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HOME | FILMS | REVIEWS McEnroe Film Review average rating is 4 out of 5 Critic: Brian Penn | Posted on: Jul 17, 2022 Directed by: Barney Douglas Written by: Barney Douglas Starring: John McEnroe, Bjorn Borg, Billie Jean King, Patti Smyth The run of bad boy Nick Kyrgios all the way to this year's Wimbledon singles final brought inevitable comparisons with the equally temperamental John McEnroe. They both railed against the tennis establishment with its inherent snobbery and elitism, but other similarities are more difficult to pin down. This new film by Barney Douglas throws more light on the kid who so spectacularly burst onto the scene as an 18-year-old. The original enfant terrible transformed tennis in the late 1970s with the rarest of talents. Quickly dubbed 'Superbrat' he was a gift to comedy writers far and wide. No comedy sketch or routine was complete without that familiar mop of curly hair and red headband. But for all his volatility and comic strip persona John McEnroe was a gifted left-hander and arguably, the greatest serve and volley player of all time. As the frames start to roll on this engrossing film, we begin to understand what a deeply complex man John McEnroe is. His wife Patti Smyth makes the most telling observation early on. She read John's report from first grade as a six-year-old. His teacher noted 'John is very harsh on himself'’. It betrays an obsession with perfection even at a very young age. His blow-ups on court were highly amusing and endeared him to many. Such antics were reminiscent of people playing tennis in the park on a Sunday afternoon as they argued over every point lost. But for McEnroe it was symptomatic of a deep rooted insecurity; failure was always attributed to circumstances beyond his control. His intense rivalry with Bjorn Borg is well documented. McEnroe broke the Swede's five year run of Wimbledon singles titles in 1981. With only three years between them McEnroe expected an ongoing duel but Borg was to all intents and purposes retired at 25. How could McEnroe prove he was the world's greatest tennis player if Borg wasn't around to beat on a regular basis? Again the quest for perfection looms large in McEnroe's life and a continual need to prove himself. The effect of Borg's absence cannot be underestimated. McEnroe's last grand slam titles were in 1984, by which time he had embarked on a toxic relationship with Tatum O'Neal. His subsequent divorce and later marriage to Patti Smyth gave him the stability he craved. However, it’s still difficult to draw conclusions from a remarkable life. The documentary cleverly links the narrative with film of McEnroe walking through deserted New York streets; another passage pictures him walking through a bleak desert that suddenly clouds over into a thunderstorm; all of which feels symbolic of a quest for answers and peace of mind. But this remains a frank and disarming portrait of a most charismatic sporting icon. About the Film Critic Brian Penn Theatrical Release, Documentary < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Scaring Women At Night - BFI Flare Film Review average rating is 4 out of 5 Critic: Amber Jackson | Posted on: Mar 30, 2023 Directed by: Karimah Zakia Issa Written by: Karimah Zakia Issa & Ace Clamber Starring: Izaiah Dockery, Kavita Musty, Dashawn Lloyd Blackwood “While grappling with his own fears, moving through the world as a trans man, he does his best to navigate his new dynamic with women.” Having had its world premiere at TIFF in 2022 and part of BFI Flare’s 2023 selection, Scaring Women At Night is an impactful short film that speaks to the lived experiences of one transgender man. As he presents as masculine, he seeks to understand how he can be more approachable to women without making them fearful of him. This is particularly prevalent at night, when the film’s storyline takes place, as he is walking behind a woman who believes that he is following her. In trying to not appear threatening, this is an interesting introspective film that considers an entirely different perspective to the trans male identity and experience. Cinema has seldom considered stories and narratives in this way, and so it is refreshing to see a very contemporary issue handled in such an incredibly authentic way. The story focuses on protagonist Ash having a conversation with himself about who he is now after his transition, particularly concerning his relationships with women. As he walks home alone, he encounters a woman also walking alone, leading the film to openly confront their individual fears. Filmmaker Karimah Zakia Issa explores how Ash has lived experiences from each side and is the guiding force for audiences to see an all-too-familiar event differently. He has adapted to survive, yet is confronted by these additional societal challenges. There is a real sense of unease created that extends throughout the short, with fears that many can relate to, particularly the reality of being followed. The filming is excellent, with scenes being spliced together often with jarring jump cuts to keep the viewer alert. Placing a trans character into this action allows these fears and issues to be considered in a new way. Ash attempts to make his appearance less scary, for example, in realising that he may now be considered a threat by presenting as male. It is a truly raw inner conflict, as the resolution is unclear. Scaring Woman At Night is a fantastic beginning of a conversation that leaves the viewer wanting to learn more. As this is a pre-feature short film, it is exciting to consider how the film will be developed into a feature. It is a refreshing perspective to be considered on screen and not one to be missed. About the Film Critic Amber Jackson LGBTQ+, Short Film, Film Festival < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Where the Flowers Bloom Film Review average rating is 3 out of 5 Critic: Patrick Foley | Posted on: May 1, 2023 Directed by: Olivia Luying Wang Written by: Olivia Luying Wang Starring: Dina Selimovic, Erik Scilley, Danilo Crovetti In a challenging and emotional short drama, Olivia Luying Wang’s Where the Flowers Bloom tackles trauma, depression, and anti-war sentiment in a well-acted and produced but at-times surface-level and melodramatic account of one woman’s attempts to come home from battle. Former soldier Diana (Dina Selimovic) has returned home from war with haunting accounts of tragedy a sinister accomplice. Her husband Max (Erik Scilley) makes efforts to reclaim normality for the pair, but Diana’s PTSD creates a barrier between them. When their neighbour’s child Oleg (Danilo Crovetti) visits, Diana’s life reaches a crossroads as she realises her struggle to make human connection. Where the Flowers Bloom is an intense and emotionally heavy short that pulls no punches with a harrowing account of the damage that the unresolved traumas of war can inflict on soldiers. The film is unafraid to portray the horrors of war or to portray the realities of suicide and self-harm (for which viewers should be aware). Diana’s grief is brought to life by a spectacular performance from Dina Selimovic, who portrays the character with complexity, compassion and respect – and utterly convinces the audience that untold pain resides behind her striking eyes. The film looks great as well, with cool tones seeped over the screen that pull the viewer into Diana’s sadness-tainted world. Diana and Max’s home forbodes over the pair and further creates a sense of darkness and distance with the select sources of light only penetrating in brief moments to match the protagonist’s emotional state. The script does let the film down, with clunky and expository dialogue that never really convinces despite impressive delivery. Viewers are whacked over the head with story beats and thematics, which unintentionally create a sense of insecurity on the filmmakers’ part that audiences wouldn’t keep up with the plot. This is not to say that the film isn’t moving or touching, and it is clear that the filmmakers’ hearts are in the right place. But melodrama is the result of the attempt to punch straight through the viewer’s ribcage and tug as hard as possible at their heartstrings. The film’s final image is the ultimate embodiment of this mindset, and is sure to be divisive. Audiences must be left to their own decision as to whether they think it is necessary or appropriate (I stray on the side that thinks it is just about justified), but regardless, it is certainly evidence that the mantra of ‘less is more’ has been left by the wayside. Where the Flowers Bloom is ultimately a brave and memorable short film that does have imperfections. It is imperfect, but its compassionate message is admirable and unashamed. About the Film Critic Patrick Foley Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Incompleteness-Season 1 Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Nov 17, 2023 Directed by: David Ash Written by: David Ash Starring: Matt Bailey, Clarence Wethern, Katie Willer, Bethany Ford Binkley, Christine Weber, Juan Rivera Lebron The first season of a web series that involves a group of people in Minneapolis, their struggles, their complications and the ways they look at life. Consisting of eight episodes and with a total duration of six hours, this series has a narrative that contains three intertwining storylines. A feature is in production and the story follows people who are involved. Alex (Bailey) is the director and he is married to Jodi (Binkley), who is pregnant with their son. Alex is going through a crisis as he has terminal cancer and desperately tries to keep things together for the reaminder of his life by completing the film, making videos of himself for his son to view after his passing and dealing with Jodi, who is in a big state of unhappiness. Chelsea (Weber) and Michael (Lebron) are the two leads of the movie and they begin a romantic relationship and as time goes by, it appears that they will have a future together. Paul (Wethern) is the scriptwriter and he meets and starts a relationship with Kayla (Willer), a waitress at a coffee shop. The three storylines involve a different couple and romance is one of the series' themes. However, self-reflection and the meaning of life are arguably what is primarily explored, which is evident by the characters' situations and perspectives. People in the story engage in meaningful conversations or go on monologues regarding what life is. For instance, Paul communicates to Kayla his unconventional views regarding life, believing that there is no free will, but rather, things happen because of some other force and Michael sees life as an illusion. For self-reflection, all characters consider who they are and what they want, for instance Jodi is very unhappy with her life and Chelsea wants to look for better opportunities. Regrets, mortality, mental health, terminal illness, religion, support and film-making are among the other themes that are examined in this series that contains moving moments, confrontations, interesting dialogue, suspense and a couple of awkward scenes of a sexual nature. Paul is perhaps the most intriguing character. His views on life are unique and he seems to have a dark side that is quite disturbing. On top of this, he has created an algorithm that apparently contains the key to immortality and some nasty people in China are determined to get their hands on it. The story of Alex and Jodi is quite dramatic, with a marriage that is falling apart, financial issues and a man who will most likely never see his child. Chelsea and Michael are the ones who go through more stable events. It is worth mentioning that there is also an unknown woman who spies on some of the characters. Repetition is present here and what is meant by that is that characters are do the same actions time and time again. For instance, Alex frequently works on his computer, doing editing and characters are often on their laptops and there is also a lot of pillow talk. There are also some interesting imaginative scenes. Long takes are common, with the camera being static and Ash is creative with the editing. Another technique that is utilised frequently is text messages appearing in bubbles. Regarding the soundtrack, Charlie McCarron provides a dramatic and beautiful score and the sellection of songs is rich. Nearly all the episodes contain the track Psalm 23 by Carrallee during the closing credits for dramatic effect. Arguably, the aspects that stand out the most are the ideas that the series theorises about what life is. How did life begin? What is reality? Do people control their actions or is everything already decided by a higher power? Apart from this, the acting is strong, the dialogue is well-written, the story and characters are engaging, making the viewer look forward to the next season. About the Film Critic Jason Knight Web Series < All Reviews Next Film Review >

HOME | FILMS | REVIEWS The Last Supper Film Review average rating is 4 out of 5 Critic: Rob Jones | Posted on: Mar 6, 2023 Directed by: Anh Do Written by: Jennifer Bulcock Starring: Jennifer Bulcock, Damien McNeilly The Last Supper is, by all intents and purposes, a horror film. There aren't any jump scares, and there isn't a single genre trope present, but the atmosphere of dread is palpable from the moment it starts. We're presented with a small family, a couple with a newborn baby, living in a cramped flat. There must have been a loving relationship in there at some point, but where we meet them is at a point where that's given way to unidirectional contempt and domestic abuse. The horror is that we’re put into a position where we know something that two vulnerable characters (a baby and their mother) don’t, so immediately we’re in a position where we have information that we could do something with. What’s so excruciating is experiencing the mental torture that starts with a character not having the information that we have in real-time. It's impossible to resist the question of whether we should do more to help. A series of instincts are triggered by the subject matter that we physically aren’t able to act on, and that makes it a deeply upsetting experience. As it should be. Something that The Last Supper does very well, is that it reframes elements of a typically happy life as harbingers of doom. For example, a baby’s dinner tray which is manufactured to look as happy and as cheerful as a dinner tray possibly can becomes an ominous symbol that always seems to be in shot when the worst is about to happen, even when it looks like the worst has already happened. This actually makes a second so much more unsettling and profoundly uncomfortable, especially when we’re already asking how and where we should’ve done more. There’s a voyeuristic quality to it all that appeals to our own morality. In watching The Last Supper, we’re in the position of a bystander who can see exactly what’s happening, but the discomfort comes from the feeling of helplessness to change anything. What’s so impressive here, though, is that it isn’t afraid to manipulate that feeling to its absolute extremes. Although this is a position that we’re uncomfortable in, it’s ultimately one where we don’t have any accountability towards what’s going on, so there’s a detachment from it all. That detachment is completely shattered in a bleak moment where our position as the helpless bystander is drawn into question. It’s perhaps one of the scariest moments of complete mundaneness that’s ever been captured on film. By creating a film that’s so rich in conjuring complex feelings in us, the hammer blow is then delivered in such a shocking yet gentle way. It feels wrong to call this a wonderful film, but it is. It’s completely miserable and it’s a horrible experience, but that’s a complement to the craft of the filmmakers. The Last Supper manages to do something incredible in the way it plays with our feelings. It exists in the space between morality and experience, and it presents us with something that isn’t uncommon or extraordinary, but rather so normal that we can’t help but relate to it. On one hand, it forces us to experience the fear inherent in the abuse it shows, and on the other, it forces us into a feeling of helplessness as we watch it. Two feelings that it exploits to their absolute fullest potential to create something that we can learn from, and that introspection makes this a very important short film. About the Film Critic Rob Jones Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Showing Up Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Apr 12, 2023 Directed by: Kelly Reichardt Written by: Jonathan Raymond, Kelly Reichardt Starring: Michelle Williams, Hong Chau Visual poet of the day-to-day Kelly Reichardt returns to screens this weekend with a look at art as well as craft in her dramedy, Showing Up . Michelle Williams is Lizzy, a sculptor who’s not getting enough done for her upcoming show. It’s a small show in a small gallery not exactly downtown, but it’s a show and she’s got a lot of work left to do. So does Jo (Hong Chau, one of three 2023 Oscar nominees in the cast!), Lizzy’s neighbor and landlord. In fact, Jo has two shows coming up, so who knows when she’ll be able to fix Lizzy’s water heater? And just like that, Reichardt leaches the glamour from the art world, dropping us instead into a place far from glitzy but bewilderingly human. Williams is characteristically amazing, her performance as much a piece of physical acting as verbal. You know Lizzy by looking at her, at the way she stands, the way she responds to requests for coffee or work, the way she reacts to compliments about her work, the way she sighs. Williams’s performance is as much in what she does not say as what she does, and the honesty in that performance generates most of the film’s comic moments. Chau knocks it out of the park yet again, and like Williams, she presents the character of Jo as much in her physical action as in her dialog. The chemistry between the two is truly amazing, simultaneously combative and accepting, or maybe just resigned to each other. Reichardt’s phenomenal cast does not stop there: Judd Hirsch (irascible and hilarious), John Magaro (sad with an undercurrent of potential danger), Andre Benjamin (chilling), Maryann Plunkett (frustrated) and Amanda Plummer (weird, naturally). As is so often the case, the environment itself is its own character, every gorgeously mundane detail filmed in Reichardt’s go-to 16mm film. She and cinematographer Christopher Blauvelt once again find the grace and beauty in the spots everyone else ignores. Like Nicole Holofcener and Claire Denis, Reichardt invests her attention in the small moments rather than delivering a tidy, obvious structure. The result feels messy, like life, with lengths of anxiety and unease punctuated by small triumphs. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Family Drama Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jan 12, 2023 Directed by: Keon Martial-Phillip Written by: Daniel Glenn-Barbour Starring: Keon Martial-Phillip, Kayley Rainton, Tiffany Thomas A young couple face the challenges that are caused by the disapproval of their relatives regarding their relationship. The film begins with Emilia (Rainton) storming out of the house where her partner's mother lives. Emilia got into an altercation with her and her partner Amani (Phillip) has followed her, hoping to calm things down. The two of them discuss what happened and how they each have trouble getting along with each other's family. This short drama has a plot that is basically the aftermath of a quarrel and the majority of the narrative explores the problems the couple have due to their interracial relationship. Emilia is caucasian and Amani is black and Amani's mother and sister dislike white-skinned people and Emilia's father does not think much of people of colour. The couple discuss how they feel about how their relationship is viewed by others and there is plenty of arguing and drama, however, the screenplay also explores the couple's tender relationship and makes it clear that they are happy together and are determined to remain so. The film includes a montage that is accompanied by a song and it reveals the history of the couple's joyful relationship. The montage is well-constructed and makes effective use of dissolve techniques and by watching it one understands how happy the two of them are together and that they will not let anything get between them. There are some great aerial shots of buildings and the soundtrack consists of several rap songs. Generally, this short focuses on problems people can have in their relationship, particularly if the relationship is interracial. The story deals with disapproval, racism, romance, family values and reconciliation and with the interesting subjects that it explores and good acting, this film offers a thoughtful viewing. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Freedom Street Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jul 14, 2022 Directed by: Alfred Pek Written by: Alfred Pek Starring: JN Joniad, Nur Azizah, Ashfaq Hussain Whilst Freedom Street is a documentary which focuses on the plight of refugees caught between Australia and Indonesia, UK audiences will find plenty of relevance in director Alfred Pek’s examination of brutal government policy, impossible bureaucratic baton-passing and media cruelty towards refugees and asylum seekers in our own country. Pek, an Australian-Indonesian migrant, hosts the documentary, which examines the complex historical relationship between Australia and Indonesia, as well as the domestic factors in each country that have forged their respective stances on immigration. Amongst this, the stories of three refugees – JN Joniad, Nur Azizah and Ashfaq Hussain – are told, with the devastating and outrageous treatment they are subject to from the two governments laid bare. Freedom Street is an outstanding documentary which brilliantly explains and deconstructs the complex immigration relationship between Australia and Indonesia, and the impact this has on the vulnerable people who are beholden to it. It takes a difficult and controversial subject, and brilliantly presents the bluster and bureaucracy of Australian politics that have created hostile conditions for refugees, only to cut through this devastatingly with the enthralling and dignified accounts directly from the mouths of the people caught up in the cruelty. The long interviews with the refugees whose stories the documentary follow are fascinating, with Pek making sure to present these in a visual and dynamic way without sensationalising. At times these can get a little long, and the intensely detailed nature drags in moments. But largely viewers will be encapsulated by the danger and risk taken by these fundamentally innocent people who are just desperate for their freedom. The documentary benefits from a longer filming schedule – taking place over a number of years – as we see how the subjects grow and face increasing challenges from the Australian state – particularly Nuz Azizah, whose life story could be a movie in itself. The rest of the film utilises stock and news footage to present the historical context of the Asia/Oceania region’s stance on refugees and asylum seekers, with some impressive and at times shocking examples which clearly demonstrate the battle at hand to change hearts and minds. The footage will likely be familiar to Australian viewers, but not so much to those of us in the UK – though certainly similar words have shamefully been ushered by our own politicians when referring to refugees – particularly those like those in the film who arrive by boats. Surrounding this are experts and activists who present a variety of views relating to Australia’s policies on immigration, who are well-researched and credible to the documentary’s benefit. Whilst a little overlong at times with a tendency to ramble, Freedom Street impressively presents an impassioned critique of Australian immigration policies, and presents true stories from refugees victimised by them that are impossible to ignore. Watch the official trailer here . CORRECTION: In the video review, it is stated that the filmmaker sought asylum in Australia. This is incorrect, he was actually an immigrant to Australia. About the Film Critic Patrick Foley Digital / DVD Release, Documentary, World Cinema < All Reviews Next Film Review >

Amelia Eilertsen Amelia Eilertsen is a writer at UK Film Review. Follow On Twitter Read My Film Reviews

Chapel of Rest Listen to our review on the film podcast What our film review said: READ FULL REVIEW The theme of death is clear from the opening of the film, with the setting and general atmosphere but Cash goes deeper than just writing a film about death. He explores complex issues such as the scandal of child abuse in the Catholic church and what it means to protect family members all while telling a dramatic and exciting story. Proudly supporting MediCinema for our 2022 film festival.

HOME | FILMS | REVIEWS Materna Film Review average rating is 4 out of 5 Critic: Christie Robb | Posted on: Aug 11, 2021 Directed by: David Gutnik Written by: David Gutnik, Assol Abdullina, Jade Eshte Starring: Kate Lyn Sheil, Jade Eshete, Lindsay Burdge With Materna , director David Gutnik presents four emotional vignettes of women and their relationships with either their mother figures, their children, or both. While the four women’s stories intersect in a brief, tense moment on a New York subway car, their backstories and how they came to be in that particular car are quite different. The flashbacks don’t depict simple, saccharine, Hallmark Mother’s Day card relationships. These relationships are layered and complicated—with longing and frustration, the urge to shelter and the urge to smack. Each of the four lead actresses, Kate Lyn Sheil, Jade Eshete, Lindsay Burdge, and Assol Abdullina, rises to the challenge and convincingly demonstrates the emotional range of her subject. (Eshete and Abdullina also co-wrote the screenplay with Gutnik.) Rory Culkin shows up to illustrate that the maternal instinct is not solely the purview of those with two X chromosomes. It’s not a perfect film. The initial segment, while it does pique the viewer’s interest, maybe doesn’t best set the stage for the ones that follow. There are elements that seem to signal sci-fi or body horror that aren’t carried through in the rest of the film. And because of the brevity of each of the vignettes, some of them seem a little roughly sketched, lacking in details that would more solidly ground the perspective of the woman depicted. At the point of intersection in the subway car, each of the women is keeping herself to herself and adhering to the unspoken etiquette of public transportation. But then a white man starts loudly trying to engage them in conversation that quickly devolves into harassment and violence. This screaming, egomaniac clearly sees himself as the most important person in the shared space and aims to capture everyone’s attention, making his private life public, doing a kind of emotional manspreading. It’s interesting to contrast this with what the women are dealing with and how their private lives either do or do not impact this public space. This is Gutnik’s first feature film and I’m looking forward to seeing what’s next. About the Film Critic Christie Robb Theatrical Release, Indie Feature Film < All Reviews Next Film Review >

HOME | FILMS | REVIEWS Avaak(Unsaid) Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Jul 20, 2023 Directed by: Pankaj Khanchandani Written by: Pankaj Khanchandani Starring: Rakesh Ankalkoti, Madhura Tapre, Promod Kale The writer-director Pankaj Khanchandani is an independent filmmaker who wants to highlight the change in dynamics of any relationship because of the lack of communication. Khanchandani has written an intricate script and talented actors like Rakesh Ankalkoti, Madhura Tapre and Promod Kale have managed to give life to the director’s imagination. The plot of Avaak (Unsaid) revolves around Suraj (Rakesh Ankalkoti) who wants to move to a different city for better career opportunities his mother Sheela does not want him to go but he leaves without seeking his mother’s permission creating an irreparable impact on their lives forever. The film opens with a long shot of a house with dim lighting where Suraj is shown leaving the house in the present followed by Avaak going back to a series of flashbacks to establish the subject matter of the movie. The carefully written day-to-day conversations between all the characters in the dramatic piece increase the degree of audience engagement with the content making it real and relatable. The white and black colour palette dim lighting, rustic set design, dialogues, sound, costume, hair, makeup, and props are kept natural to complement the mood of Avaak (Unsaid) so that it emotionally appeals to the audience. In terms of performance, Rakesh Ankalkoti plays Suraj who is a loving and responsible son to his parents with his own set of dreams relating to his career. The young actor showcases the struggle of Suraj when is in the dilemma of choosing his priorities or the professional dream. Ankalkoti understands the nuances of different situations in the screenplay and modifies his acting skills according to what is required of him. Madhura Tapre plays the role of the mother in the film. Tapre portrays various shades of her character efficiently as well as effectively right from emotional to angry. The senior actress transitions from one timeline to another in Avaak ensuring the presence of the continuity factor. Promod Kale as the loving and supportive father is a treat to watch all through the running time of the film. Kale as an actor brings the stability to the household that makes the backbone of Avaak. Kale illustrates all the qualities of an ideal father and inspires the audience with his screen time in the film. Avaak (Unsaid) talks about the role of communication in shaping any relationship, not being expressive can be detrimental to the equation between people in the future. The short film reiterates the need to fill the gap between two generations to better understand each other and work towards a lifestyle in which they can coexist happily. The cinematic piece restates the importance of maintaining their individuality as a person because one cannot fullfil any responsibilities when he or she isn’t confident and happy in their life. The creative piece also highlights the various insecurities an elderly couple face and their dependence on their offspring increases with time. Avaak also tells the audience about the significance of spending the maximum time with parents before it is too late and the only option left is to regret later. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >