deal about the special abilities. Grof directs very well and creates wonderful aerial shots and bird's-eye view shots. Another highlight is the work of composer Neil Myers. The music is intense, ominous and captivating and it accompanies the atmosphere well. Praise also goes to the well-constructed opening credits. Sensation is not very thrilling, with an ending that might be a disappointment to some. But it is a decent sci-fi movie, with interesting characters and a script that develops suspense. Sensation will be available on Digital Download from 16th April #JasonKnight Trailer:

★★★ Directed by: #AsherLines Written by: #AsherLines Starring: #SophieSharp, #AlexisMeshida, #MartinSadd, #RuthCattell, #RichardTeasdale, #JamesNicholson Short film review by: #TomWilmot Death on film is often a morbid affair, and in most cases rightly so. Though even in mourning, there is some space for humour, and it is this dark brand of comedy that writer-director Asher Lines utilises in Tracy. The short film, one of several from the young filmmaker, is surprisingly cheery considering its focus on grief, but it is this contrast between tone and subject matter that makes the project memorable. Tracy (Sophie Sharp) is a widow who is struggling to move on from the death of her husband, Simon. Living in denial and pretending that Simon is still alive, she is faced with a reality check when her in-laws decide to move away and want to take their son’s ashes with them. Unsure of how to get on with her life, Tracy clings to her deluded fantasy for as long as possible. What clinches you from the opening moments of Tracy is the unexpectedly cheerful vibe. Roman Falkenstein’s upbeat score playing over shots of a gloomy graveyard perfectly set up the tone that the film is going for. A dark comedy at heart, much of short’s humour comes from cleverly staged jokes that have instant payoffs. Tracy preparing a meal for Simon only to scrape its entirety into the bin one quick cut later is just one example of the film’s offbeat humour. Praise must go to Lines for the setup of such scenes and to Annalisa Boyd for her editing of them. Sophie Sharp takes the titular role of Tracy and is another reason why much of the short’s comedy works so well. Her bemused expressions, while so clearly in denial of Simon’s death, never fail to bring a smile. Thrown into Tracy’s situation are a handful of supporting characters, most of whom are somewhat unsympathetic to her plight. Alexis Meshida plays the widow’s self-interested therapist, Jade, who tolerates her patient just so long as she keeps paying. Martin Sadd and Ruth Cattell take on the role of Simon’s parents, with both seeming to have run out of patience with their delusional daughter-in-law. Finally, there’s James Nicholson, who is the only pillar of support for Tracy in the role of Simon’s acquaintance, Jack. One of the most noteworthy aspects of Tracy is how it makes light of grief without taking away any of its sorrow or importance. Despite all the humour, you still have a level of sympathy for Tracy and her bleak situation. Holding on to the idea that her dead husband is still there appears to be easier for Tracy than letting him go forever. A short but poignant sequence in the film’s latter stages consisting of almost zero dialogue highlights just how challenging and lonely it can be to move on from a loved one who’s passed away. Where the film does fall short is in some aspects of the screenplay, which feels wooden and bland compared to the thoughtful craft. A handful of exchanges, particularly between Tracy and her in-laws, come off as unnatural, and much of the spoken humour falls flat, though I did enjoy virtually all of the ‘dead’ puns. These script issues are most prominent in the short’s final moments, as things wrap up a little too conveniently for Tracy in a turn that comes out of left field. That being said, Tracy is a well-made and enjoyably upbeat short that touches on everything that makes grieving so challenging while still managing to make you chuckle. Asher Lines’ alternative approach to what would have otherwise been a dour film is what makes it worth seeking out.

★★★★ Directed by: #LouisaFielden Written by: #LouisaFielden Starring: #KristyPhilipps, #YaseminÖzdemir Short Film Review by: #TomWilmot Patrick is a short film written and directed by UK filmmaker Louisa Fielden. The director has produced several shorts in just over a decade, and with her latest effort, explores blossoming sexuality by presenting an awkward, innocent, and somewhat painful encounter. The 8-minute film delivers just enough punch with its simple premise to make it an affecting piece of work. Florence (Kristy Philipps) is having her picture taken by Amina (Yasemin Özdemir), which she plans on sending to an older man she’s been speaking with, Patrick. The two schoolgirls try to get creative with their ideas as Florence desperately needs these pictures to be appealing. Amina eventually suggests a smuttier approach, which leads to a small yet significant sexual encounter. The pairing of Florence and Amina couldn’t be odder; the former an obnoxious narcissist, the latter a timid, religious figure. It’s unclear exactly what their relationship is outside of the plot, especially given that Florence doesn’t appear to have a lot of respect for Amina and frequently talks down to her. However, these details don’t matter by the time we get to the heart of the events that unfold in their hotel room. Patrick has a lot to say about people’s priorities and perceptions with regards to looks. Not only does Florence think it’s weird that she’s never seen Amina’s hair, she also comments that she should wear make-up so as to look better. Looks are everything to her, and this is shown through her obsessive picture-taking escapade where she’s relying on her appearance over her character to sway the elusive Patrick. Similarly, Amina seems to ignore the way Florence treats her and is instead infatuated by her beauty. In this way, the short touches mildly on the shallow mindset that can so easily develop in people, particularly now in the age of social media. After all, it is an Instagram image that gives Amina the idea to take more risqué photos. The intimacy that unfolds between the two during their final round of picture-taking presents a grounded depiction of sexual exploration. Though no notable action is taken, the sexual tension that arises is unmistakable, the introduction of which is handled wonderfully by director Fielden. The shifting focus of the lens between subtle character movements tells us everything that’s going on without the schoolgirls needing to say a word. Even when working with a limited setting, Fielden helms the short film in such a way so that no two shots feel the same. There’s enough variety in the visuals to keep the small-scale narrative consistently engaging. Arguably, the short would still work without any dialogue; such is the skill with which Fielden has crafted the piece. Both Philipps and Özdemir put in solid performances as they take on very different characters. The self-centred Florence is portrayed excellently by Philipps who manages to bring a tinge of sympathy to the character despite her frankly unlikeable personality. Özdemir, on the other hand, is far shier and more restrained, except in a few moments where flashes of desire pour through only to be quickly quelled. With its minimal narrative, Patrick could have been far less impressive if in the hands of a different filmmaker. Fortunately, Louisa Fielden’s subtle and intimate approach makes this a surprisingly impactful short film. Her direction, along with stellar performances and a tight script make this one short worth checking out.