Film Feature by Callum Ewing, James Learoyd and Tom Manning Best Film Callum For me, Hayao Miyazaki’s masterpiece is Princess Mononoke, a film that combines spectacle with a morally complex story. It delivers a nuanced environmental message without dividing its characters into simple categories of good and evil. Lady Eboshi seeks to destroy the forest to mine iron, yet she provides sanctuary for society’s outcasts, while the forest spirits become enraged and vengeful in their defence of the natural world. This moral ambiguity creates a tragic cycle of violence in which both sides have compelling motivations. The film is among Miyazaki’s most visually stunning works, as well as his most visceral and violent. Joe Hisaishi’s beautiful, haunting score elevates it into a tragic epic. Its fragile, bittersweet ending acknowledges that conflict will continue. With its uncompromising stakes, powerful themes, flawless pacing, and immense scale, Princess Mononoke represents the peak of Miyazaki’s work and demonstrates how hand-drawn animation can transcend the medium. No wonder James Cameron took inspiration for Avatar! Honourable Mention: My Neighbour Totoro James James’ favourite Miyazaki is his 1989 family classic Kiki’s Delivery Service. It is also, for him: the best movie of the 1980s, the best movie about growing up, the best movie to contain aspects of fantasy, and (the big one) the best animated movie of all time. Kiki's Delivery Service - Official English Trailer There is no protagonist more lovable, and whose journey more relatable, than that of Kiki – a witch who, on her thirteenth birthday, must leave home and find a town to occupy (all with the companionship of her black cat Jiji). There she is also to find work of some kind, and she does in the form of her own delivery service for a quaint bakery where she resides. As Callum said so eloquently on our episode of the podcast, “it’s about burnout”. Specifically, it’s about your first encounters with disappointment, self-doubt, and depression – and yet it might be the most life-affirming of all Hayao Miyazaki’s movies. It’s the children’s film that teaches the most complex and emotionally mature lessons (about accepting your ups and downs, moving on from failure, learning that you won’t be loved or understood by everyone); and yet it does so in the most whimsical, optimistic terms. One of those rare movies I would be okay with watching once a day for the rest of my life. Tom The film that stands out as being the best Hayao Miyazaki film to me is also one of my favourite films of all time, Spirited Away. The only word that can really describe this film is magical. It epitomises everything that makes Studio Ghibli great with its fantastical world seen through the eyes of a child and some of the greatest side characters you’ll ever see. There’s No Face that represents the greed of humanity and the pitfalls of capitalism; Haku the dragon, and, of course, Kamaji in the boiler room. Spirited Away Official Trailer Spirited Away was the first Ghibli film that I watched, and immediately I fell in love with this magical world. There are few films that are able to create a world as rich and creative as this, and it’s no surprise this is one of Ghibli’s biggest films. I never get tired of watching this film, and there’s so much to take out of it from each viewing. It shows just how powerful animation can be as a medium in film too. Most disappointing/Least favourite film Callum One of my more controversial opinions after watching most of Miyazaki’s films is that I prefer his work from the 1980s and 1990s to his films from the 2000s. Although Spirited Away and Howl’s Moving Castle are classics and fan favourites, they do not engage me as much as something like Princess Mononoke, My Neighbour Totoro, or Kiki’s Delivery Service. Despite their magnificent themes and craftsmanship, I find Spirited Away and especially Howl’s Moving Castle a little too strange. Howl's Moving Castle Official Trailer Howl’s Moving Castle is the film I connected with least because its narrative struggles under the weight of too many abstract ideas. The film is based on Diana Wynne Jones’s book, but it also serves as Miyazaki’s creative response to the outbreak of the Iraq War. For me, this makes it feel disjointed as it tries to balance dreamlike fantasy with an anti-war message. The rules of its dream world are also difficult to follow, and it features some of the weakest antagonists in a Miyazaki film. Although it remains enjoyable, particularly for its visuals, the narrative does not work for me as well as those of his other films. James This is the first director covered on the podcast who, in James’ eyes, does not have a ‘worst’ film in the conventional sense. Howl’s Moving Castle is his least favourite – or, let’s say, the one that lacks the emotional connection of all the rest. The humour is slightly clunky and, out of all his large-scale fantasy epics, this is the work that lacks propulsion. This was a project Miyazaki entered as director only later in the pre-production process, perhaps explaining why it lacks the personal, self-reflective edge of all his other movies. AND YET: Howl’s Moving Castle remains a masterclass in modern technical animation, demonstrating a level of craftsmanship that – were it not helmed by Miyazaki – would surely stand as any other director’s crowning achievement. But in terms of this man’s body of work, Spirited Away is the masterpiece that will always scratch the itch that this doesn’t quite manage to. Tom As we discussed in the podcast, there really isn’t a bad Miyazaki film, and my least favourite is still a film that I enjoy. But, something has to be here and I’ve chosen Porco Rosso for my least favourite of Miyazaki’s films. Porco Rosso official film trailer With Ghibli films, in general, the connection you have with them is one of the most important things and I just felt that I struggled to properly connect to this one. I’m probably due a rewatch and, of course, this has one of the best lines in any Ghibli film, ‘I’d rather be a pig than a fascist’. Where this film falters for me, is with the romance arc surrounding Fio and how the pilots fawn over her. It’s just a little bit uncomfortable and reduces an interesting character to this one-dimensional situation. The score is still great and it’s always fascinating to see Miyazaki’s love of aviation on the screen with fantastic sound effects and beautifully crafted planes. It’s a film that I wish I liked more which I think is why it’s fitting to be my least favourite. Most overlooked Callum Nausicaä of the Valley of the Wind is my choice for Miyazaki’s most overlooked film. His second feature predates Studio Ghibli, so it is often absent from box sets and missed by casual audiences. Nausicaä of the Valley of the Wind official trailer Based on Miyazaki’s own manga, the film is a science-fiction epic influenced by novels such as Frank Herbert’s Dune and J. R. R. Tolkien’s The Lord of the Rings. Its post-apocalyptic setting may deter viewers seeking something more whimsical, and its dense world-building can sometimes overwhelm, but its ambition remains impressive. The film also establishes the blueprint for Miyazaki’s later work: Nausicaä is a fierce, independent heroine who inspires characters such as San; its environmental themes explore conflict between humanity and nature without reducing it to good versus evil; and it marks Miyazaki’s first collaboration with Joe Hisaishi, whose magnificent synthesiser score enhances the film. Nausicaä’s success gave Miyazaki, Isao Takahata, and Toshio Suzuki the resources to found Studio Ghibli, while its artistic vision shaped the studio’s future and proved that Miyazaki could become a major animation director. Honourable Mention: Castle in the Sky James The Wind Rises is James’ pick for Most Underrated. Despite its critical acclaim, it’s simply not discussed enough in movie circles – especially considering that until The Boy and The Heron was announced, there may have been a sad reality in which this ended up being his final film. The Wind Rises official film trailer The Wind Rises is Miyazaki’s most personal work in so many ways, crystallising his love of aeronautical engineering, his fascination with the conflicted father figure, and – perhaps most importantly – it's about the act of creation, and all the pains and doubts that come with it. It’s one of the most beautiful films about the creative process as I’ve ever seen; but here, it’s a process placed in a historically and personally destructive context. His only animation that doesn’t contain any elements of the fantastical is, in fact, one of his most imaginative and free-flowing. There are maybe just one or two movies in my lifetime that I consider more moving than this one. Tom The most overlooked Miyazaki film has to be Nausicaa of the Valley of the Wind, which is one of Miyazaki’s earliest works and is one of his best. I only watched this film for the first time recently but it immediately struck me as being one of the most interesting looks into what a post-environmental collapse world would look like. It begins with this sci-fi western-style opening, which immediately hooked me and then Miyazaki introduces the Ohms which I think are my favourite parts of this film. They are these misunderstood creatures that the characters are scared of, apart from Nausicaa who is the only one to understand them. This follows quite a familiar trope in Miyazaki’s work where the child main character is the only one to understand either the villain or a force that everybody else dislikes. It’s an incredible film that has a lot to say about the damage we have inflicted on the planet through war and climate change. It also explores aviation in a way that Miyazaki hasn’t done since with the gliders that Nausicaa uses being fantastic to see too. It’s a brilliant film that deserves a lot more love especially when being talked about amongst the best of Studio Ghibli. Listen to both episodes of The Films of Hayao Miyazaki below:

★★★ Directed by: Martin Darondeau, Bertrand Usclat Written by: Bertrand Usclat, Martin Darondeau, Pauline Clement, Clemence Dargent Starring: Pauline Clement, Julien Frison, Laurent Stocker, Marina Hands Film Review by: Jason Knight A comedy drama feature directed by Martin Darondeau and Bertrand Usclat, written by Usclat, Darondeau, Clemence Dargent and Pauline Clement and starring Clement, Julien Frison, Marina Hands and Laurent Stocker. Things are not going smoothly at a Parisian theatre. It is the day that stage actress Nina (Clement) will have her directorial debut and the Culture Minister will be attending. The play is William Shakespeare's Macbeth, and the lead actress has just informed the crew that she will be unable to be there in time. So poor Nina finds herself having no choice but to take her place and play the part. As if this were not enough, Nina has to deal with other issues that include actress Emilie (Hands) cheating on her partner, actor Philippe (Stocker), with another actor, named Antoine (Frison), stage equipment malfunctioning, and her former partner (Nicolas Chupin) bringing their baby at the theatre and making her look after him. The narrative is a sort of race-against-the clock plot, with the story beginning at 6pm and Nina trying to resolve all sorts of problems in order to save the show, which starts at 9pm (every half an hour, the time is shown on-screen). The whole thing is reminiscent of the 2014 Oscar-winning film Birdman, with the entire story taking place inside the theatre, multiple characters being explored, some well-executed tracking shots, and music by Clement Ducol that includes drumming. A variety of issues arise as things move on and Nina has to deal with them (she is the director after all), and what ensues is drama, awkward situations, disputes, and thoughtful moments. Comedie Française Official Film Trailer As the main character, Nina is a likeable individual, a caring mother with a passion for her profession. Now she has found herself in a challenging position, having to overcome obstacles while also discovering herself. Stocker stands out as an obnoxious man, a disrespectful actor, unaware that his partner is having an affair. Nadine (Daniele Lebrun) is another interesting character, a veteran actress who is also a drug user. An intriguing subplot is the one involving Issa (Sefa Yeboah), a friendly young usher who evidently should be performing on stage. This feature explores the world of theatre, what it is like working in this industry, be it as a performer or another position, including director, stage manager or make-up artist (the latter being approached via Sephora Pondi's character). From a different perspective, this is a story about self-esteem, self-discovery, self-reflection, family values and working towards a goal. A somewhat short film (one hour and ten minutes) that manages to be funny and dramatic. The appearance of a certain famous French playwright adds significant quality, and so do the costumes by Chloe de Nombel. Comedie Francaise will be in UK Cinemas from 9th October.

★★★ Directed by: Joscha Bongard Written by: Joscha Bongard, Nicole Rüthers Starring: Maja Bons, Bea Brocks, Liliom Lewald Film Review by: Thomas Manning Babystar is a German film directed by Joscha Bongard that feels eerily familiar in 2026. It’s a film that strips back the pretence and façade of a social media influencer family and examines the alienation caused by late-stage capitalism. It follows the teenage daughter, Nunki (Maja Bons) with her mother, Stella (Bea Brocks) being a make-up influencer and father, Chris (Liliom Lewald) being a fitness influencer. It’s a family dynamic that anyone who has spent an evening doomscrolling social media will immediately recognise and relate to. But what happens to those who are born into this type of family, where every moment of their life, from the very birth to their daily yoga session, is filmed and recorded on Instagram or TikTok? This is a question that Bongard asks in Babystar, and he ends up giving an interesting study into this life. The film opens with a selection of security camera footage that immediately sets the tone to the surveillance and image-focused world this is set in. This is a technique that recurs as Nunki attempts to stay connected to their family even when she leaves it. The score from this opening scene is beautiful, with an orchestral choir creating an atmosphere that is unsettling enough to keep viewers on the edge of their seats. As the film progresses, it becomes clearer that the façade of their perfect family is hollow and Nunki becomes increasingly depressed and isolated. This accelerates with the announcement that Stella and Chris are looking to have another child, which causes Nunki to spiral into feelings of abandonment. This reaches a climax with a particularly disturbing scene in a restaurant that causes Nunki to move into a hotel away from her parents. Babystar Official Film Trailer This character development is where the film slightly falters, narratively. Maja Bons plays the character of Nunki fantastically, but the writing of her character feels rushed at points and hypocritical at others. After witnessing the damage this influencer life is causing her, she still continues to participate in it and take advantage of others. This perhaps speaks to Nunki’s inability to form genuine human connections through the isolation this social media life has caused her. One of the most interesting parts of this film is the relationship Nunki has with her AI avatar that her social media team had been developing. Nunki continues to use this avatar as a form of therapy, but it always remains hollow and highlights Nunki’s inability to connect with people on a personal level. This is seen when mirroring this relationship with her relationship with Julie (Joy Ewulu). In early scenes, it appears that there is a connection between the two for a genuine friendship yet as the film progresses, this friendship ends up centring around her brand and becoming about her social media. In many ways, this film is about Nunki trying to break from the cycle of being a brand and, instead, try to find herself as a person. The ending gives an indication that this can be possible, but at points Babystar only scratches the surface of its critique on this influencer world. It is, however, a thought-provoking and poignant film for today’s society. Babystar will be in UK Cinemas from 25th September 2026.

Film Interview by Chris Olson One of the greatest joys of film criticism is the conversation that comes after the credits roll. At UK Film Review, we often review indie features that push boundaries or tackle unconventional narrative structures, but it is a rare privilege to sit down directly with the creative minds behind them to dissect why and how those films came to be. I recently had the pleasure of hosting a special video interview with Canadian filmmaking duo Mark Wolfe and Kerry McArthur, the directors and writers behind the indie feature The Orchard, which we recently reviewed on the UK Film Club podcast. Joining me all the way from Creston, British Columbia, nestled in the picturesque Pacific Northwest near the Idaho border, Mark and Kerry brought a wealth of academic rigor, passion, and pragmatic insight to our discussion. What began as a chat about their debut feature quickly evolved into a fascinating exploration of narrative tragedy, subverting genre tropes, and the DIY realities of independent cinema. From Academia to the British Columbia Backcountry Before stepping behind the camera, both Mark and Kerry spent decades in academia. Kerry holds a PhD in film studies from the University of Calgary, specialising in English Canadian narrative structure, while Mark worked extensively in media history, theory, and complexity science. Having spent years analyzing media, the pair decided to circle back to hands-on production during what they whimsically call their "working retirement." Interestingly, The Orchard was born almost by accident. While living on their property in British Columbia, an idea struck during a casual evening with their family. Mark’s son-in-law had lost part of his finger in an industrial accident, sparking a creative lightbulb moment: what if a young man inherits a rural orchard, loses a finger, gets hooked on painkillers, and spirals into addiction and paranoia? What started as a fun, low-budget project made among family and friends soon demanded professional treatment as the quality of the performances, particularly from lead actress Kate Webb, impressed them enough to upgrade their equipment and pursue distribution. Redefining Horror as "Dark Drama" During our interview, we delved deeply into the film’s unique tone. When we reviewed The Orchard, I noted that while it contained clear horror elements, evoking the eerie, atmospheric dread of classic Stephen King fables, it didn't fit neatly into traditional genre boxes. Kerry explained that this subversion was entirely deliberate. Drawing from her academic research, she highlighted how traditional Hollywood "hero's journey" arcs and forced happy endings rarely interest Canadian storytellers. Instead, she was inspired by classical Greek and Shakespearean tragedy, as well as modern antihero television like The Sopranos and Breaking Bad. In The Orchard, the protagonist is fundamentally flawed and doomed by his own tragic missteps. When submitting the film to festivals, the pair faced rejections simply because programmers didn't know where to categorise a movie that straddled psychological thriller, drama, and horror. It was ultimately a European festival that provided the label that stuck: "Dark Drama." Kerry noted that dark drama focuses heavily on trauma, addiction, and emotional descent, offering a compelling canvas for storytelling that audiences are increasingly eager to explore. Building the "Orchard Story World" What made our conversation even more exciting was learning that The Orchard is merely the launching pad for a broader cinematic universe. Mark and Kerry revealed that they have expanded their work into a thematic trilogy set within the Creston Valley. The second feature, Exophoria, brings back actress Kate Webb in a new role as a travelling locum doctor fleeing her own severe PTSD. She stumbles into a local mystery involving teenagers who fall into a shared, hallucinatory coma after taking a custom designer drug. The third installment, Dysphoria, which the pair are currently finishing, acts as a direct sequel to Exophoria, forcing the doctor to directly confront her inner demons while trying to save another pair of afflicted youths. Mark shared how their directorial process has evolved across these projects. Operating in a small town of 5,000 people meant working with local, non-professional actors and rehearsing directly on set. Over time, they embraced a highly collaborative approach inspired by directors like Mike Leigh, encouraging actors to offer their own character interpretations and readings. More often than not, those spontaneous, actor-led takes ended up in the final cut. Supporting Independent Cinema As our interview drew to a close, we reflected on the vital connection between filmmakers, critics, and audiences. Mark and Kerry emphasised how crucial constructive dialogue and community support are for indie artists, encouraging moviegoers to look beyond traditional film circles, engage with creative communities, and champion unique stories. The Orchard is currently available to stream on platforms including Amazon Prime Video and Tubi. For anyone interested in how low-budget cinema can subvert expectations and build haunting, character-driven worlds, I highly recommend giving it a watch and keeping an eye out for the next chapters in Mark and Kerry's growing dark drama anthology. Watch the full interview below:

By Chris Olson Stop Scrolling Start Watching Find exactly what to watch across all your streaming services. No endless scrolling. That is the official tagline for the app FlickPicker, and it definitely taps into the gruelling apathy that can descend on film fans when attempting to decide on something to watch using the utility belt of streaming services we have all found ourselves paying for. Whereas choosing a movie used to be selecting from the TV guide, the endless choice we have been presented with also presents us with a dilemma - how do you choose? Having been approached by the makers of the app, they asked me to conduct a fair and honest review of their service to see how it could benefit our lovely community of film fans at UK Film Review. So let's get started. Setup FlickPicker's native app is currently available for iPhone and iPad, but there is also a browser companion at https://theflickpicker.com. There is no native Android app at present, although the browser version is available to Android users and Apple MacBook users (which is what I have used). During setup, you get a slick set of questions to get you enrolled, including a nice array of popular streaming services to choose from. Then you pick your shows to (I assume) help the algorithm gods know what type of stuff you like to watch. I am always cautious of this, as someone who likes a wide variety of viewing content, but I liked the way they also included the suggestion to tag things you plan to watch. It gives you a small selection, and there is a search function to find more niche shows. You do the same for movies, and then create your account. This can all feel a little familiar if you have ever set up a new app on your phone, but film fans will likely enjoy the chance to declare their various filmic loves; I know I do. My Watchlist After completing the setup, you are able to access the app’s various functions, including My Watchlist. This contains titles the user has chosen to save, with slick options on each film’s card to see: Where to stream it The IMDb & Rotten Tomatoes average scores The year it came out Watch the trailer Mark it as watched (and then review it - a bit like Letterboxd) A “Watchlisted” tag which you can click to remove it from your list FlickLog When you have seen a film, you have the option to review it, which gets added to your FlickLog. This is a cool way of keeping track of the films you have watched and what you thought of them. It serves as a handy personal archive, ensuring you never accidentally rewatch a terrible, subpar horror at two in the morning thinking it is fresh content. Or, if you are like me, wondering whether you have already seen it and getting 10 minutes in before you go, "Ah, I remember, he did it!". FlickFinder This is the major feature of an app like this, allowing you to customise your search using filters relevant to you. So many times I have wanted to be able to do this within a platform like Netflix or Amazon Prime Video to help separate the wheat from the chaff. The filters include things such as: Platform Genre Language Release Period Runtime (my absolute favourite - under 90 mins, yes please!) IMDb Rating - this is super cool Hide Watched Content (this uses your FlickLog - although you may need the Premium version, see below) Being able to strictly filter out anything stretching past the two-hour mark is essential for people like me, who only get to watch a movie after putting the kids to bed. AI Picks With its built-in FlickPicker AI, you just have to tell it the sort of movie you are looking for, and it will suggest some. I tried the prompt “A cosy Sunday evening movie,” and it suggested The Wild Robot, Forrest Gump, and The Intouchables. It also said: “I’d start with The Wild Robot — soft, warm, and genuinely lovely without being syrupy. If you want a more classic, comforting lane, Forrest Gump is the easy Sunday blanket movie. If you want something a bit brighter and more human, The Intouchables has the right mix of charm and heart.” This felt quite useful, giving a little more reasoning behind the movie recommendations. It then offered some quick-fire prompts, one of which was “Make it cosier” which I liked. It then suggested Paddington 2, Kiki’s Delivery Service, and Amelie. From the selections, I clicked Paddington 2 and was provided with a pretty extensive page about the film. I then selected iPlayer, and it took me to the corresponding page on that platform to watch. A pretty seamless experience! Minor Quibbles I use a lot of Android devices, and as mentioned, the app is only available on iPads and iPhones, which is going to limit its appeal somewhat. Many will be happy to use the web version, however, and I am sure the developers will release an Android app in the near future. When using the FlickFinder option on the browser version, I did experience quite a slow experience in terms of how long movie suggestions took to turn up. A bit of polish and speed optimisation is definitely needed here if it wants to beat the sheer convenience of traditional scrolling. Premium I wanted to experience the app as a standard user, rather than all bells and whistles, so I signed up without Premium. Correct as of 2nd September 2026 Working out at around £2.50 per month (if paying annually), a “Premium companion” subscription allows you to: Browse global availability Filter by actor, director, and other people (I like this) Hide titles you have already watched Use unlimited AI recommendations Carry the same Premium access from iPhone to web Some of these features are pretty interesting, in particular the filter by person option. So many times I find myself saying to my wife, I fancy a Richard Curtis movie tonight, or shall we do a Nolan film? (Or, if I am feeling particularly nostalgic, About Time, which happens to be my absolute favourite film). This would help locate those movies a bit quicker. But I am not sure it’s worth yet another monthly subscription in an era where we are already subscription-fatigued to maximum capacity. Extra Features FlickPicker also includes a “Collections” section where you can access franchises, as well as a “Trailers” section where you can watch the latest movie trailers. This feels like a nice addition to the app, expanding it beyond just finding what to watch tonight. You can also take a look at the “Trending” section, which shows some of the newest releases. Likewise, there is a “Similar Content” option, where you can put in a film like “About Time” and it will show you similar movies. Most platforms have these built in already, but it’s nice getting a wider spectrum relevant to the services you have, and you can also use that terrific IMDb Rating slider to get better movie suggestions. FlickPicker also tracks TV shows episode by episode, imports viewing data from TV Time, Letterboxd, IMDb, and Trakt, and now includes live-synced shared lists, watch parties, and friend rating comparisons. Conclusion A slick and cohesive experience for movie fans with some cool functions to help reduce the lag time when trying to find a movie to watch. The AI Picks is potentially the most effective part of the app, creating that rapid-fire dialogue users will crave, almost like you are talking to a film critic for their opinion (although, in my house, that rarely happens!). As with movie-based apps like Letterboxd and IMDb, the more you use it, the more you will get out of it. And once you have amassed a long FlickLog, it will likely get to know you better and better. It needs to work out the kinks (see Minor Quibbles) and perhaps find a way to make the Premium version a little more enticing - perhaps affiliate discounts to streaming platforms or IMDb Pro discounts etc. Overall, an intriguing and robust experience and one I look forward to continuing as a new user. Head to the App Store now to download - https://apps.apple.com/us/app/flickpicker-movie-night/id6775147318

Film Festival Feature by Chris Olson Olivia Colman in Wicker (2026) Film lovers across the South West are preparing for one of the most vibrant fixtures on the UK cinematic calendar: the 36th edition of the Bath Film Festival. Running from 16 to 25 October, this 10-day celebration of cinema presents a remarkable blend of major autumn festival previews, internationally decorated triumphs, and intriguing UK premieres across the historic city. What makes Bath Film Festival so vital, especially in an era where film consumption can feel isolated and algorithm-driven, is its unwavering dedication to shared human connection. With over half the programme F-rated, celebrating work written and directed by women and non-binary filmmakers, the festival consistently pushes bold, necessary perspectives to the fore. The newly unveiled 2026 programme has given film fans plenty to get excited about. Having combed through the lineup, here are the absolute top titles you may want to see. Wild Horse Nine Serving as the Opening Night Gala, Wild Horse Nine instantly leaps out as an unmissable theatrical event. Director Martin McDonagh follows up the sublime brilliance of The Banshees of Inisherin with a pitch-black comedy starring Sam Rockwell, John Malkovich, and Steve Buscemi. Wild Horse Nine Official Film trailer Set against the chaotic backdrop of CIA agents embroiled in the 1973 Chilean coup, McDonagh’s knack for razor-sharp dialogue, absurd moral dilemmas, and explosive dynamic performances promises to start the festival with a bang. Catching this powerhouse cast on the opening night will set the bar sky-high. Fjord Fresh off winning the prestigious 2026 Palme d’Or at Cannes, Cristian Mungiu’s Fjord feels like required viewing for anyone who appreciates deep, masterfully crafted drama. Our critic, Jack Salvadori, reviewed this previously. Read our Fjord film review. Fjord Official Film Trailer Reuniting Sebastian Stan and Renate Reinsve, the film explores the intense psychological pressure on a pair of parents whose family unit faces scrutiny within a tight-knit, isolated Norwegian community. Mungiu’s ability to weave taut moral tension out of human vulnerability is legendary, and pairing two of modern cinema’s most exciting actors under his direction promises an unforgettable experience. Wicker If you are looking for pure cinematic eccentricity, Wicker sounds like an utter delight. Billed as an unconventional adult fairy tale, the film stars the magnificent Olivia Colman as an outcast fisherwoman who decides to hire a local basketweaver—played by Peter Dinklage—to craft her the perfect husband. The whimsical, darkly comedic potential of Colman and Dinklage sharing the screen in such a surreal narrative is immense. It is exactly the kind of idiosyncratic, inventive story that festival audiences live for. The Debut Written and directed by Jesse Eisenberg, The Debut brings a sharp, character-driven comedy to the festival. The story follows a reserved housewife whose minor role in a local community theatre production devolves into a hilarious, obsessive war over creative integrity. The Debut Official Film trailer Starring Julianne Moore and Paul Giamatti, the project possesses a formidable acting pedigree. Eisenberg has proven himself to be a wonderfully observant storyteller, and seeing Moore and Giamatti lock horns over small-town theatrics is guaranteed to be a highlight. I Love Boosters Closing out the ten days in chaotic style is I Love Boosters, the new crime comedy from Sorry to Bother You auteur Boots Riley. Read our I Love Boosters film review. I Love Boosters Official Teaser Centred on an intrepid crew of female shoplifters taking aim at an unrepentant, ruthless fashion mogul, Riley’s anarchic spirit and fiery social commentary are tailor-made for a Closing Night Gala. If his past work is anything to go by, audiences can expect a stylish, wildly unpredictable, and fiercely energetic finale. UK Premieres to Watch Beyond the headline galas, Bath Film Festival remains a fantastic launchpad for emerging talent and undiscovered regional stories. This year brings four exclusive UK premieres, including the South West coming-of-age thriller Such a Vivid Imagination, which follows a 12-year-old girl who finds a body in the woods that vanishes before anyone can verify her story. With the filmmakers attending for post-screening Q&As, as well as the team behind the tense Canadian thriller The Parking Spot, these sessions offer the rare, intimate dialogue between creators and audiences that makes festival-going so rewarding. Whether you are seeking heavy-hitting award contenders, quirky indie breakouts, or thought-provoking documentaries like the Sundance-winning Nuisance Bear, Bath Film Festival 2026 is shaping up to be an extraordinary ten days. Tickets go on public sale on Friday 11th September, so clear your diaries and get ready to dive in.

Star rating: 5/5 Director: Soren Sorensen Omar Sosa's 88 well- tuned drums, directed by Soren Sorensen, is a joyful, textured documentary film that truly brings Omar Sosa's spirit and trajectory to life. 'There is a border between being a great musician and a great artist. Omar has crossed that border a long time ago', says legendary Cuban jazzist Chucho Valdes. As the documentary illuminates, Omar Sosa's artistry is demonstrated by his preference for fusion of genres- jazz, funk, classical. He weaves different musical threads, virtuously. He is described as a conceptualist. We learn a lot about Omar's musical influences, not least from the US latin jazz scene, as well as some unique experiences he had, not least a visit to Africa. Omar Sosa's 88 well tuned drums, title which is a reference to the piano, Omar's core instrument which he sees as a percussion instrument, is narratively strong, featuring interviews with key people in his life and career. Visually, it takes on a brilliant journey to many of Sosa's gigs in some incredible places, mostly in the Americas but also in Africa. It also features warm, eye catching animations which give the piece a bit of a chapter structure. They are intersections telling the viewer the story of the Yoruban diety Elegguá, master of life's cross-roads: decisions, opportunities, openings and obstacles. All of which are central to the creative life, and of high importance to the Afro-Cuban tradition that holds him as a popular diety, guardian of homes. This is a high quality piece is one of the most interesting genres, and one with a fair amount of canon. It doesn't disappoint, and you will want to listen to Sosa's repertoire for days to come. A real discovery.

★★★★ Directed by: Adrian Chiarella Written by: Adrian Chiarella Starring: Joe Bird, Stacy Clausen, Jeremy Blewitt, Mia Wasikowska Film Review by: William Curzon Leviticus follows two teenage boys, Naim (Joe Bird) and Ryan (Stacy Clausen), living in an isolated, conservative town as they must escape a violent entity that takes the form of the person they desire the most - each other. Leviticus premiered at the Sundance Film Festival back in January and has finally been released in the UK after months of festival buzz. As a debut feature film from writer/director Adrian Chiarella, the film is based on his own experiences of homophobia as a teenager. The horror films he turned to as a form of escapism have clearly influenced the premise of Leviticus. In that respect, the piece feels incredibly personal, and the core ideas it presents are undoubtedly intriguing despite how derivative it feels of previous titles such as It Follows (2014). While it may wear its influences on its sleeve, it's a confident debut that is both tragic and romantic, blending both the horror and tenderness of the central relationship between Naim and Ryan. Some viewers may be disappointed by the lack of traditional horror elements; however, the film features several effective jump scares that are sure to get under audiences' skin. The film runs a relatively brisk 88 minutes, but at times it feels like a short film stretched into a feature because of a lack of characterisation. Adrian Chiarella’s script doesn't lay enough groundwork to fully invest the audience in Naim and Ryan’s individual struggles, despite their compelling chemistry. The themes of queer isolation and self-discovery are incredibly evocative; however, the coming-of-age aspects sadly fail to resonate as the audience never spends enough time with each character. That said, one of the most surprising elements is its comedic charm. Despite the grim subject matter, the script strikes a careful balance between its comedy and dramatic tension, ensuring neither feels jarring or out of place. While the film isn't particularly scary in a traditional sense, writer/director Adrian Chiarella really knows how to build tension through the visceral outbursts of violence. Tyson Perkins, the film's cinematographer, does a fantastic job framing each scene, balancing expansive wide shots with intimate close-ups during the more personal moments between Naim and Ryan. The shift to handheld while tracking Naim in an intense sequence is incredibly dynamic and may keep viewers on the edge of their seats. From a technical standpoint, it may encourage audiences to anticipate Adrian Chiarella’s future work as an indie filmmaker, as this is a terrific showcase of what he can accomplish in-camera. The camera rarely shies away from the entity's violence, yet it never feels gratuitously gnarly. Perhaps the film’s greatest strength lies in the central performances by Joe Bird and Stacy Clausen, who portray Naim and Ryan, respectively. They both convey the sheer struggle and tenderness that grows between them as this entity takes hold of their desire. The entity is a manifestation of their guilt and one of the most interesting ideas the film presents. Their chemistry is undoubtedly moving, and the narrative wouldn't have worked as well without their compelling relationship. The supporting players are also terrific, in particular Mia Wasikowska as Naim’s mother, Arlene. She conveys the self-righteous and cruel portrayal of a mother who thinks she's doing what’s right for her son, yet her bigoted personality torments his life and relationship with Ryan. It's easy to see why Leviticus has generated festival buzz since January. Adrian Chiarella’s assured debut feature is both personal and visceral in its depiction of queerness and horror. While it may feel somewhat derivative of the horror films that came before it, Leviticus boasts an incredibly intriguing premise and two utterly mesmerising turns from Joe Bird and Stacy Clausen.

Film Festival Feature by Chris Olson The crisp autumn air is descending upon the capital, which can only mean one thing for cinema lovers: the BFI London Film Festival is back for its 70th edition. Running from 7th to 18th October, this year's programme is nothing short of a gargantuan cinematic feast, boasting 251 titles spanning features, shorts, series, and immersive projects from 88 countries. As always, the lineup presents that familiar, delightful headache for critics and filmgoers alike: how on earth do you choose what to see? The full programme drop has given us a mouth-watering glimpse of what is to come. Having been intrigued by certain movies appearing this year by reviews from our own critics, such as Jack Salvadori, who attended Cannes 2026, as well as seeing familiar names in the recent press release we received, I am itching to get started covering this year's LFF! Ink Securing the prestigious slot as this year’s Mayor of London’s Gala, Danny Boyle’s Ink is easily one of my most anticipated screenings of the entire festival. Adapted from James Graham's blistering stage play, the film promises a kinetic, high-energy dive into the early Fleet Street career of media mogul Rupert Murdoch. Boyle’s frantic, propulsive directorial style feels like the ultimate match for the chaotic, ruthless world of 1960s British tabloid journalism. If Boyle can capture even a fraction of the raw theatrical energy that made the stage show such a runaway triumph, London audiences are in for a proper thrill ride at the Royal Festival Hall. The Trip to the Northern Lights Is there anything more comforting than sitting back to watch Steve Coogan and Rob Brydon squabble over gourmet cuisine while doing Michael Caine impressions? The answer is a resounding no. Reunited once again with director Michael Winterbottom, the iconic duo are taking their trademark banter, improvised neuroses, and culinary explorations across Northern Europe in The Trip to the Northern Lights. Presented as a Series Special Presentation, this fifth instalment in the beloved series promises more of the brilliant, light-hearted, yet strangely poignant observational comedy that has made their ongoing travelogues a staple of British popular culture. I cannot wait to see how they handle Scandinavian fine dining and frigid climates. Wildwood Animation lovers have plenty of reasons to celebrate at LFF 2026, but Travis Knight’s Wildwood feels like a genuine event. Coming from the legendary animation studio Laika, the mastermind creators behind Coraline and Kubo and the Two Strings, this World Premiere promises to deliver the studio's trademark blend of breathtaking stop-motion craftsmanship and rich, atmospheric storytelling. Wildwood Official Film Trailer Set in an enchanted wilderness just outside Portland, the film follows a young girl venturing into an uncharted woodland to rescue her younger brother. Laika never fails to push the absolute boundaries of what physical, frame-by-frame animation can achieve, and catching this on a massive festival screen is high on my personal priority list. Club Kid Every festival needs its wild card, and Jordan Firstman’s feature directorial debut, Club Kid, looks set to be one of the most talked-about comedies of the fortnight. Club Kid official film trailer Firstman has already built a formidable reputation for his razor-sharp, social-media-literate satire, and bringing his unique comedic lens to a narrative feature feels like a natural and deeply exciting progression. Screening as part of the Gala lineup, Club Kid promises a hilarious, chaotic dive into youth culture, nightlife, and modern vanity. After reading our very own Jack Salvadori's Club Kid review, I am particularly looking forward to seeing how Firstman’s distinctive, irreverent voice translates to the big screen, and I suspect this one will have audiences laughing out loud in the aisles. Beyond these major titles, part of the magic of LFF is the thrill of the unknown. With 33 World Premieres and debuts from dynamic new filmmakers like Ashley Walters, Shalini Adnani, and Harvey Zielinski, the potential for discovering a future masterpiece around any corner is immense. Add to that the return of heavy-hitting festival alumni such as Martin McDonagh, Taika Waititi, Mike Leigh, and Florian Zeller, and the 70th anniversary is shaping up to be an unforgettable celebration of global cinema. Whether you are planning to park yourself at BFI Southbank for twelve straight days or catch a screening at one of the partner venues across the UK, there is a whole world of cinema waiting to be explored. I'll be the guy sitting at the end of an aisle with a diet soda and a giant grin on his face.

Interview by Chris Olson Thanks for speaking with us at UK Film Review. Where in the world are you right now? Thanks for having me! I’m currently at home in Scotland. For those who don’t know you, how would you describe your career? I started out as an actor working in independent film, and around five years ago I began collaborating with British Horror Studio, previously known as Hex Studios. Over the last few years, I’ve also started working behind the camera as well as in front of it, and I tend to wear many hats across British Horror Studio productions. Most recently, I made my feature directorial debut with Spoiling You, an ASMR horror film which premiered at Romford Horror Film Festival in February 2026. Megan Tremethick in Spoiling You I’ve definitely caught the directing bug now, and I love making films with British Horror Studio, so I very much intend to keep doing that for the foreseeable future. At least, as long as they’ll have me! You have increasingly expanded from acting into writing, directing, editing and other areas of filmmaking. Do you now think of yourself primarily as an actor who also directs, or simply as a filmmaker? I think of myself as both. Acting is still my first love and, probably by a little bit, still my biggest love. At least for now, I feel like acting will always need to be part of the films I’m directing, although we’ll see how that develops in the future. I just feel incredibly lucky and privileged that I’m able to make my own films with my friends and collaborators, and that I’m also able to act in them. At the same time, I get to help bring my collaborators’ films to life too, whether I’m working in front of the camera or behind it. I may love acting just a little bit more, but at this stage I couldn’t give up filmmaking or directing either, because I love those just as deeply in a different way. Spoiling You is your first feature as a director. What did making a feature allow you to explore that you had not been able to explore in your short films? Making a feature really threw me into the thick of it. Each of the short films I directed felt like a big challenge at the time, but directing a feature, while also acting and working behind the camera in collaboration with the team, felt completely different. It was a bit of a trial by fire, although a very enjoyable and satisfying one. Spoiling You Official Teaser Trailer I was able to spend much more time on set as a director, and the feature format gave me so much more scope for the story I wanted to tell. That extra screen time allowed me to add more nuance, explore the characters and themes in greater depth, experiment more with surrealism, and ultimately begin to find my own voice as a filmmaker. I’m proud of my short films, but I think each one perhaps reflected particular inspirations I had at the time. Spoiling You absolutely has major influences too, particularly Takashi Miike’s Audition, as well as Perfect Blue and J-horror more broadly, but with a feature I felt an even greater responsibility to put my own interpretation fully onto those influences. Otherwise, what would be the point of making it? That longer running time also means you can play with the audience more, in the best and most enjoyable sense. You can build atmosphere gradually, and allow ideas to evolve in ways that simply aren’t possible within a short film. I’m incredibly grateful that I had the opportunity to do that. You wear several creative hats on Spoiling You, including co-writer, director, editor and performer. How do those different roles communicate with one another during the filmmaking process? With Spoiling You, I feel incredibly lucky that I was given a good amount of creative control. Lawrie Brewster was my co-writer and a producer on the film, alongside Sarah Daly as a producer, and I’m very grateful that they trusted me with so much of the creative direction. Because of that, the different roles I had on the film often fed into one another quite naturally. I’m a very visual person, so before I had even written some of the first drafts of the script, I was already sketching out certain images I wanted in the film. They were very rough sketches, because drawing is not one of my strengths, but they helped me work out the visual ideas in my head. I also did costume mock-ups and thought about specific imagery before some of the scenes were fully written, and often the writing would then grow out of those visual ideas. Of course, none of that would have been possible without the team actually bringing those ideas to life. I could imagine how I wanted Miss Mutter’s lair, the labyrinth she inhabits, to look, but it took the British Horror Studio team to physically build that world and make it real. That support was equally important on set. Tom Staunton, our production manager, and Calum 'Caz' Paul, our first AD, were particularly fantastic. They helped make sure the shoot ran smoothly enough that, when I was performing as Miss Mutter, I had time afterwards to watch my takes back and make sure I was happy with the performance. I didn’t have to rely on somebody else telling me whether a take was working. I could actually always review it myself. Because the team gave me that space, I felt an even greater responsibility to know as closely as possible what I wanted before we got to set. I didn’t want to waste anyone’s time. If I knew we had the shot, I wanted us to move on rather than doing extra takes unnecessarily. Megan Tremethick with DOP Michael Brewster I also loved collaborating with Michael Brewster, our director of photography. I like to be very involved in developing the shots, and Michael was incredibly open and collaborative with that. If I had an idea that wasn’t technically going to work, or if I wasn’t sure how to achieve a particular image, he would find a solution or suggest something better than I could have imagined. That balance between having a strong idea of what you want and being open to the expertise of the people around you was incredibly important. The editing process also affected the way I directed. I would describe myself as a co-editor on the film with Lawrie, and during the shoot I was very conscious of the edit I already had in my head. In most cases, I was effectively shooting for that edit, which made things much smoother because I knew what material I needed. Performance was another major part of it. One of the reasons I wrote Spoiling You was because I wanted to give myself an acting challenge in a role that I might not otherwise have been offered. I never wanted the demands of directing to mean that I neglected the performance. The only way I could manage that was through a lot of preparation. Alongside preparing the film with the team, I made sure I still gave myself enough time to learn the lines and really find Miss Mutter physically, emotionally and vocally. I’m very glad I did, because once we were on set I needed to be able to step into the character fully, perform the scene, and then immediately step back out again and become the director. It also was an enormous help that the exceptionally talented Stephen Kerr who played Drew, and the phenomenal Laurence R. Harvey who played Miss Kitty Mutter both instantly brought their A-game every single day of filming, and they felt effortless to work with! Megan Tremethick as Miss Mutter Independent filmmaking often requires directors to work within practical limitations. Were there any restrictions or limitations on Spoiling You that ultimately led to creative choices you are particularly proud of? Honestly, though, I ended up seeing that as a blessing rather than a restriction. It gave me more time between each section of the film to focus very specifically on what was coming next. We could prepare the production in more detail, and make sure each block had the attention it needed. You are involved with For We Are Many 2 both in front of and behind the camera. What is it like contributing to an anthology where different filmmakers are working within the same broader horror universe? Honestly, it was so much fun. The other directors, actors and creatives involved in For We Are Many 2 are also good friends of mine, so there was a real sense of community around the whole thing. Megan Tremethick Gothic Horror Promotional by Michael Brewster I directed my first ever short films as part of For We Are Many 2, and some of my friends also directed their first shorts for the anthology, so that made the experience feel particularly special. It was really lovely to see people getting the opportunity to try something new and develop their own voices as filmmakers within the same project. One of the things I love most about For We Are Many 2 is how different so many of the shorts are from one another. I really hope that variety means there will be something in the anthology for everyone, and that every viewer will find at least one short that particularly resonates with them. Personally, that is what I enjoy in an anthology as an audience member too. I don’t want every segment to feel too similar. I want them to have completely different identities, tones and approaches, and I think For We Are Many 2: Lovecraft really has that. Has becoming more involved in writing and directing changed your relationship with the acting industry or the kinds of acting roles you now want to pursue? I suppose it probably has, actually, now that I think about it. I feel lucky to be in a position where, if I were offered a role now, I could ask myself whether there is something I’m writing or developing that might feel more aligned with what I want to be doing at that moment. Everyone only has so much time in a year, and I’ve been thinking more and more about the fact that every time you say yes to one opportunity, you are, perhaps unintentionally, saying no to another one further down the line. Writing, pre-production and making a film can all take an enormous amount of time, so if a role came along that I wasn’t particularly passionate about, and taking it would mean stepping away from something I was writing that genuinely excited me, I would now think much more carefully about that. I also think there is something to be said for not taking a role simply because it is there. If I’m not especially passionate about a part, I would rather it go to someone who absolutely loves it and would be thrilled to play it. So I try to say yes to roles that I genuinely love, feel a connection to, and believe I can do justice to. Do you find there is a tension between the very public side of promoting yourself online and the much more private, inward-looking process of actually creating a film? Jigme 22, copyright Hex Studios I’m not sure I would describe it as tension exactly, but I do find it difficult to find the right balance. Sometimes I become far too focused on the public-facing side of things and promotion, to the point where I almost lose the time I need to properly work on my own projects and get into that deeper level of concentration where real progress happens. Then I can swing completely the other way and disappear into a bit of a black hole because I’m so absorbed in whatever I’m making. When that happens, I can then find the promotional side quite draining, because in a way both things can feel a bit like full-time jobs. I imagine a lot of other creatives probably experience something similar. So I think the main thing is that I’m still figuring out how to balance the two properly, without completely neglecting one or the other. Hopefully I’ll get a little better at that with time. What’s next for you? I’m excited to say that on September 5th and 6th, several members of British Horror Studio, Lawrie Brewster, Paul William Kelly, Stephen Kerr, and I will be attending Glowflare Horror Film Festival in Beverley, Yorkshire. Spoiling You will be screening there alongside another British Horror Studio film, Mr. Whispers, so I’m really looking forward to it. It will be my first time attending Glowflare, and I can’t wait. Mr Whispers Film Trailer In terms of upcoming projects, it is a little difficult to say too much at the moment because I’m not entirely sure what has officially been announced yet. As I hinted at earlier, there is a project I’m currently writing which I hope to direct, and hopefully we will be filming that before too long. There is also another British Horror Studio film that I’m due to act in. It is an incredibly psychological and suspenseful horror, and from everything I know about it so far, I think it is going to be eerie and frightening. I’m particularly excited because it also involves a great deal of psychological and dramatic performance work, which is exactly the kind of thing I love. Now that you have completed your first feature as a director, is there anything about your filmmaking process that you already know you would approach differently on the next one? Yes, definitely. One of the biggest things I’m trying to change actually begins with the writing process. I have a terrible habit of mulling ideas over in my head for far too long because I feel as though I need to be completely certain about them before I put anything on the page. I do the same thing with dialogue and scenes. I want everything to be the best version I can possibly make it before I even write it down. Megan Tremethick as Nell, with cinematographer Michael Brewster photo by Sarah Daly The problem is that it simply isn’t practical, because things often change anyway once you start writing and discover what actually works. So I’m trying to become much quicker at striking while the iron is hot and getting ideas onto the page while the inspiration is there, rather than overthinking them for too long. In terms of directing, one thing I would probably do differently is even more preparation - although that is partly because of the project I’m hoping to write and direct next. I wish I could say more about it properly, because I keep teasing it, but it is going to be extremely performance-heavy, in a way that is unlike anything I’ve attempted before. If it all goes to plan, I know I’m going to need an enormous amount of preparation to have any chance of pulling it off in the way I want to. I would also like to stress less. I tend to overthink things and put a lot of pressure on myself because I want everything to be as good as I can possibly make it. I never want to lose that drive, but I do think there is room for me to relax a little more and trust the process. Who would you love to work with and why? Oh gosh, there are so many people I would love to work with. Amanda Donohoe would absolutely be one of them. I adore her in The Lair of the White Worm. She’s immensely talented and has such incredible charisma. I would also love to work with Britt Ekland. That would be phenomenal. Charlotte Rampling, one hundred per cent. I absolutely adore her. Barbara Crampton would be wonderful too. She’s such a brilliantly talented actor, and Alan Cumming would be phenomenal because he has so much charisma and presence. I’d love to work with the incredible Xander Berkeley, he's immensely talented! I’d also love to work with Jeremy Irons. He’s such an extraordinary actor. Honestly, I could go on and on because there are so many talented creatives I would love to work with on a film. What’s your favourite film set on a plane? Does it all have to be set on a plane? Because if not, then my pick is absolutely Planes, Trains and Automobiles. ;) For We Are Many 2: Lovecraft Campaign: https://www.kickstarter.com/projects/lawriebrewster/for-we-are-many-2-feature-film-lovecraft-horror-anthology

Interview by Chris Olson Sabine Mondestin Lovely to speak with you, Sabine. How are the preparations for the 2026 edition of your festival going? Preparations are exciting, intense, and a little bit crazy, which I think is part of running an independent film festival! This year is particularly special because we are celebrating the 11th edition of the Open World Toronto Film Festival, taking place September 25–27, 2026, at Kensington Studios in Toronto. After eleven editions, I still get excited when I discover a film or filmmaker who surprises me. That feeling has never disappeared. We’re currently putting together three days of screenings, conversations, panels, networking, red carpet moments, entertainment and celebrations. There are a lot of moving pieces, but seeing filmmakers, actors, creators and audiences come together makes all the work worthwhile. As the Co-Founder & Festival Director, what is your mission statement for the event? And how has that evolved over the years? Sabine Mondestin at the Open World Toronto Film Festival Our mission has always been very simple: give independent filmmakers a real place to be seen, heard and celebrated. When we look at a film, we don’t care whether the filmmaker had a huge budget, a famous actor or an established name behind the project. We care about what is on the screen. Is there a story? Is there a voice? Did it make us feel something? One of the things I strongly believe is that talent does not suddenly appear when the industry discovers someone. The talent was already there. Sometimes that person simply needed someone to pay attention. Over the years, OWTFF has evolved from being primarily a place to showcase films into something much broader. I want it to be a place where people connect. A filmmaker might meet an actor, producer, collaborator, mentor or even their future business partner. And I want independent filmmakers to experience being celebrated. When someone comes to OWTFF with their film, I want them to feel that their work matters. How are filmmakers adapting to cultural and technological changes? Filmmakers are adapting incredibly quickly because independent filmmakers have always had to be resourceful. Technology has completely changed what is possible. Cameras became more accessible, editing became more accessible, distribution changed, social media created new audiences, and now AI is opening another enormous conversation about creativity and filmmaking. I personally find the possibilities fascinating, but I also believe technology should be a tool for creativity rather than a replacement for creativity. The technology can change. The camera can change. The platform can change. But audiences still want to feel something. You can have extraordinary technology, but if there is no point of view, emotion or story behind it, people notice. At the same time, I think filmmakers today have an incredible opportunity. Someone who would never have been given permission to enter the traditional film industry can now pick up a camera or even a phone and start telling their story. That is powerful. What role do you think film festivals play in the film industry, and how will this change in the coming years? Sabine Mondestin and Steve Lareau the Co-Founder of OWTFF I think film festivals are incredibly important because algorithms cannot replace human discovery. There is something very different about sitting in a room with strangers and experiencing a film together. For independent filmmakers especially, festivals can provide something extremely valuable: a first serious audience. Of course awards are wonderful, but sometimes the most important thing that happens at a festival is a conversation after the screening. Someone walks up to the filmmaker and says, “Your film stayed with me.” Or they meet someone who wants to collaborate with them. Or another filmmaker introduces them to someone else. Those moments can change careers. I think festivals of the future will become even more focused on community, discovery and experiences. People can watch films anywhere now. If they physically come to a festival, we need to give them something they cannot get from watching alone at home — connection. Your event supports indie filmmakers (something we aim to do too!). What advice would you give to a newer filmmaker? Make the film. That sounds ridiculously simple, but I mean it. Don’t spend years waiting for permission. Don’t wait until you have the perfect camera, the perfect budget, the perfect cast or someone from the industry telling you that you are officially a filmmaker. Start. Your first film may not be perfect. That's okay. Your second film probably won't be perfect either! But you learn by making things. I would also tell filmmakers not to imitate what they think the industry wants. Your perspective is one of the few things nobody else can reproduce exactly. And please treat the people working with you well. Talent matters, but reputation matters too. The film industry is enormous and surprisingly small at the same time. People remember the filmmakers who were professional, generous and respectful. Finally, network — but don't approach every human being like an opportunity. Make actual relationships. Some of the best professional opportunities begin with genuine conversations. What are the highlights of the 2026 edition of your festival we can look forward to? This year we are really leaning into the idea that a film festival should be a celebration. OWTFF 2026 takes place over three days, September 25–27, at Kensington Studios in Toronto. We’ll have independent film screenings, filmmaker Q&As, industry conversations and panels, networking opportunities, red carpet interviews and photography, live entertainment and our awards celebration. What I’m particularly excited about is creating an environment where filmmakers and audiences actually interact. I don't want people to simply watch a film and disappear. Stay. Talk to the filmmaker. Meet the actor sitting beside you. Introduce yourself to someone whose work interested you. That is where the magic of festivals happens. How do people get involved? Come! That is genuinely the first thing I would say. OWTFF is designed to be welcoming not only to filmmakers and established industry professionals, but also to people who simply love movies and creativity. Our 2026 festival takes place September 25–27 at Kensington Studios in Toronto, and admission is by donation. People can attend screenings, participate in conversations, meet filmmakers and creatives, network, support independent artists and experience the festival with us. They can find information about the festival and our 2026 programming through our website at owtff.com and follow OWTFF on social media at @owtff. And I would add one more thing: support independent films even when you don't personally know the filmmaker. Go to their screenings. Talk about their films. Share their work. Write reviews. Follow them. Independent cinema survives because people choose to pay attention. After eleven editions, what still surprises you about independent filmmakers? Their courage. Every year I see people make films when logically they probably shouldn't be able to. They don't have enough money. They don't have enough equipment. They don't have enough time. Sometimes they don't have industry connections at all. And somehow, they make the film. Then occasionally you watch something created under incredibly difficult circumstances, and it completely stays with you. That is why I still love independent filmmaking. A large budget can buy many things. It cannot buy a point of view. And after eleven editions, I still believe there are extraordinary filmmakers out there whose names we don't know yet. Part of the reason OWTFF exists is to help change that.

Star Rating: 3/5 Directed by: Chris Schwab Written by: Chris Schwab, Bram Stoker Starring: Eric Toms, Raelan Mackiewicz, Brenton Jones, Spencer Weitzel Film Review by: William Curzon Dracula: The Night Around Us is a modern retelling of Bram Stoker’s Dracula. The narrative follows Dr. John Seward (Eric Toms) as he regains hope in humanity through a bond with his neighbour, Mina (Marlene Mc’Cohen), and her young daughter, Lucy (Raelan Mackiewicz). However, his regained faith is suddenly tarnished by an ancient evil. Dracula: The Night Around Us is a unique retelling of a classic horror icon for many reasons. Writer/director Chris Schwab clearly understands the source material, and it shines through in every frame. The tone and imagery are undoubtedly the most impressive aspects of the experience. Schwab really captures the unsettling tone, as the film relies heavily on visual storytelling, with minimal exposition and characterisation. This is both a strength and a detriment to the experience. While the disturbing and intense tone is commendable, the lack of characterisation, particularly in the central character, can sometimes leave the audience isolated. Despite its prolonged runtime, the audience only learns about his occupation and the relationship that forms between him and Mina. While their relationship is at the heart of the narrative, it never fully explores their characterisation beyond the surface. Dracula: The Night Around Us Official Film Trailer The narrative maintains a steady pace as it delves into the central conflict and the ramifications of an ancient evil systematically destroying the modern world. It also hints at intriguing themes of faith and religion through its striking visuals; however, it never fully explores them. One of the film’s most impressive aspects is its filmic aesthetic, which gives the audience a timeless presentation despite its modern setting. That said, the film suffers from a washed-out colour grade, which can be visually unappealing. Chris Schwab, who also serves as the film’s cinematographer, does a terrific job framing each sequence. Most of the runtime consists of extreme close-ups during scenes of conflict, and this is an incredibly visceral choice as the camera never shies away from the brutality of the narrative. The shift to wide framing during the exterior sequences is also a memorable choice as the ancient evil lurks in the shadows. Sadly, many of the dialogue-heavy scenes are undermined by choppy editing choices and questionable shot composition, making it less engaging as a result. The original musical score, on the other hand, does much of the heavy lifting with its haunting and unsettling motifs. The performances are largely underwhelming because the script doesn't give the actors much to work with. Eric Toms’ portrayal of the central character, Dr. John Seward, is fine; he conveys the character in a far more subdued manner, making it more difficult to resonate with his struggles. The supporting players are largely forgettable, and the lack of chemistry between Eric Toms and Marlene Mc’Cohen as Mina is incredibly unfortunate. While their relationship is endearing, the lack of character development holds it back from being truly compelling to witness. While the film suffers from a litany of issues, its final third is satisfying, thanks to its heavy reliance on striking imagery and an incredibly haunting conclusion. Despite taking a while to find its footing, the third act feels earned and captures the essence of the source material. Dracula: The Night Around Us is a solid retelling of the source material thanks to the writer/directors extensive knowledge of the IP. The film boasts profoundly unsettling imagery and captures the tone of the source material while offering a fittingly modern reinterpretation. Dracula: The Night Around Us will have its UK Premiere at Tube FrightFest on 30th August