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Film Feature by Chris Olson The UK Film Review Podcast was back in action from January 2024, with episodes released by popular shows such as The Scream Test, Gay, Actually, and The Fantom Zone. It was on our show, UK Film Club, however, that we covered an incredible selection of films at the cinema and on streaming in Jan. My colleague and co-host Brian Penn gave an incredible run-down of films available for UK audiences to see at the cinema in January 2024, ranging from Roald Dahl remakes, to supercar biopics. It was one film, however, starring Anthony Hopkins which stood out amongst the rest - and was crowned our "Film of the Month" on the UK Film Review Podcast. One Life - Film of the Month January 2024 In the film podcast episode, Brian was hugely complementary about One Life's important themes and terrific performances, particularly those by Anthony Hopkins and Helena Bonham-Carter. Of the film, Penn said: "As sadly, World War 2 begins to slip from living memory...it makes it even more important to shine a light on stories that we might not be familiar with." The synopsis of One Life reads: Sir Nicholas 'Nicky' Winton, a young London broker who, in the months leading up to World War II, rescued over 600 children from Nazi-occupied Czechoslovakia. Listen to the episode of UK Film Club to hear our review in full: Other Film Reviews in Episode 11 of UK Film Club Whilst Brian was impressed by Anthony Hopkins and One Life, there were other movies in the episode which also shined. Wonka, starring Timothée Chalamet, Olivia Colman, and Calah Lane was a firm favourite, allowing us to reminisce about the Gene Wilder version and reluctantly mention the Tim Burton outing. Read our Wonka Film Review by Brian Penn here https://www.ukfilmreview.co.uk/reviews/wonka Ferrari was also on the slate for the January 2024 film podcast episode. Michael Mann's latest film is always going to be one for film fans but this proved to be a very impressive film according to Brian. Read his Ferrari film review here https://www.ukfilmreview.co.uk/reviews/ferrari Napoleon also made an appearance (not literally, the guy's been dead a while), the 2023 film from director Ridley Scott starring Joaquin Phoenix in the titular role. With an impressive supporting cast and cinematic splendour, this was one to watch as well. Read our Napoleon film review here https://www.ukfilmreview.co.uk/reviews/napoleon Onto movies that I also saw and reviewed in the film podcast episode, Saltburn has seen a wild amount of social media coverage and I was thrilled to watch another film by brilliant director Emerald Fennell, and also another starring Barry Keoghan who I have been reviewing proudly since his short film days in Candy Floss at Raindance Film Festival all those years ago. Saltburn was excellent, a ruthless and sumptuous film about class. Excellent supporting performances (particularly Richard E. Grant) but the two leading lads, Keoghan and Jacob Elordi are phenomenal. Everyone talks about the bath scene but watch out for some naked grave action too. We were fortunate enough to cover some indie movies on our film podcast this month, with the mesmerizing Room 20 (a beautiful animated movie) as well as a comedy feature The Bez Felcher Show. Listen in to here our thoughts on those. I also interviewed Michael Stevenson and George Siougas about their short film The One Note Man. Our "Nostalgia Pick" - a film from the past we revisit - was the 1984 version of Dune. Directed by David Lynch and starring Kyle Machlachan. Without spoiling our podcast review, let's just say we are really looking forward to Dune Part 2!

★★★ Starring: #MahsaAkbari and #NimaHaghighi Short Film Review by: Alexandra James Mannequin is a short film that has a rather curious and unusual storyline. The film begins with a wife watching late night TV and ordering something from one of the channels which appears to be a mannequin in a bow tie for her husband’s birthday. A very strange gift for a husband, however, she seems convinced that this will make the perfect present. The story then moves on to the couple preparing for her husband’s birthday party, as they decorate their home and await guests, the doorbell rings and it’s the mannequin that has arrived right on time, she is convinced that it looks exactly like her husband. However, the husband seems quite confused and cannot see the likeness himself but goes along with his wife’s opinion. The film after this event takes a strange turn and this is when things become very confusing for our male protagonist as well as unclear for the viewer. As the story begins to develop, the wife Leila is no where to be seen, instead, her husband attends his own party without knowing a single person who has arrived. As he becomes heavily intoxicated with drink and drugs, everyone around him seems to be a stranger and yet are aware who he is. The scenes became hard to follow at this stage and although it added that element of curiosity and fed into the ambiguity of some of the scenes, it also made it tricky to link the story together. There wasn’t a natural flow, and the central theme was this mannequin which did not appear again until the very end of the film. The audience were left in the dark, so it was hard to understand the direction the narrative was taking. However, the party scenes were great as it became interesting to see the transformation of the everyday home to a drug and alcohol fuelled event. The juxtaposition between the two added to the hecticness as well as feed into the confusion of the character as well as the viewer. Unfortunately, the storyline became lost amongst the craziness and so it became difficult to engage with the characters. Ambiguity can be an intriguing quality, but there also needs to be a central theme to the narrative that ties everything together and remains a constant throughout.

★★★★★ Directed by: #FraserWatson Starring: #NathaliaCampbell-Smith Short Film Review by: Alexandra James The Separation is a dark short horror film that tells the story of a woman called Sheila Anderson. Sheila is a north London theatre worker who also manages the media for a charity. As the audience begin to learn more about Sheila and her life, it becomes quickly apparent that she has experienced trauma and provides the viewer with an in-depth monologue of her life and this horrific incident. The camera angle is an extreme close-up of Sheila’s lips, this is a key cinematic technique and crucial to the narrative as the audience can feel uncomfortable as well as invasive in a way, as if the audience are in Sheila’s personal space unable to get away, aligning with her story, and the pain she felt from having her own space violated. The Separation made for an uneasy watch and was extremely disturbing in places, which ultimately is compelling and draws us in further, wanting to know this character’s background and what makes her tick. There were scenes that broke up the intense monologue of Sheila, they sometimes reflected her words or showed her walking slowly in darkness with just a candle as the only source of light. There were also small snippets of what appeared to be an abandoned hospital, and her alone acting out her hurt emotions. This helped to break up the intensity, however, kept our discomfort at an all time high. As we start to learn about Sheila’s work life and relationship with friend Carla, the story becomes heavier, and it is hard to determine reality from fiction. This is when the story becomes a twisted psychological thriller, as we begin to question who in the story is a real character or just a figment of Shelia’s imagination. My only comment would be on the length of the story, although you become hooked on Sheila’s words, when you are completely glued to just one single scene such as the close-up of her lips, your mind begins to wander and lose track of the characters and storyline. What allowed me to stay connected were the cutaway scenes away from the close-up. This added to the twisty element of the narrative and gave the film a real dark edge. As Sheila gets deeper and deeper into her story, the audience cannot help but become sucked into this horrific world, following the character, and experiencing everything she has in such detail enabling you to build this storyline so clearly in your mind. Directed by Fraser Watson and written by Dan Horrigan, The Separation focuses on the human psyche at its most vulnerable, after a traumatising event. It highlights the ways in which our behaviour and senses can become so damaged and the struggle of navigating yourself through this tumultuous time. A great, compelling, and frightening short film that keeps you on the edge of your seat.

★★ Directed by: #DigantaDey Short Film Review by: Alexandra James Bare Foot is a short film that highlights the suffering of a common man. Director Diganta Dey and writer Ananya Adhikary have created a socio-political film that uncovers the issues that surround society since the independence of India. The film has no spoken dialogue, but instead shows an average worker’s home life, layered with their thoughts and feelings and the struggle with trying to move up in this world. This is a 2-minute short film, and within this small timeframe, Dey attempts to provide a platform for the common man that otherwise that may have been unheard. The film begins at home, the audience are not aware whose home, however, it appears to be extremely average. The scenes do not show any people, but basic everyday items such as shoes, food, and a staircase. Along the bottom of the screen, is the narrative that explains the views of a common man. Some of the words can be seen as hard hitting, such as ‘we continue living in our tiny hollow space, we die, under an invisible surveillance.’ This may be insinuating that there are people that work, day in and day out, with no rewards or anything to show for their efforts. Instead, they are pushed into the background, ignored, and eventually become invisible. This is rather a dark sentiment and paints life as practically meaningless and bleak. However, these words need to cut deep to create an impact and highlight the severity of the situation that society is trying to ignore. The background music was extremely melancholic and provided a sense of that desperation. There was a moment when the screen turned black, and the words read ‘A long pause…Feel the music.’ Unfortunately, this may not be a wise creative choice. For a film that is only 2 minutes long, it needs to capture the audience’s attention and provide us with a thought-provoking narrative, especially when commenting on big political and social issues. The film itself is very simplistic so to add in a black screen did take away some of the impact. That time could have been used to aid the storyline further and raise some important issues. The concept behind this piece is powerful, however, to push this short film further, the message needed to be a lot clearer, and some diverse scenes added. The idea of shooting this piece in an average home fit well, but there needed to be more to this, because the overall simplicity made it difficult for the audience to grasp its purpose, as well as remain engaged throughout. With such a small-time frame, you need to be able to grab your viewer instantly with a powerful theme, this would have helped to keep the message alive within the audience’s mind long after the film had finished.

Filmmaker Interview by William Hemingway Hi Jiwon. Thanks for sitting down with us to chat about your films and filmmaking. Where in the world do we find you today and how are you doing? Thanks for inviting me, I’m so excited about the interview today. I am a writer and director based in Los Angeles who is also working as the showrunner’s assistant for Netflix’s XO, Kitty Season 2! I’ve been learning so much about TV writing through my current job, so I’ve been doing wonderful these days. We’re here to talk about your short film Call For Cassie, could you take a little time to outline what the film is about to our readers and say why this was an important story that you felt you wanted to tell? For sure! Call for Cassie tells the story of a Chinese mother/masseuse Cassie who works in Koreatown, Los Angeles, to support her son in China. On her birthday, she is visited by her married lover, who later dumps her as his wife has found out about the affair. When Cassie gets a surprise visit from her lover’s wife, she battles between her desires and her moral conscience. As a Third Culture Kid raised in China, images of cheap massages and the themes of battling between identities closely resonated with me, and I was certain that it would speak to the experience of many Asian women as well. You have previously talked about the dual identity of women, and in particular Asian women, in society. Can you explain a little of that duality as you see it and tell us how that affected your approach to writing/filming Call For Cassie? At the heart of it all, Cassie is a story about duality. It’s the ironic identity of Cassie who’s both an outsider (a first generation immigrant) yet an insider (a masseuse who is intimately connected with her customers), a mother who battles between her responsibilities and her desires to be loved as a woman, and Cassie’s dualistic work as a masseuse, which can both be viewed as arduous physical labor but also a form of spiritual art. Duality especially in the context of one’s identity is a familiar experience to most Asian women who are in or have exposure to Western society. The expectations that we were raised with since we were young often differ from what we see around us, and sometimes, even the desires and identities we form within ourselves. Naturally, I’ve often heard from fellow Asian friends who experience an identity crisis, as they try to discover their “true self” amidst the many identities they present to different people. Such dilemma is portrayed through the many sides of our protagonist Cassie throughout her day in the film. I hope her joys and struggles speak and comfort audiences who have shared similar experiences with her. You have described yourself before as a Third Culture Kid, can you explain this a little and also how you feel that this has informed your creative output and the type of stories/characters you use in your films? Third Culture Kid, or TCK, refers to someone who has spent the majority of their developmental years outside of their passport country. I am a TCK who was born in Korea, and raised in Korea, Malaysia, China and have been living in the United States for the past five years. Because I was constantly thrown into new environments and cultures, I have always had difficulty connecting with stories that were being told to me. Yet, as a child who wanted to fit in, I always had to feign an interest and put on a different face, so that I could conform to the culture of my new environment. Perhaps because so, I have long had a desire to tell my story, which materialized in my current career as a filmmaker. I do tend to notice that my stories and characters somewhat embody how I got my start as a storyteller — I like to tell stories of outsiders and their arduous journey to find a place to belong. Can you talk a little about the use of different lenses and colour palettes within Call For Cassie and how you came to make these technical choices? How much do you enjoy the technical aspects of filmmaking as opposed to writing/creating? Yes! The use of colors was my favorite part of bringing Cassie to life. There are largely three locations in the film. First, the bathroom, which represents the loneliness and dullness Cassie feels in life, also shown through her act of smoking by herself. The bathroom, accordingly, is our most desaturated space with lots of grey. The opposite end of that spectrum is the private massage room where Cassie makes love to her lover. Passionate red and orange were our core colors here. We finally end on the exterior of the massage parlor, which acts as an in-between or reality that Cassie has come to terms with. Hence, it is the in-between of our dull bathroom and our crazed private room, shown through darker shades of purple. In terms of lenses, my favorite choice was to use the fisheye lens as Cassie begins to feel the urge to murder her lover’s wife. Some of these technical choices, especially color, came naturally to me even as I was writing the script. I think it’s because the script initially came from my very tactile personal memories of massages and massage parlors. While I usually come in with some ideas for the technical aspect of filmmaking, I like to leave most of the work to my crew. As a writer/director, my job is to ultimately oversee and provide guidance on what emotions or narratives the scene is trying to convey, and it is up to the crew members to decide how that should be executed. That’s why I truly believe one of the most important and hardest parts of making a film is finding the right people to work with! You needed to crowdfund to get Call For Cassie made. Is this a process that you enjoy/feel builds a community around your film or do you see it as more of a necessary evil for independent filmmakers? I think it really depends on the filmmaker and the type of project they’re going in with. I do believe crowdfunding is more effective with a film with a clear social message, which wasn’t quite the case for Call for Cassie. But I was still so, very fortunate enough to be connected to a wide array of supporters who supported my vision and allowed the film to come to life. While it was stressful at times, I think crowdfunding did force me to pitch the film many times to many people, and in the process, I learned to market myself and my project, which is an essential skill for all filmmakers in the industry. How does Call For Cassie compare and fit in with your previous short films, Afterlife (2019) and The Drive (2021)? Do you see a commonality in the themes and characters or is each new project a completely different entity for you where you can explore brand new things? I certainly see a continuation of similar themes and characters. I think all three films explore the complexities of human relationships, and how they affect us as a person. But generally speaking, I do like to see each new project as a different entity — at least until I have a few produced features under my belt. As a creative who is still learning and trying to find my voice, I think it is a waste to pigeonhole myself into a particular theme or genre at this time, and I’d like to try every different idea in my head until I become a seasoned filmmaker with a distinct brand. You have previously talked about division, uncertainty and pain within the Asian American community in recent times. Do you think things are getting better for Asian filmmakers/actors in Western cinema? In your view, have films such as Everything, Everywhere All At Once, and the profile of Parasite, Past Lives, and Drive My Car done anything to improve how Asians are represented in Hollywood and beyond? While there is still a long way to go in terms of representation in the industry, I do think the past years of success for Asian creatives and Asian stories in Hollywood have been a great encouragement for all of us Asian storytellers. Call for Cassie was written and pitched shortly after the pandemic, which was a very difficult time for Asian communities. I think one of the greatest ways we can learn to be more empathetic toward each other is through diverse stories that allow us to connect with those who are different from us, which is why representation is such an important issue. Amazing Asian-centered stories told through the great films that you have mentioned and beyond have opened doors for even more diverse storytelling in the community, and I am so thrilled to see what’s in store in the coming years as well — both as a fellow filmmaker and as an audience! South Korea has a long and distinguished history in filmmaking, with some of my own favourite films of all time coming from that part of the world. Do you have favourite filmmakers who have inspired you or influenced how you make your own films? While I have many favorite Korean filmmakers of my own whom I respect so dearly, I have had the greatest honor of hearing closely from the global auteur Park Chan-wook while translating for him at various events. I was provided with so much insight into the details he puts into each stage of filmmaking — especially in the storyboarding phase — and the ways that he communicates with his solid group of very talented crew members, and I can only dream of making work I’m proud enough of to share with him one day. I would also like to mention the underrated Korean film House of Hummingbird (2018), which was written and directed by a woman director Bora Kim, as it is one of my favorite movies of all time! You’ve already moved onto your next project as writer on the new short film, Kiki & The Ghost – what’s left to do on this project for you and what are your hopes for the film in the future? Kiki & The Ghost is currently on its festival run! It was one of the rare instances in which I wrote a film I did not direct, and the film actually got produced! I was so happy with how the film turned out, and I hope it gets to be screened at various festivals around the world for different audiences. Where can viewers currently get to see Call For Cassie, or any of your other films? As of now, our upcoming screening for Call for Cassie is on April 13 at the Regal Theater in Los Angeles for Indie Short Fest. Tickets will be available soon, so please follow our IG page @callforcassie for a chance to see the film on the big screen! My other works can be viewed on my Vimeo page (https://vimeo.com/user91199873) What is next for Jiwon Lee? I’ve been having so much fun working in the writers’ room at my current job! I want to hone my writing skills more for the next year and hopefully get an opportunity to be staffed as a writer myself! Of course, if I have any irresistible short film ideas in the process, I will make the bad mistake of emptying my savings account for another short as well. #WilliamHemingway #FilmmakerInterview

★★ Directed by: #MayankMekala Starring: #AdhvikaAbbagani and #MitulMekala Short Film Review by: Alexandra James Dominion is a short horror film that follows a young girl haunted by a strange entity. The film begins in a mysterious way with a young boy trapped in a room. It’s dark, isolated and with just a few blankets on the floor. He is scared and alone, and there are hints that there is some form of abuse involved whether this be his parents or a guardian. When the opportunity arises for the boy to escape, he takes it without thinking of the dangers that may lie ahead. As he takes off in the middle of the night, a tragic accident occurs that puts an end to the little boy’s life. Left bloodied in the road, something strange and ethereal occurs and the narrative quickly jumps to a year later from the accident. The story did appear confusing, and difficult to follow. It would have helped to not include the visual effects and have the story jump to a year later, as this was slightly jarring and can make the audience lose focus from the plot. Unfortunately, this was a downfall to the film as once you lose track of the storyline, it is very hard to get back on the rails again and digest the rest of the story. As this is a horror film, an element of mystery needs to be embedded within the heart of it, this is clear within Dominion and keeps the audience in the dark when it comes to the twists and turns that lie within. However, there is sometimes a danger of keeping the audience too in the dark. There needs to be that element of fear and some shock scenes to keep us drawn in and engaged throughout. This was very much lacking throughout the film. The children were the protagonists and did in fact stay in character and focused throughout. It is important to note that this short horror film cast without any prior acting experience, a small budget and limited equipment. It is incredible to see what can be achieved with such limited resources. The locations used were great, and the scenes captured were distinctive and diverse. It would be amazing to see what could have been captured with professional cameras and a bigger budget. Dominion included some interesting themes, however, these needed to be developed upon further to provide the audience with that shock factor we all crave.

★★★★ Directed by: #NicoleRinaldi Starring: #AmericaJayne Short Film Review by: Alexandra James America Jayne’s music video Homecoming is a hard-hitting song that focuses on the theme of growing up, but still holding onto the memories and trauma that have led us on this journey. America Jayne is an alt-rock band from Brooklyn, with lead singer and songwriter Erica Pierce, their songs are powerful, moving and the short music video reflects the deep, emotion that lie within the lyrics. The opening of the song is a dark, empty room, with a pool of water on the ground. The band are playing barefoot as Erica fills the room with her sweet vocals and compelling lyrics. Director Nicole Rinaldi centres the music video around the lyric "the lake where I almost drowned," hence the band playing with water up to their ankles. Although this may seem unusual, the deeper meaning behind this artistic choice is crucial and helps to strengthen the song and the message behind the words. As this is a song about moving forward and trying to leave the past behind, it was clever to use memories and have them float in the water, slowly deteriorating as the water begins to soak them into nothing. At first the video appeared very simplistic, however, as you continue to watch, it’s a story which ebbs and flows and becomes more intense as the video progresses and matches the energy of the singer as well as the band. The only thing that I believe would have made the audience channel their focus on Erica would be for her to wear a different colour outfit. The dark background coupled with a black outfit pushes the lead singer into the background when she should very much be at the forefront, much like the other band members. This could have been a great way to draw the audience in by having instant attention-grabbing clothing that stand out against the black. This was an incredibly artistic and moving video that matched the words and heart of the song perfectly.  A lot of music videos tend to bombard the audience with mismatched scenes and locations that do not link with the song in any shape or form. However, Homecoming is far from this, and ties this idea of escaping past trauma and the memories that still haunt us. Director Nicole Rinaldi highlights these key themes within the song and illustrates this in a poetic and powerful style on screen.

★★★★ Directed by: #RodriguezJennings Starring: #IonCiotu and #JulisaZamora Short Film Review by: Alexandra James Sunset Drive tells the story of a couple at the height of a blazing argument, fuelled by anger and emotion. The couple attempt to diffuse the situation by going on a drive together. This film is a true representation of couples in a long-term relationship trying to make it through and get over a rocky patch. Many couples have been in a similar situation, an argument becomes heated, and you end up in a screaming rage becoming emotionally exhausted from the entire ordeal. There is an unspoken truce between you and your partner as you both seek some form of release or a way to break away from the anger. This is when a drive can be seen as beneficial, so you can begin to shut off your mind as well as kick start communication again. The film begins amid the argument, the body language and silence between the two is overpowering and completely dominates the scene. There is clear tension that fills the air and a stubbornness on both sides that has come to a complete head. It is Rowan that breaks the tension by asking Eloise to go on a drive with him. The characters have an obvious connection between the two, even behind the anger, there is a strong love there. They were a perfect match for this short film, and I think what is key to portraying a relationship such as this is the passion between the pair. They had that spark which draws them together but also can be seen as a recipe for disaster, as couples that love with passion can also fight with passion. What was interesting about this short was the mixture of dream like scenes interspersed with reality. Sunset Drive plays out some of the thoughts of the couple, showing the audience what they both personally would like the outcome of the argument to be. For example, to have Rowan hold Eloise’s hand and for Eloise to reach out and brush away Rowan’s hair from his face. They both crave affection from one another but are too stubborn to share this. The scenes were not clear as to whether these moments were a dream, flashbacks, or a mixture of the two. As a viewer, it can be interpreted as this is how the couple would have behaved early on in their relationship. This was a perfect way to add depth to the film, as it highlights the different layers within their relationship and in turn created some moving scenes. This showed the audience the loving elements which hold the couple together, and made for a compelling watch.

Filmmaker Interview by Chris Olson Hi Alexander, lovely to be speaking with you. Hi Chris, thank you for the opportunity to take part in your filmmaker’s showcase and to open up some insights about my work and my works. In this quick talk, I want to get to know you a little. I read on your website that Picco is a Germany and Cyprus-based film production company, focused on contemporary narration and highly political relevant topics. What are you currently working on? We are currently preparing everything for Summer 2024 to shoot our first feature film, "The Heart of Darkness" (WT). We are busy writing the script in our writers' room at Picco-Studio (Comment: see www.picco-studio.com), negotiating with the team and cast, and taking care of the funding. It's an exciting process that we are going through! I can already say: it will be an intense, deeply stunning, and as well for us very special movie! Only one project? Of course not! Additionally, we are working on two mainstream series, e.g. one of them about a real worldwide system of still running billion-dollar-scams we undercover investigated last three years, hoping to shoot the first season already in 2024 and developing the other authentic series to be shot by the end of 2025 - as well we intensively work on our second feature: "Caligula", a political satire influenced by the Roman emperor and set in the political landscape of 2028 Vienna, based on our modern societies and their mechanisms. You’ve got big plans. Indeed! So far, I can proudly say that we have involved international artists we did not imagine engaging in our projects before! We feel acknowledged for our contemporary approach to developing projects with soul, unique artistic qualities, and relevance in discourse, designed to attract a wide and reasonably relevant number of viewers. As a filmmaker, I am personally proud that my previous short films seem to have gained interest in working with Picco-Studio and myself. We are now collaborating with a group of extraordinary artists. The kind of artists who seek the "little bit more" in the process and the result. My partners Wolfgang Schlögl (conception, music producer - I-Wolf, Sofa surfers), Andres Jauernick (line producer and strategic consultation – Star Wars, Domink Grafs films), as well as Jan-Stephan Schmieding (dramaturge – Berliner Ensemble, currently Schauspielhaus Köln), along with our creative producers and authors and supported by our valued internship participants, form a strong team on an eye-level that is understood by everyone involved as unique key strength of Picco-Studio and its more and more advancing projects. Tell us about your shorts. What is the short you are most proud of? “Flight into Darkness” marked a significant milestone in my personal journey, transitioning from a skilled young director who aimed to please audiences and meet the expectations of artistic directors for quick recognition and business success, to an artist empowered by trusting myself and my taste, cultivated over the years as an assistant in theatre. I was able to discover my own personal qualities and focus on my artistic judgement and showed me what is possible if a team is open to deep trust and sensitivity, especially between cast and director and including all involved in the process and without fear or power-games enabling everyone's full potential trough appreciation and openness. What is the film about? It’s based on a novel by Arthur Schnitzler, right? Indeed. But let’s start from the beginning: "Flight into Darkness" accompanied me for several years. Originally planned as a theatre project in Vienna, involving a male solo performer and short film clips projected in the stage design, the project was unexpectedly cancelled. It took me two years and an incident in Argentina to finally realise this should be a 27-minute short film, based on Arthur Schnitzler's 1931 novel (written already 1916/1917). Schnitzler, one of Austria's most important authors, described the deconstruction of a personality even before Freud made it world known. In my interpretation, the story follows a young woman from Argentina to Vienna, dealing with instability and seeking to resolve existentially important matters from her past with her brother's help. The film delves into heavy and breathtaking psychological extremes, exceptionally performed by Martina Greiner. The narrative explores the dynamics of use and abuse between siblings, focusing on a woman's fight for freedom against all odds. Personally, I am delighted with the cast's performance as well as with the photography. This film is an emotionally vibrant experience that leaves no one indifferent. Why did you want to tell this story? I was in a phase of my life where I sought to be immersed in deep psychological topics, and I stumbled upon the novel by chance. The concept of deconstructing an entire personality profoundly fascinated me. I was curious about how early he explored this topic, which later became one of the most influential ideas of the 20th century. You seem like a curious person in general. Why movies? There are several simple reasons that leave me with no other choice: I aspire to construct conceptually challenging universes that resonate with me, filled with exceptionally sensitive and intense characters. Yet, there's another profoundly personal motive: It’s the most demanding job I've ever undertaken. One filled with constant change and excitement. It requires fearlessness. Film, being the art form involving the most people, allows me to connect, moderate, and engage with unique individuals and creative minds. I genuinely love my job, where development is continual, and life is an unending adventure of growth, processing, intensity, and vibrancy. There's a third reason: my interest in relevant discourses. I strive to connect with the audience, addressing personal questions so that each viewer sees their own film. My goal is to initiate discussions, broaden perspectives, and foster empathy for others. I aim to enhance the culture of discourse and, in doing so, contribute to democracy and enlightenment. What is your next big goal? Let´s get straight to the point. We need one more private investor. Does he or she read this right now? Let´s hope so! Well, this is for real a thing at the moment: we found in 2023 already two private investors, now in 2024, we are searching for one more long-term investor to become a shareholder and join our venture in return for funding of Picco-Studio, alongside myself and my three established artistic partners and our two existing Austrian and Swiss shareholders. Our aim is as well to provide additional financial support for our feature film, "The Heart of Darkness", in addition to regularly for film with the EU always relevant state funding. The new partner's investment will grant them company shares with full rights, including dividends (projected at 10-14% from 2024/25 onwards). This financial injection will ensure the stability of our financial roadmap, allowing us to confidently continue our journey in the coming years. If you are interested and would like more information about us, please don't hesitate to contact us at production@picco-studio.com Watch Flight Into Darkness here. Or watch other films from Picco-Studio here. Follow them on Instagram @picco.studio.production #ChrisOlson #FilmmakerInterview #piccostudio #alexanderratter #caligula #feature #film #shortfilm

★★★ Directed by: #GabrielBrown Starring: #EleanorGrainger Short Film Review by: Alexandra James Purely Cosmetic exposes the behind-the-scenes moments for an actress who has finally made her West End debut. Unfortunately, all is not as it is portrayed to be for this shining star. Instead of glitz, glam and fame, the audience are shown a much darker side to the lifestyle and focuses on the internal thoughts of our young actress. This short film shows us the side to acting and fame which we are shielded away from, the side which does not show the immense pressure and mental preparation it takes to perform in front of a live audience every night. Director Gabriel Brown depicts this moment and uncovers a new perspective behind the bright lights and big stage. Purely Cosmetic is filmed in black and white which gave the piece a melancholic and emotional quality, almost reflecting the mental state of the actress and strengthened this theme of fear and doubt that was being echoed throughout. As the young actress admires the cards she has received from friends and family over her big break, she looks at herself in the mirror and instead of happiness we are greeted with doubt and worry painted across her face. As the film goes on, her worry turns into tears and pain which she can no longer hold back. This immense feeling overpowers her and is clear these thoughts are of uncertainty. There is no dialogue within this short film just raw emotion and facial expressions, and its amazing what can be interpreted from just facial cues alone. However, it would have been interesting to have some of these internal thoughts exposed, perhaps if the character spoke directly to herself in the mirror, it would have added another layer to the story and helped to create a more open character. This short was a simple storyline but did convey a lot through just pure acting, movement, emotion, and facial expressions. This is a clever short film that focuses on what it is to be human, to feel all these negative thoughts and to go through those insecure moments even when you are seen as a big star. It highlights that everyone has these low episodes behind closed doors and struggle to be confident all the time. However, it was interesting to see that transition from a lack of confidence to put on a brave face for the crowd. The audience witnessed that transformation as the actress began to breathe deeply and apply her make-up. These moments might not be for everyone to see; however, they are very real and honest and Purely Cosmetic captures that vulnerability seamlessly.

★★★★ Directed by: #SriKandula Starring: #SabelleCaviston, #AJCollevecchio, #AdamMyers Short Film Review by: Alexandra James A short student film directed by Sri Kandula, What Remains is a thriller that is set in a post-apocalyptic world. There are few survivors, and there are cannibalistic creatures which are roaming the earth. The only thing that is keeping them alive is instinct and sticking together. Grace becomes a lone traveller after her fiancé’s death, she is fearful but determined to survive. Grace soon meets another lost soul though her travels called Oscar, a mute and timid guy who feels there is something about Grace he can’t trust, especially when her past keeps coming back to haunt her. What Remains focuses on this theme of survival, testing the limits of just how far you would go to save your own skin. As they fight to just exist, a piece of themselves eventually breaks away until they are further and further away from being human. This short film throws the audience directly within the heart of the action, what was great is that the film had similar vibes to John Krasinski’s A Quiet Place. Although there are some plots that need a bit more explanation, there are films such as this, where that is not necessary, and a simpler storyline can create just as great an impact. Instead, we are led into a barren landscape, in rough weather conditions and barely any food around. This made for a compelling watch and a sense of curiosity as to why this was happening to them. As Oscar and Grace stumble across each other, they stick together throughout, clearly longing for some form of human interaction and to feel that sense of protection. Both Grace and Oscar were troubled characters in their own way, however, the bond between them was evident, this could be interpreted as pure desperation for human contact or they relied on one another to make it through. They had a Ying and Yang feel about their personalities which made for a strong pairing and an exciting adventure. The camera work to this film was fantastic, the shots were diverse, and the locations used for the harsh landscapes strengthened that dark and unnerving theme. Sri Kandula is an Indian-born American writer with a strong passion for film having studied Film-Video at Pennsylvania State University. His keen eye for detail allows him a lot of scope to experiment and find a cinematic style that reflects his passion and interest in macabre and nightmarish themes. This is definitely one to watch and it will be great to see how Sri progresses with more experience as well as bigger and better ideas and twists to his narratives.

★★★ Directed by: #DianaGalimzyanova Starring: #MarriaRoslova, #ArturSemenduev, #DmitryKrupin Short Film Review by: Alexandra James Sheep F-cked In the Head is a music video which portrays a woman on a night out drinking and enjoying herself to the extreme. However, throughout the video she is constantly approached by men, and some of the advances towards her are consensual, and some are not, and yet they still tried to take advantage. This video highlights some of the common scenarios many women face daily, and certainly when drinking or out in a night club. Diana Galimzyanova is the director of this video and combined with Marria Rosllova’s lyrics, the piece explores the subject of women and the role in which we are expected to play, as well this subject of what it means to be a woman. The video began in a very powerful way, young girl, dressed up and walking into to the nightclub with confidence and attitude. Her main aim is to just drink the night away, and as her drinking becomes heavier and heavier, men start to approach and begin to test the boundaries. Sheep F-cked In the Head was quite hard hitting and extremely truthful in a way, the main protagonist certainly appeared powerful and looked pretty much done with all the bulls**t as the men began to surround her! However, it was great to see a video that highlights issues which are prominent in society. I think if I were to liken the character to someone, it would be Phoebe Waller-Bridge from Fleabag. A woman that has no filter and is unapologetically herself. Female characters that carry a lot of energy and rage make for fantastic protagonists and we instantly become drawn to them. Some of the scenes were very repetitive and considering this is only a 2-minute video, the audience craved those diverse, new, and exciting locations and scenes as there is only a short window to grab our attention. The opening of this music video was strong and introduced the audience to a fiery character, however, it would have been good to keep this energy up throughout. Regardless, this was a fascinating music video that had style, attitude and focus on some very real issues.