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Directed by: Emma Hough Hobbs, Leela Varghese Written by: Leela Varghese, Emma Hough Hobbs Starring: Shabana Azeez, Bernie Van Tiel, Jordan Raskopoulos Film Review by: Holly Baker ⭐⭐⭐⭐ Lesbian Space Princess is an Australian animated science fiction comedy written and directed by Emma Hough Hobbs and Leela Varghese. The film follows 23-year-old space princess Siara, a socially inept, hopeless-romantic lesbian who lives on the planet Clitopolis with her two mums. Recently dumped by her two-week-long girlfriend, a full of herself, toxic, serial monogamist, Kiki, Siara is devastatingly heartbroken and plagued with low self-esteem. When evil Straight White Malians suddenly kidnap Kiki, Siara’s opportunity to save Kiki and win her back drives her out of her comfort zone, on a quest to defeat Kiki’s kidnappers and overcome her negative feelings about herself. The film has a quirky animation style reminiscent of Rick and Morty with its unique sci- fi creations and character designs. Each character has its own identifiable colour palette allowing for a vibrant viewing experience. Individually, they each make a strong impression on the viewer both aesthetically through the detailed and thematic animation, and through their well-established personalities and performances, each of them satirically fitting into a queer archetype that young queer viewers can easily identify. For instance, Siara is the anxiously attached Lesbian who quickly falls for someone emotionally unavailable, Kiki, and Willow is a goth singer-songwriter who immediately transforms her emotions into inspiration for her music. The film’s soundtrack is made up of original music written for the film by Michael Darren and Matthew Hardley. These composers capture a queer sound with the soft, indie tunes which play throughout the film, appealing well to a young queer audience. Lesbian Space Princess Official Film Trailer The younger, queer audience will also relish in the use of Gen Z humour. For example, Siara travels on a ‘problematicship’ that comically opposes the idea of wokeness through using slightly offensive, politically incorrect language. There is also a large incorporation of sexual humour and satirization of queer stereotypes, which works well, in a similar way to Netflix’s Heartbreak High. For instance, the film contains a young cast and crew, therefore bringing up to date character archetypes, intertextual references and jokes which land in Gen Z audiences. Even the title ‘Lesbian Space Princess’ is immediately eye-catching for queer media enjoyers, hitting the mark of a modern-day queer sci-fi romance. Lesbian Space Princess is a refreshing representation of queer characters, incorporating multiple different queer storylines. The film is rich in its queerness, with an enthralling attention to detail such as Siara’s calendar labelling April as ‘Gaypril’, and the galaxy being referred to as the ‘Gaylexi’ demonstrating a well-thought-out creativity and giving the film a vibrant feel that belongs close to the heart of the queer community. The story itself is an uplifting coming of age, very similar thematically to Pixar’s Inside Out as Siara must battle her inner doubts whilst on a personal quest. There are some genuinely funny laugh-out-loud moments, and a loving dedication to bringing queerness, particularly Lesbianism, to every aspect of the film’s creative design- such as Siara’s home planet being called ‘Clitopolis’. Overall, Lesbian Space Princess is a colourful celebration of queerness, focusing less on romantic love, but more touchingly on self-acceptance and self-love, the most important kind of all. Lesbian Space Princess will be in UK & Irish Cinemas from 19th June.

Filmmaker Interview by Chris Olson Great to be interviewing you both! Please tell our readers a bit about yourselves. Claudia Dzienny is an Australian writer-director and comedian whose work blends character-driven comedy with emotionally grounded storytelling. Her latest feature, Zombucha!, is a romcom that explores relationships, fertility anxiety, career pressures, and the realities of millennial adulthood through an unconventional zombie twist. Working alongside longtime collaborator Emma Leonard, Claudia is part of a female-led creative team committed to telling contemporary stories from a distinctly female perspective. CrossBorder Films is a London-based boutique sales studio and production company founded in 2025 by producer and screenwriter Alla May. Built on nearly two decades of experience across the European film and television landscape, CrossBorder champions distinctive stories with cultural specificity and global emotional pull. Thanks! What's the name of the latest film you are working on? Zombucha! How would you describe this film to a new audience? Dreaming of a glow-up before starting a family together, an aspirational millennial couple get their hands on a kombucha strain that promises to kickstart a garage-brewed empire. Plans take a turn when the neighbourhood’s new favourite kombucha becomes sentient. How’s your microbiome? Why did you want to make this film? Claudia: I remember when the writer Emma Leonard pitched me the logline and I thought to myself “I wish I had thought of that.” - a pretty good start for wanting to make a film! As we developed the script together over the following three years, the process was such a joy and we uncovered so many things around the moments and questions immediately before and after becoming a parent, all bundled up in this absurdly ‘aspirational millennial’ package. It felt so timely and cheeky. I found myself very quickly at the pointy end of the third trimester (production) and giving birth to this bonkers thing! Were there any challenges making the film? If so, what were they and how did you overcome them? Claudia: There are always going to be personalities on set that need more management than others as well as the feeling that you always want more time and more resources - and we had our fair share of all those challenges, but by far the largest, most fundamental challenge was that we shot the film at my house. This would’ve been a relatively smaller deal if it weren’t for the fact that I have two young children, a husband and two cats that ended up moving into my mum’s place for three months. But it wasn’t just us there. My mum, my 94-year-old Ukrainian grandmother, my sister and her children, as well as her (now ex) husband, with whom my sister began going through a divorce in the middle of production, our editor and his partner, my mother-in-law from Ohio and my best friend’s dog who needed dog-sitting. We were all staying at my mum’s house. I was waking up in the morning, trying to be a normal mum to my boys, going through footage from the day before with Julien, our editor, then going down to set (my actual house) to shoot for the day/night (read: lovingly destroy my own home) then go back up to mum’s and kiss my kids goodnight (awake or asleep, but already usually asleep) and go to bed myself. Needless to say, the floors were completely resurfaced after we wrapped filming, and the grass outside has never been the same since having 90 zombuchas writhing on it at 3am one night! When we were in pre-production, I remember a ton of people saying ‘wow, that’s a very ambitious project for that budget’ - they were right. But I like ambitious. When we moved our family out of my house, a base crew of about 50 bumped in for two months. Ryan (our lead) was staying in the house from New Zealand for the long haul with sporadic overnight company from various members of our producing team, sound team and art department, to name a few who would sleep in my kids’ beds. Thankfully our immediate neighbours were all absolute legends about us filming, but we did get an angry guy from up the street come and threaten us a few times… which was pretty rattling until we had this incredible art/life moment where we were rolling up for the scene in the film where the angry dad character comes and berates our two leads for throwing a Thirsty Virgin kombucha launch party - and the actual angry neighbour from up the street drives into shot for us all to see from the monitor and starts delivering basically the same lines as our angry dad character. We were all buckled over choking on tears, it was so hilariously perfect. Also, growing about 100 SCOBYs (the slimey monster that makes every bottle of kombucha you’ve ever consumed) at short notice was a very specific and tricky one, but not impossible as it turns out! I ended up making a completely clear SCOBY when I was experimenting with caffeine tablets and simple syrup, but that’s a story for another time! What stage is the film currently in? And how can people get to see it? Festival circuit. Following its premiere at the Melbourne International Film Festival, Zombucha! will have its international premiere at Raindance on 21 June. Why do you make movies? Claudia: I love working with other people, telling stories and laughing together. It’s the best possible way to spend my workday. I love that it seeps into my non-work day - that when I’m deep in a project, it seems like every interaction I have with people, positive or negative, informs the feelings I put on screen. Making movies makes me more conscious of human nature and, I like to think, more accepting of others’ decisions. Always questioning why someone would behave the way the do or did, what brought them to that moment in time makes for more three-dimensional characters on screen, but also has a very positive, empathetic effect in my everyday life. We all get bent out of shape, but it’s hard to stay angry at someone when you frame them into all the textured context of their life. I love to involve others in storytelling and watch how they react - a favourite of mine is to ask couples to tell me about their first kiss. Sounds cheesy, but there’s usually a bit of a different take from each partner. They’re suddenly very vulnerable, and watching the way they fumble their way through that answer together is usually pretty delightful for all involved, and very very human. I like to think I’m making positive propaganda with my filmmaking. Not all sunshine and lollipops, but letting characters be who they are on screen - the good/bad/ugly bits too - then finding a way to make people feel human. Hopefully it helps everyone look at their angry neighbour and go ‘ugh look at this asshole’! Then maybe stop and think ‘they’re just out here giving it a go too’ …and then maybe take them a cookie at Christmas and you’ll end up sitting in their living room sharing a glass of champagne? In storytelling, I always come back to the core theme of ‘all we have is each other’ - and if I have an hour and a half of people’s undivided attention in a black box, I really love the idea of reminding them of that. And reminding myself. I have a background in architecture, so the visual expression side of filmmaking is a huge pleasure for me. It sounds silly now, but I remember when I realised how you can make space unfold with a dolly shot and it knocked my socks off. That said, watching people’s body language and micro expressions when they’re processing a change in real time is impossible not to connect with - that usually steals the show for me, even if they’re feeling those feelings in the most striking space on earth! Filmmaking helps me process life, and bringing other people along for the ride is a massive privilege. I like making people feel stuff - it’s lucky, because that is the ultimate goal of any director: make people feel stuff. Give people the chance to reflect on their own lives. Shake them up. Elicit a reaction. Horror directors like to make people jump, I like to make people laugh… then ambush them with a dose of heart that they didn’t expect. Chris Olson Reviews Zombucha for UK Film Review's YouTube Channel What advice would you give to someone just starting out in the film career you have pursued? Claudia: Make stuff. Be prolific. Make everything you can. Don’t overcook it - just get out there. You will only learn this thing by doing it, making mistakes and making little moments of magic. Accept that there’ll be stuff that sucks. Don’t shy away from it. I still have all my old glorious garbage on my website because it’s who I am and how I got here. This isn’t your magnum opus. Nothing you make will ever be perfect - abandon that idea for now and just follow your core mission of making people feel stuff. What is it that you want to make people feel? Who would you love to work with and why? Claudia: Rose Byrn - a brilliant, hilarious actress with enormous range and the comedy chops that dreams are made of! Bonus points because she’s Aussie! What's next for you in your career after this film? Claudia: A feature film that I have written based around an icebreaker camping trip for new school parents that gets gatecrashed by aliens. A comedy, but it turns out I love to flirt with genre. As a boutique sales studio, what was it about Zombucha! that made you believe it could connect with audiences internationally? Alla: When Danielle Redford, one of the co-producers of Zombucha!, first pitched us the concept at EFM, we immediately felt that it sounded cool, fresh, and very distinctive. Then we watched the screener — and honestly, it was love at first sight. What stood out was the humour, the genre-bending energy, and the way the story almost breaks the rules while still having a huge heart. It felt bold and playful, but also emotionally honest. Beneath the comedy and the madness, the film touches on issues that millennials are going through not only in Australia, but in so many countries: burnout, ambition, identity, anxiety about the future, and the search for meaning in a world that often feels absurd. That combination is exactly what we love: a story that is entertaining and commercially alive, but also emotionally relevant. We believed international audiences would connect with that freshness and sincerity. CrossBorder focuses on films from underrepresented markets. What qualities are you looking for when deciding which projects to champion? Alla: We are genre-agnostic, but we are completely story-driven. For us, the story means everything. Because of my background in script development and writing, it is very hard to surprise me with a genre film or a commercial film. I know the mechanics, I know the expected twists, I know how these stories are usually built. So when something genuinely surprises me, I pay attention. We are looking for stories with heart, meaning, and depth. Stories that can entertain, but also reveal something about a different culture, mindset, or emotional reality. I am especially drawn to films that take risks with tone or genre — films that bend expectations, cross boundaries, or suddenly take you somewhere you did not expect. For us, underrepresented does not mean niche or small. It often means undiscovered, under-seen, or underestimated. We want to champion films that have a strong voice and a clear reason to exist. Why do you do this work? What does the role of a sales agent and producer mean to you personally? When we launched CrossBorder Films with my co-founder Olga, the company was initially built around a development slate I had previously written and created. The long-term plan is still to produce that material over the next few years, while also discovering and supporting projects created by other filmmakers. Because Olga comes from a marketing background, I pitched her the idea of also launching a sales arm — but doing it differently. I wanted us to help producers in a more thoughtful and personal way than what is often expected from traditional sales agents. For us, representing a film is not just about taking a title to market and seeing what happens. We treat every film as if we are co-producers of the next stage of its life. That means care, strategy, honesty, and emotional investment. This approach was very intentional, and it came partly from my own negative experiences with sales teams in the past. I know how painful it can be when a film is not handled with enough attention or respect. So the work is personal to me. A sales agent should be a bridge between the filmmaker and the world — someone who protects the film, understands its value, and helps it find the audience it deserves. Looking at the current independent film landscape, what gives you hope about the future of emerging filmmakers? Alla: The current independent landscape is still very difficult, and in many ways it remains unfair. The same risk-averse structures are still there, and many of the “big guys” at the top continue to follow familiar formulas rather than take real chances on new voices. But what gives me hope is that filmmakers now have more tools to build an audience themselves, especially through social media and direct community-building. You can start creating awareness around an independent film long before it is released. That is powerful. I also think audiences are proving again and again that they want something fresh. They are open to new faces, new voices, and new stories — not only franchises, sequels, or repeated formulas for so-called commercial success. Right now, elevated horror is performing very strongly, but I also believe there is huge potential in crossover genres, romcoms and even in satires or ordinary human dramas, if they are given access to audiences. The frustrating part is that many buyers do not even want to test something fresh. But that also pushes us, as a sales company, to be more creative, more strategic, and more persistent in how we position films. That gives me hope: the audience is there. We just have to find smarter ways to reach them. What inspired your film career? Were there any specific films or events that really lit a fire within you? Alla: I think my passion for storytelling began quite early. When I was in middle school, I was writing essays and reading Dostoevsky, Tolstoy, and the Strugatsky brothers at the same time. That combination really shaped my taste — from psychological drama to philosophy to science fiction and genre storytelling. It gave me a very broad sense of what stories can do. I also grew up watching great films on VHS. The town I am from did not have a cinema until I was twelve, so most of my film education came from a VHS rental place. That is how I discovered Scorsese, Stanley Kubrick, Tarantino, Sidney Lumet, Garry Marshall, Paul Thomas Anderson, and many others. But one of my strongest memories is watching Tarkovsky when I was only six years old. I was completely hypnotised. I think Solaris was the film that made me want to work in cinema. I did not know exactly what role I wanted to have or how I would get there, but I remember thinking: I want to make films that can make people feel like this. That feeling never really left me. 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Star rating: 4/5 Writer: Jack Holman Director: Sean Leahy Starring: Pierce Joseph, Mary T Lynch, and Denis Kiely Written and shot by Jack Holman, An Unnerving Realisation is a thought-provoking super short Irish film, with a run time of just over 5 minutes long. We meet Nicholas, played by Pierce Joseph, who is around 20, looking at pictures with his family at the dinner table. As they do so, he comes up with a question, simple and direct, which is what leads to the unnerving realisation the film title speaks of. Dealing with themes of identity, family origins, and secrets, An Unnerving Realisation poses a difficult and pretty immense question: can being lied to ever protect you? Do lies not always do more harm than good? The film is technically really interesting, utilising framing, and the space and blocking in the frames, to evoke the sensation of deafening silence, of a lot of unknown. Similarly, the characters, which are quite unique and expressive, and the actors performances add to this sense of suspense, of there being more than meets the eye, which contributes to this well-narrated piece. Identity and family are hugely important to Irish culture, and sensitive topics for Irish society. Its history of Celtic civilization, the strong influence of Christianity and the fusion of these for almost a millenium, as well as colonial oppression, the tragedy of mother and baby homes, and the Troubles, all have led to identity and personal history being key. An intelligent film, fully recommended.

Star rating: 4/5 Writer: Kayla Sun Director: Kayla Sun Starring: Ling Zhi, Briana Liu and Eon Song Inspired by the life of Masako Wakamiya, who bought her first laptop at 60 years old and became a coding expert, The Code of Family is a heart-warming Chinese-American piece whispering wisdom about learning, family and the boundlessness of age. Written and directed by Kayla Sun, it tells the story of a grandmother, ‘Gran’, who lives with her daughter and granddaughter. While her granddaughter is stressing over a university project due soon, Gran is secretly studying coding, which late in the story we discover is for a deeply emotional reason of love and family legacy. The Code of Family is visually quiet, substance over style, with the framing and cinematography resembling portraiture in their simplicity and beauty. The open shot is notable and imaginative in this respect. The performances are brilliant, illuminating of deep societal issues such as ageism, isolation and exclusion. In particular, Ling Zhi’s portrayal of Gran is outstanding in her understated expressiveness, and this she is matched by the introspective original score. ‘Can I help you?’ Gran gets asked by the lecturer when she sits down at coding class for the first time, implying she is in the wrong place. ‘You wouldn’t understand’, her granddaughter blurts out to her when she asks what about her homework is stressing her out. But this is a story about perseverance and legacy, which Gran takes seriously, almost spiritually. In a simple cinematic phrase, Gran sits at the back of the class her first day, but is soon sitting at the front. Growing older is an experience intrinsic to life, and yet the modern world totally shuns this. Experience and wisdom tend to be ignored by the modern world focused on youth, speed and immediacy. Understanding old age and valuing growing old for its own sake is a human value we urgently need to re-discover, and films like The Code of Family suggest to us beautifully.

Star rating: 5/5 Writer: Ben Lankester Director: Ben Lankester Starring: Rosie Chappel Delivery is a heart wrenching, eye opening short film portraying a night in a maternity ward, inspired by real experiences. Written and directed by Ben Lankester, it is the story of a night in Mary's life, on shift to deliver babies at the hospital she works in, during the Christmas period. As a 30-year-old, newly qualified midwife, she is passionate about her job, completely focused, and treats the women and families she is attending to with great tenderness and even love. On shift, while barely getting time to drink a cup of tea, she sees both the deepest tragedy and the greatest happiness. Delivery is technically flawless. The rhythm, tiredness, tension and tenderness are all expressed through a mixture of tracking shots, close ups and over the shoulder shots. Mary is played by Rosie Chappel, who is actually a practicing midwife. Rosie’s performance is simply flawless in its naturalism and depth. The same is to be said of the actresses playing the mothers in labour- outstanding. In fact, the whole cast unites in an almost symphonic way to tell the story with a respect and affection rarely seen in cinema. Narratively, this film is multidimensional, realistic, hard to watch and deeply tender, all at once. Much like life. Delivery is also a story about the state of British healthcare, the lack of resources and heroic efforts of staff who work to their limits. Unquestionably, as Delivery illuminates, this disproportionately affects maternity services- something that can have life-destroying consequences, consequences which midwives like Mary in this story and Rosie in real life do their best to avoid, and ensure families leave the ward feeling it is the best days of their lives and never the worst. Delivery is a must watch.

Star rating: 5/5 Writer: Ruben Sanchez Director: Ruben Sanchez Starring: Sara Jimenez Lamento is a tense, hard-hitting Spanish/ Catalan short film about the risks women face simply by existing in public spaces. Written and directed by Ruben Sanchez, this film is a masterful portrayal of the extreme stress women are put under in public spaces, especially spaces made for enjoyment. We meet Ana at a party in a hugely atmospheric truck depot in Barcelona, where it is common to party outdoors with music blasting from cars, car boots serving as bar spaces. We meet her dancing until of the guys approaches her and starts intensely violating her personal space. He spills drink on her, quickly blurting out the mediocre, useless excuse of being drunk. Ana decides it is time to go home, and as she does, her night unravels. The relentless tension and suspenseful pace of the film keeps the viewers attention to a deep level, a testament of quality. Lamento is really a work of brilliance, not just narratively but also technically. Although the dialogue is strong, the spectacular and evocative party setting of a sprawling truck depot and the soundtrack- a single song by Barcelona singer and producer Bad Gyal- tell a lot of the story by themselves. The cinematography is evocative, while the tracking shots and the extreme wide shot at the end are inspired. Meanwhile, Sara Jimenez’s portrayal of Ana is absolutely flawless, not least her voice work. She navigates danger being at once extremely strong and extremely vulnerable- which could be a fair description of femininity itself. Lamento is a superior work of cinema and social commentary. We are still having to shout that women’s experiences are not imagined, or exaggerated, and our bodies are not public property, not made for others. This work showcases the destructive power of the patriarchy in all its choking strength. Anyone who cares about anyone should watch this film.

Star rating: 5/5 Writer: Lucinda Royden Director: Coz Greenop Starring: Elin Hall, Jack McEvoy, Melissa Lycey, Harvey Dean. It All Comes with the Cold Water is a thoughtful, intimate romantic drama. Written by Lucinda Royden and directed by Coz Greenop, this Icelandic film is inspired by a phrase from American sportsman Pete Carroll, ‘Each nanosecond of history branches off into an infinite amount of parallel universes’. ‘I’m just annoyed at myself for dreaming of it’, is the first thing we hear from Ana, an Icelandic woman in her twenties, and our lead character. What she has dreamt about is a mystery, but she is comforted by her boyfriend, Theo, an Irish photographer. We don’t meet them at the start, which takes me to the narrative of the film. Rather than telling us a story chronologically, the film shows us the crucial intense moments in a relationship that has developed intense, challenging depth and intimacy- not by order of occurrence but in a way that will make the story make sense as a whole and existentially rather than sequentially, like a tapestry. This is a creative triumph, and challenges the audience to keep in mind narrative is not always a timeline, but more like a mind map, or the most elaborate spider-web. We see Anna and Theo navigate, together and individually, grief, anger, self-discovery, and love. Technically, It All Comes with the Cold Water is a work of brilliance. The cinematography and muted colour palette is unmistakably Nordic, while the various shots of the mountains and sea, in their breath-taking scale and beauty, punctuate the different sequences- not least because they are central to the story itself. ‘Don’t offend the land’, says Theo’s photography mentor, ‘she listens.’ The film showcases a brilliant cast. In particular, Elin Hall plays Ana with a mesmerising mixture of profoundness and transparency. And a word about the costume design, which has been well thought out and adds to the visual quality of this understated film. In both Ana and Theo’s lives, something is missing. Theo’s inspiration for photography is proving defiant, and Ana feels as though she is ‘mourning potential’. To this, her friend suggests, employing the Snakes and Ladders board game as a metaphor: what if we are always guaranteed to end at our square 100 but the roll of the dice decided how? Have you ever walked past someone and felt like you know them, Anna asks us. She and Theo met by chance. Could they be what is missing from each other’s lives? Are they capable of giving the love they both need from each other and they both want to give? This an ultimate question and one that countless stories have grappled with. It All Comes with Cold Water offers this up as a pure, if slightly torturous, question rather than an exact answer, and for that it is a brilliant work of independent cinema.

Star rating: 5/5 Writer: Jenna Brady Director: Jenna Brady Starring: Jazmine Cornielle, Riley Whielan, Vikki Martin, and Gracie! A gripping, almost silent horror short. From its opening, Under Control is both visually and sonically compelling. In the horror genre, this is isn’t hard to attempt, but it is hard to do well, which this film absolutely does. Our un-named main character, played by Jazmine Cornielle is a 20 something woman living in what seems to be a big city flat, with her dog, is in the grip of what looks like an anxiety crisis. Which takes us to the underlying concept of this film: feeding what you are most fearful of, even tortured by. Technically, Under Control is an excellent film. The opening features a tracking shot that showcases inspired angles and great muted colours and cinematography, and the minimal cutting that there is at the beginning showcases dynamic, even fun framings- with one of my particular favourite being of a shot of our main character’s feet from under the bed- somehow more glamorous than scary. Jazmine Cornielle's performance is outstanding. In particular, her use of voice throughout the film is gifted. And in relation to sound, not only does the film feature a really good score, but also features musically distorted dialogue- in the only scenes where there is any- which is an inspired creative choice. To return to the concept and topic of the piece, Under Control is a story of a young woman who is deeply haunted, seemingly by a traumatic recent experience although this isn’t explored in depth. Loneliness, anxiety, the inability to release pain in any healthy way features prominently, if suggestively, in this short. This is unfortunately quite an apt portrayal of what many in my generation feel like, at least some of the time. Under Control is definitely horror for our times.

Star rating: 5/5 Writer: James Nicholas Green Director: James Nicholas Green Starring: Steve Furst, Toto Bruin and Lee Ingleby, Victory to the Mimers is a brilliant satire about power, protest and art. The story of Margaret Thatcher’s destruction of the mining industry and disdain for miners and their communities is well known. The tragedy, struggle and ultimate dignity of those communities an inspired basis for satirising the current state of society and power structures. Victory to Mimers showcases this in full glory. Our main character, Ern, is the leader of the Mimers, who organises to lead them in a protest in London. He is estranged from his brother, Uncle Al, who causes family division- a mirror situation of the division between striking and non-striking miners, which cut across families. He warns Ern that ‘London is prepared for these protests’, with riot gear and all. The government has made it illegal to protest loudly, so who better to protest than Mimers, says Ern. From this premise, we see a story of protest, identity, and struggle to defend art and expression for its own sake- with Ern arguing at one point that if Mimers don’t protest, ‘it will be the nail in the coffin for Arts funding’. Victory to the Mimers is a piece of narrative excellence, and it is also great technically. The cinematography, locations and set design are softly reminiscent of the 1980s, while the well written dialogue, arguments and language are strongly of today. The story in this film is inter-generational, and as such contains brilliant performances from a multi-generational cast. There is a particularly incisive scene where the 30 something audition judges understand nothing of miming that Ern and Uncle Al are performing and conclude that ‘this is what you get for levelling up’. The judges are southerners watching Mimers born and bred in the North. This clever, deeply artistic and strongly political short is nothing short of excellent.

Film Festival Feature by Chris Olson As we gear up for the second iteration of SXSW London this June, the excitement in the capital is palpable. Following an impressive inaugural outing, the festival is returning to Shoreditch from 1st to 6th June, promising another packed week of boundary-pushing cinema, industry insights, and cultural convergence. For us at UK Film Review, this event has quickly become a highlight in the calendar, a place where the zeitgeist of screen storytelling meets the rule-breakers and the incurably curious. The 2026 programme is a testament to the festival's ambition, blending high-profile premieres with daring independent selections from across the globe. Whether you are hunting for the next big award-season contender or looking to be challenged by formally audacious narratives, this year’s slate has something to offer. After carefully scouring the latest announcements, I have put together my personal watchlist of essential screenings. The Headliners and Anticipated Premieres Virginia Woolf's Night and Day There is no better place to start than with the film that will set the tone for the entire week. Opening the festival is Virginia Woolf's Night and Day, directed by Tina Gharavi. Adapting Woolf’s 1919 novel for the screen is a bold undertaking, and the buzz surrounding this project is immense. Starring Haley Bennett as the headstrong Katharine Hilbery—a woman who rejects the patriarchal expectations of her time to pursue her passion for astronomy—the film promises to be both visually stunning and intellectually rigorous. With a supporting cast that includes Jack Whitehall, Lily Allen, Jennifer Saunders, and Sally Phillips, this is not just an opening night gala; it is a signal of the festival's commitment to literary depth and character-driven storytelling. If you are looking for something with a sharper, more satirical bite, look no further than Savage House. This 18th-century period caper has been generating serious conversation for its opulent yet dark approach to historical drama. Starring the incomparable Richard E. Grant and Claire Foy, alongside Bel Powley and Jack Farthing, the film follows Sir Chauncey and Lady Savage on a decadent and desperate pursuit of a better life. It is the kind of high-concept, stylized filmmaking that SXSW audiences have come to crave, and it promises to be one of the most talked-about screenings of the week. Virginia Woolf's Night and Day Film Trailer Diverse Perspectives and Independent Gems Beyond the marquee titles, the real magic of SXSW London lies in its discovery programme. This year, the international selection is remarkably strong, reflecting a world of diverse perspectives. A title I am particularly looking forward to is The Boy with the Light-Blue Eyes. Directed by Thanasis Neofotistos, this drama—a multi-national production bringing together voices from Greece, Croatia, Cyprus, and beyond—offers a hauntingly evocative narrative. Its presence in the programme highlights the festival’s ability to act as a bridge for European cinema to find a wider, engaged audience in London. On the genre front, we have The Remedy, a supernatural horror by Mexican-American filmmaker Alex Kahuam. The film follows a young man who, in a desperate attempt to save his terminally ill mother, inadvertently unleashes a flesh-eating entity. It is visceral, high-stakes, and exactly the kind of "no-holds-barred" cinema that Anna Bogutskaya, the festival's Head of Screen, has championed. The Invite Official Film Trailer We also have The Invite, which has been building quiet momentum as a must-see in the independent circuit. While plot details remain shrouded in the kind of mystery that makes for a thrilling festival experience, it is highly anticipated by those looking for fresh, unpredictable storytelling. Finally, I would urge you not to overlook Maddie's Secret. Directed by John Early, this US production is among the slate of films that truly demonstrate the diversity of tone at the festival. It is a reminder that while the grand historical dramas and the intense horror films provide the spectacle, the smaller, character-focused pieces are often what stay with you long after the credits roll. The strength of SXSW London is not just in the individual films but in the atmosphere of the event itself. It is a rare space where you can catch a world premiere one moment and attend an industry keynote by the likes of Russell T Davies or Sharon Horgan the next. The programming team has done an excellent job of ensuring that the screen festival feels both grand and intimate, accessible and cutting-edge. As we count down the days to June, my advice is to clear your schedule and embrace the variety. From the literary elegance of Virginia Woolf to the genre-bending intensity of The Remedy, the 2026 SXSW London Film Festival is poised to be an essential experience for any serious film enthusiast. I hope to see you in the queues in Shoreditch.

Star rating: 4/5 Writer: Brock Drury Director: Brock Drury Starring: Roman Jacob- Boylen, Chris Wolfe, Eli Jo, Bradley Shane Harrelson, Scott Oakley, Rebecca Clendaniel. The Sim Racer is a sentimental film portraying life's tapestry of high stakes struggles and the power of human connection. Written by Brock Drury, it tells the story of Luke, a small-town American who in his mid-20s and after some tragedy, and a breakup, is struggling to keep a roof above his head. Passionate about cars and racing, Luke is a simulation racer as a hobby- though it is his dream to become an actual race car driver. When he receives a repossession order for his house, the stakes could not be higher, and Luke urgently must find a way to get the money to pay. Script-wise, this is a simple film- with a steady flow, which is very particular and well achieved for a film which veers into the sport film genre. Friendship is a particular theme in The Sim Racer, as Luke mainstay is his friend Jim, an outgoing bar tender whose unwavering confidence in and fearless honesty with Luke is a mainstay of the story. Romance also plays a big part here- of the understated, ‘finally found you’ kind of relationship. I would mention that the tone of this part of the story is slightly teenage-y, there was potential to deepen the story. The cast of The Sim Racer showcase really strong performances, with real connection to the material. In particular, Roman Jacob- Boylen portrays Luke with real depth, illuminating his vulnerabilities as much as his strengths. His character arch is one which the audience roots for- against hardship and even against violence from his racing opponent, Luke remains true to himself while keeping sight of what needs changing. Technically, the film has its weakest points. The sound effects of the racing scenes are not always in synch with the visuals, and they cut jarringly across the broadcaster’s commentary- and at some points the dialogue is slightly too low in volume. Similarly, the editing is jarring at points. This doesn’t affect the strong narrative but can disturb attention. All in all, The Sim Racer is a well- told, genre bending story showcasing the full cacophony of life. Fully recommended.

Film Feature by Jason Knight (amended Apr 2026 to include William Curzon's review) #7 - The Last Laugh (review by William Curzon) ★★★ Directed by: Spencer Anderson Written by: Zachary Coleman Starring: Zachary Coleman, Samuel Lawrence The Last Laugh is a short piece that follows a police officer (Samuel Lawrence) apprehending a clown (Zachary Coleman) with their two opposing ideals at odds. Despite the film's incredibly brisk runtime, it wastes no time building tension and executing its ideas almost immediately. While there isn't much material to sustain a feature-length runtime, the filmmakers clearly intended to execute their distinct vision as depicted on screen. The most impressive aspect of The Last Laugh is its camerawork and fluid editing choices, which are on display. Dan Abrams, serving as both cinematographer and editor for the piece, utilises unique framing choices, including extreme close-ups during moments of severe conflict, and switches to wide framing to give the viewer a sense of the surrounding area. It's an incredibly visceral experience that doesn't let up until its final moments. However, without any prior context to the arising conflict between the two central characters, it's difficult to comprehend what is actually occurring, as the narrative throws the viewer in the deep end, requiring them to decipher what has led to this confrontation. It's a deeply frustrating aspect of the piece due to the lack of character development or thematic purpose, aside from the brief exploration of crime themes. The brief use of music is incredibly impactful and accompanies the severity of the conflict extremely well. Going into the film blind is genuinely a rewarding experience as it's a rather unique piece of indie filmmaking that relies only on a single dispute between two opposing ideologies. While the narrative isn’t fleshed out much, it's extremely refreshing to see an uncompromised vision executed to this level of absurdity. Despite the film having fairly sparse material to work with, the filmmakers do their best to convey their talent with such raw production value. Its absurd nature is commendable, and the narrative does sweep the rug from under the viewer with a shocking twist. #6 - Line of Sight ★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown Starring: Bertie Taylor Smith, Holly Ashman A lonely man is obsessed with a young woman. Francis (Smith) is a socially awkward young man who appears to fancy Erica (Ashman), a friendly girl who works at a cinema. He follows her around and takes pictures of her without her knowing. Finally, he decides to approach her, however, things will take a dramatic turn. This short is kind of a stalker thriller that is seen from the perspective of an unusual individual. Initially, it is not clear whether he is a good or a bad person. He secretly follows and photographs a person, yet his intentions appear to be harmless, as he seems to want to be in a relationship with her. Smith delivers a convincing performance as an isolated individual who has difficulties socialising. His love for photography appears to be a way for him to view and experience the world. Ashman is great in her role as a cheerful cinema worker. The filmmakers make effective use of slow motion and the dramatic music helps create the appropriate atmosphere. This is a dramatic story and one that explores themes of obsession and loneliness. It raises awareness of autism and presents challenges that people with social difficulties have to face. #5 - April ★★★★ Directed by: Spencer Anderson Written by: Jamie B-Brown, Spencer Anderson Starring: Ruby Rae, Oscar King, Cara Kealy In a hostile, post-apocalyptic world, a man escorts his daughter to a place called 'The Vale'. This short science fiction drama introduces the viewer to a world where danger seems to be constant. The story is told from the perspective of a family, whose members are forced to try to survive in that place. These people are Jordan, the father (King), Natalie, the mother (Kealy) and April, the daughter (Rae), who possesses extraordinary abilities. The three of them live in a hidden location in the wilderness and one day, Jordan and April set off to locate a group of people, who will hopefully be able to help April control her powers. Although the screenplay does a decent job in terms of setting up a post-apocalyptic world, it does not explain how it happened, which is not a bad thing, however, it would have helped if there was some form of explanation. The main focus is the relationship between the father and his daughter. The two of them have their differences, however, it becomes obvious that they care deeply for each other. The performances are great, and the three protagonists are convincing in their roles as good-hearted individuals attempting to survive in a harsh world. The film benefits from a beautiful and sentimental score and a special mention goes to Renato Solca for the visual effects. This short is a post-apocalyptic sci-fi that is a story about a journey that is filled with emotion and explores themes of parenting, survival and self-discovery. #4 - Super-Being ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson, Dale Dandridge, Jamie B-Brown, Moyo Taylor Starring: Zachary Coleman, Juke Hardy, Nate Barker, Issie Caird An individual who has supernatural powers is being pursued by sinister people. This science-fiction thriller explores the life of a person with otherworldly abilities. The nonlinear narrative travels through time between scenes that show the protagonist as a young man and scenes that show him as a child. The audience sees the passing of his mother, his attempts to live a normal life and the efforts he makes in order to deal with the people who are after him. There is drama, shooting, life-threatening situations and the sense of an individual who is lost, who seems to be unable to find peace. Much of the story is accompanied by narration by the main character, as he talks about his life and his words are emotional and sound philosophical. Jermaine Wills and Filipas Proskurinas do an amazing job with the cinematography and the atmospheric score is a big plus. Although this is interesting viewing, it might have benefited if the hero's powers were explained more effectively. Nevertheless, this short is an emotional and tense ride about loss and self-discovery. #3 - Satellites ★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Tamzin Murray An astronaut is by herself, on another planet. This beautiful and emotional short focuses on a young woman (Murray), who has found herself on an uncharted planet and attempts to navigate through it on foot. The mise-en-scene in this drama effectively brings the viewer into the science fiction genre. The protagonist wears a spacesuit, there is a spaceship and she is on a distant, unknown planet. Regarding the narrative, there is not much of that and it is the images and narration that keep the audience engaged. The viewer observes the woman as she walks through the planet, wearing her spacesuit. She is the only person in the film and there is a strong feeling of isolation. Her voice-over refers to issues about life and the meaning of existence and listening to her is quite thought-provoking. Ben Hardy worked on the cinematography and editing and does a great job. The decision to utilise the track Surrender It by Delectatio was excellent as it is a wonderful and very calming peace that creates a peaceful atmosphere. This is a story that focuses on one person's philosophical perspective regarding life. On the surface it is a sci-fi, however it is more than that and explores themes of isolation and self-discovery. #2 - Rock-a-Bye ★★★★ Directed by: Spencer Anderson Written by: Jamie Bhagwat-Brown, Spencer Anderson Starring: Yazzmin Newell, Samuel Lawrence A young woman makes a crucial decision on the day she and her partner are about to commit a crime. An intriguing short film that works as a crime thriller and also as a story about self-reflection. As a crime film, it has a plot that revolves around the idea of a couple being outlaws. According to director Anderson, this short was made with Western-era influences that involve films such as Blood Simple and Badlands and that is evident considering the storyline and atmosphere. Plus, part of the filming was done at the Burnout BBQ Diner in Summertown, Oxford, giving the film a sort of Americanised look. What is going on is not clear from the beginning, making the viewer to put the pieces together as the story unfolds and what is discovered is that the couple are about to do something very vile. As a film about self-reflection, that theme is explored through Carla (a great performance by Newell), who makes a vital last-minute discovery and makes a crucial decision. Newell is terrific in her role; however Lawrence is arguably the one who steals the show as Clay, Carla's partner, an aggressive and controlling man. With his sixth short, Anderson creates an expertly directed film that contains a great deal of suspense and with terrific performances by the two leads, a dramatic and tense score by Reg Length and beautiful cinematography by Jermaine Wills, this is an achievement that deserves recognition. #1 - Fallen ★★★★★ Directed by: Spencer Anderson Written by: Spencer Anderson Starring: Zachary Coleman, Michael Watts This short drama was inspired by the reminiscences of Gilbert Bradley, who was a British soldier who exchanged letters with his male partner while he was fighting World War II. Through a nonlinear narrative, this emotional war film tells the story of a forbidden romantic relationship and how these two people tried to keep in touch during the war. Approximately the first half consists of the reading of a letter that was written by one man and addressed to the other and the second half is the opposite. Both contents of the letters are told through a voice-over that comes from the one who wrote it. Their words are passionate and full of emotion, clearly indicating the love that they feel for each other. The narration is accompanied by many brief scenes that depict the lives of the two partners, including one man in a library, reading a letter, scenes of combat, a bonfire and the two men together. The scenes and the voice-over make it all a rather moving watch. With its narrative structure, the film almost feels like a ten-minute-long trailer, which is not a negative element but a rather interesting storytelling technique. Jermaine Will provides wonderful cinematography and the emotional score goes very well with the scenes and voice-over. The mise-en-scene also deserves a lot of praise as it effectively creates a Second World War atmosphere. This is an emotional ride that is very heavy on emotions and explores a romance that is being torn apart by war. It is a beautiful story about love, separation and war and it deserves recognition. #JasonKnight