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HOME | FILMS | REVIEWS Marion Film Review average rating is 4 out of 5 Critic: Patrick Foley | Posted on: Jan 24, 2025 Directed by: Joe Weiland & Finn Constantine Written by: Joe Weiland & Finn Constantine Starring: Caroline Nogues-Labere, Laurent Fernandez, Radouan Leflahi Putting aside my bleeding-heart feelings towards bullfighting, the story of Marion, a female Matador navigating misogyny along with the bovines is a heart-filled and heart-pounding short with some stunning cinematography and direction from Joe Weiland and Finn Constantine. The titular Marion (Caroline Nogues-Larbere) is the sole woman in a French bull-jumping troupe. The recipient of disdain and discrimination from her teammates behind her back, she feels pressure to fit in and prove herself to those around her. Preparing herself for her performance in the face of this is difficult – and made more difficult by the appearance of her daughter Emilie (Chloe Bugard). Her moment in the spotlight comes around, but the inherent dangers of the bullring mean even the slightest distraction comes with immense risk... The toxic influence of sexism runs through Marion from its opening moments. Overhearing her supposed teammates dismissing her abilities and contemplating abandoning her in the ring infiltrates Marion’s preparation from the film’s opening. This isolation from the rest of the group ends up leading to a potentially reckless decision – but one she feels obliged to take. Despite playing by their rules and customs, and letting such comments wash over her, Marion’s presence alone seems enough to cause a problem for the others. It is a powerful representation of how such attitudes are rarely the fault of the victim, but often lead to consequences for them above those who inflict them. The arena sequences in the film are stunning (and violence free – if anyone was worried). The bull-jumping acrobatics display the incredible athleticism of the ecarteurs, and make clear the risks they take when stepping into the arena with a charging bull. The slow-motion conclusion involving Marion is the highlight of this, a genuinely brilliant piece of filmmaking to capture such a risky manoeuvre that maintains the artistry of the short. Audiences will feel their own vision slow to the pace of the film as the horns of the bull spell disaster. Caroline Nogues-Larbere draws on raw experiences of misogyny and judgement to deliver a powerful central performance. Stony-faced and unshaken in the locker room and determined in the ring, her emotions flow in scenes with daughter Emilie. With bravery already required for the sport, standing firm in the face of those around her is the real challenge. The small vulnerabilities we see make the overcoming of this all the more satisfying. Marion may not reinvent films that take on sexism and misogyny in male-dominated worlds, but set in an original world and built from an authentic floor on upwards mean this short is gripping, insightful and underlined with an unexpected visceral danger. About the Film Critic Patrick Foley Theatrical Release, Digital / DVD Release, Short Film, World Cinema < All Reviews Next Film Review >

FILM REVIEWS UK UK Film Review is a film reviews website based in London, UK. We promote films and movie trailers from around the world and support indie films that would usually find it hard to find the spotlight against the bigger films of cinema. From the latest blockbusters, to small indie cinema, we tackle as many films as we can. Reviewing them from all aspects, not just how many digital landscapes they blow up using CGI. We also review short films in the UK and internationally, helping filmmakers to promote their movies and raise their profile. If you would like to have a short or indie film reviewed by us, please submit all info using the button below. Take a look around, enjoy the spoils of filmmaking, film festivals and artistic expression. Our merry band of film critics are constantly hard at work, writing film reviews, or watching movie trailers for some of the most exciting movies coming out in UK cinemas. So to keep their morale up, please be nice...or at least funny if you choose to troll. Because, in the immortal words of Rick Moranis in the movie Spaceballs, "Keep firing A**holes!". By the way, on this film reviews website, you may see several references to Spaceballs. If you have not seen that classic Mel Brooks film, you MUST seek it out and tell us what you think. SUBMIT YOUR FILM Are You a Film Podcast Fan? Film critics Chris Olson and Brian Penn host a monthly podcast for all types of film fans! Whether you like the latest blockbuster releases, or streaming is your thing - we have you covered. We even review short and independent films on the podcast. Our final review is usually for a "Nostalgia" pick - something from the past worth revisiting. Previous picks for this have included Jaws, The Fly, and Good Will Hunting. Search UK Film Review Podcast wherever you like to listen and join our global community of film lovers. Film Reviews from UK film critics LATEST REVIEWS Marion It Feels Good An Unnerving Realisation Grafted Baggage Guide To Country Roads II New Crossings The Girl with the Needle The Sin-Eater Renters: The Holiday Special Arranged Love Wolf Man The Brutalist Load More

Latest Short Film Reviews On this page you will find the most recent short film reviews written by the UK Film Review critic. If you are looking for a particular short film review, you can use the search function at the top of the website. The vast majority of short film reviews we write are for films that have been submitted to us by independent filmmakers themselves. So if you have a short film you would like UK Film Review to review, visit the Submit Your Film page. Marion Putting aside my bleeding-heart feelings towards bullfighting, the story of Marion, a female Matador navigating misogyny along with the bovines is a heart-filled and heart-pounding short with some stunning cinematography and direction from Joe Weiland and Finn Constantine. The titular Marion (Caroline Nogues-Larbere) is the sole woman in a French bull-jumping troupe. The recipient of disdain and discrimination from her teammates behind her back, she feels pressure to fit in and prove herself to those around her. Preparing herself for her performance in the face of this is difficult – and made more difficult by the appearance of her daughter Emilie (Chloe Bugard). Her moment in the spotlight comes around, but the inherent dangers of the bullring mean even the slightest distraction comes with immense risk... The toxic influence of sexism runs through Marion from its opening moments. Overhearing her supposed teammates dismissing her abilities and contemplating abandoning her in the ring infiltrates Marion’s preparation from the film’s opening. This isolation from the rest of the group ends up leading to a potentially reckless decision – but one she feels obliged to take. Despite playing by their rules and customs, and letting such comments wash over her, Marion’s presence alone seems enough to cause a problem for the others. It is a powerful representation of how such attitudes are rarely the fault of the victim, but often lead to consequences for them above those who inflict them. The arena sequences in the film are stunning (and violence free – if anyone was worried). The bull-jumping acrobatics display the incredible athleticism of the ecarteurs, and make clear the risks they take when stepping into the arena with a charging bull. The slow-motion conclusion involving Marion is the highlight of this, a genuinely brilliant piece of filmmaking to capture such a risky manoeuvre that maintains the artistry of the short. Audiences will feel their own vision slow to the pace of the film as the horns of the bull spell disaster. Caroline Nogues-Larbere draws on raw experiences of misogyny and judgement to deliver a powerful central performance. Stony-faced and unshaken in the locker room and determined in the ring, her emotions flow in scenes with daughter Emilie. With bravery already required for the sport, standing firm in the face of those around her is the real challenge. The small vulnerabilities we see make the overcoming of this all the more satisfying. Marion may not reinvent films that take on sexism and misogyny in male-dominated worlds, but set in an original world and built from an authentic floor on upwards mean this short is gripping, insightful and underlined with an unexpected visceral danger. VIEW REVIEW It Feels Good Time for singing, dancing and feeling good. An entertaining music video directed by Ca$hus Music, written by Ca$hus Music and Nov@ and starring Nov@. What is there to see in this video then? A young male singer sings a pop song and the film constantly alternates between three settings, with the singer constantly present. The three locations are a music stage, a darkened room and a car park. The singer signs the song in each location, accompanied by musicians and dancers. To be more specific, on the music stage, he is joined by a band whose members play a variety of instruments, including a keyboard, a guitar and drums, while in the darkened room and the car park, he is with two female dancers. This video looks good and sounds good. With creative editing, the film moves from one setting to the next, with the song accompanying all the way through. Wearing shades and either a red jacker (music stage) or a white T-shirt and camouflage trousers (car park, darkened room), he looks quite cool as he sings and so do the others, be it the dancers with their great moves or the band cheerfully performing. The filmmakers make the viewing experience more exciting by occasionally adding slow motion, fast motion and some special effects. What about the song? With lyrics that involve dancing and having a good time, it is a joy to the ears and when the rapping arrives, it gets even more groovy. Are there any ways in which this video could had been better? Visually and audibly the film is a pleasure to experience, therefore it would be fair to state that nothing more was required. Or maybe a negative aspect would be that the video ends. Focusing on the performers now, unsurprisingly, it is the singer who is the centre of the show, singing with excitement while looking into the camera and executing some cool dance moves. Then, there are the two dancers who show their nice dancing skills throughout and finally the band members who joyfully play music. Everyone in this video appears to be having a great time. Regading the themes, dancing is obviously a main one, whether it is through the song's lyrics or the actual dancing. The song and the video in general are about dancing and being content, about being entertained through dancing. A three-and-a-half-minute-long music video about feeling good and dancing. The song is enjoyable and the dancing is rather cool. A video that makes people feel good. VIEW REVIEW An Unnerving Realisation While looking back at photos of his younger self with his parents before dinner, Nicholas begins to question why these photos only show him from a certain age. Where are all the pictures from before, when he was born or his years as a baby? His parents reassure him as best they can with their explanations, but Nicholas soon discovers a darker and more sinister reason. A film that centers around the idea of a dark and long–kept family secret coming to light should be fertile ground for any compelling short, but An Unnerving Realisation unfortunately misses the mark in telling a meaningful story. Technically, the film has no real issues, and the direction really is the aspect that gives the film and its plot that bit more oomph. There are a couple of moments where the film flips from landscape to portrait and back again, which in context is an understandable creative choice to accentuate a POV perspective and there are some other interesting camera angles and tricks implemented too. But it’s not enough to redeem a lack of polish, depth, and context in the film’s story. While the secret at hand is eventually revealed, the context and burning questions behind it all remain frustratingly unclear, unanswered and the whole thing is left ultimately, unresolved. Who were these people before this shocking event, what drove it all to happen and who are they now? None of this is ever offered up by the film or even the characters themselves, not by their conversations, their actions, or even their expressions, resulting in a trio of one-dimensional characters it’s hard to get invested in and with too many lingering questions left unsettled. The performances themselves are hard to comment on, mostly because as mentioned, the actors themselves have very little to be working with to make any kind of impact. Kiely, who actually had the biggest potential to be the most interesting character of the three given the nature of the reveal, instead contributes the least due to his father character essentially being confined to almost exclusively sitting at the dinner table scrolling through his phone, occasionally glancing upwards to make sure the other two are still there. Lynch has a bit more to do, pulling off the worried yet loving mother look in her interactions with Nicholas, with a knowing exchange between the two at the end. Joseph gets the most to do understandably and performs the part well enough despite this role also being fairly limited, but manages to get the emotion across just right in the film's one key moment. It all ends without any real resolution or consequence meaning that while this realisation might be unnerving for Nicholas, for the viewer it’s more of an underwhelming one. VIEW REVIEW Baggage A short drama written and directed by Titus Upputuru and starring himself along with Raoul Amaar Abbas and Prashant Sugandha. The setting is a fancy restaurant and a young waiter (Sugandha) notices a man (Upputuru) sitting by himself at a table and looking upset. He asks his colleague (Abbas) if he knows what is going on. His colleague explains that years ago that man found himself standed on an island with his five-year-old son. One day, his child went missing and he could not find him. Eventually, he was rescued and returned home without his boy. A terrible realisation involving his time on the island caused him to come to that same restaurant every year, order a seagull sandwich and cry uncontrollably. A very dramatic and sad story about the aftermath of a devastating tragedy. Although the plot is distressing and unsettling, it certainly catches the viewer's attention and makes them understand why the man in the restaurant is so miserable. And the misery that he feels is expressed very vividly thanks to Upputuru's performance, which will be analysed later. Adding to the dramatic atmosphere is Hanif Shaikh's melancholic and beautiful music that includes poignant piano melodies and the gloomy cinematography by Abbas and Bhumanyu Nehra. It should be mentioned that the plot of this film evolves around an unspeakable occurrence involving a child and some viewers might find that quite upsetting. Upputuru's perfomance is essential in order for this short to be dramatic and he nails it. The story begins with him at the restaurant, feeling depressed and then the atmosphere changes, with him behaving awkwardly, revealing that he is developing mental disorders and Upputuru is very convincing as he, in some ways, portrays two different characters, one being a man who is torn apart by the loss of his child (and not just that) and the other a man who appears to have lost touch with reality. And Abbas and Sugandha play their part well in their supporting roles. Although this film has a duration of less than three minutes, it deals with very heavy themes. Initially, the story deals primarily with loss, the loss of an offspring and the effects that has on a person such as grief and sadness. These feelings are explored through Upputuru's character and so are feelings of guilt and trauma. As the story progresses and reveals another side of the protagonist's tormented mind, other subjects are brought to light that involve mental health, particularly disconnection from reality and finding joy in one's imagination. A sad story about a sad man. This short is a commentary about loss and mental health and it is strongly supported by Upputuru's performance and the remarkable score. VIEW REVIEW Guide To Country Roads II New Crossings Guide To Country Roads II New Crossings is the latest entry in the bizarre, occasionally amusing, but mostly infantile series. This one follows the character of Timothy (Dion Kelly), once again – but this time, he’s learning to drive. His driving instructor (Aaron Medd, also the narrator of the piece) poses some kind of abstract threat to the learner. The story takes its conventionally absurd twists and turns, leading to Timothy and his instructor getting drunk at a bar. Clocking in at only three minutes, this is a comedy sketch which leans into the low-budget aesthetic and vulgar approach which has defined previous entries. The most effective moment of comedy – and visual storytelling, for that matter – comes when the narrator starts talking about the Russian Revolution. We, as the audience, get a short lesson in political history, as relevant historic photographs flash on screen (as if in a documentary). The reason for this tangent is completely inexplicable, and that is the point. The humour comes from the dedication shown to this joke, but also from the dedication shown to the style. For a moment, Boland manages to authentically replicate the tone and pace of a doc – an adherence to form and structure which one would hope the rest of the movie reflected. On the other hand, arguably the worst characteristic of the film is the fact that the majority of shots are out of focus. This could easily have been prevented; but the fact that this flaw is so prevalent throughout the short runtime leads one to believe that it’s a purposeful creative choice. For instance, you could view it as a formal representation of the characters’ drunken state. But then again, this doesn’t account for the sober opening minute of the picture. A positive element of the cinematography, however, is the use of black and white as a consistent aesthetic – apt for a film containing narration with an almost ‘how to’ sound to it. It’s also slightly more interesting to the eye, and easier explained as a stylistic decision which suits the independent feel. This group of aspiring filmmakers demonstrate a clear drive to be producing comedy on a regular basis. It’s incredibly commendable to follow through with a creative idea, and put it out there for the world to see; however, more attention should be paid to the technical side of production. I would never suggest changing their style of humour, because – whilst it won’t be for everybody, or even most – it's certainly the group’s most unique asset. But no matter what, the shots should look a little nicer. It only takes a moment to put the camera in focus (although I am relieved to see them not using auto-focus as so many student filmmakers do). And, perhaps, if the filmmakers could consider the lighting in their scenes, and aspire to create further depth in their images, these videos could be entirely successful. To the talented people making these movies, I recommend they keep at it, study cinema, and maintain what’s special about their particular comic sensibility. VIEW REVIEW The Sin-Eater A short gothic psychological supernatural horror film directed by Kelly Holmes, written by Matthew White and starring Carly-Sophia Davies, Jack Parry-Jones, Sharon Morgan, Gareth Jewell and Lewis Mackinnon. The story takes place in Wales, during the mid-19th century. A male infant has just passed away due to an illness and it had not been baptised. His grieving young mother, Jemima (Davies) is desperate for her son's soul to be saved as he passed away without been baptised, so she secretly enlists tha aid of a young man named Thomas (Parry-Jones) to perform a forbidden ritual that will save the boy's soul. A dark period horror film that focuses on the aftermath of the passing of a child. Although the plot is distressing, it certainly is intriguing. Initially, the atmosphere is melancholic and is supported by Alan C. McLaughlin's gloomy cinematography and Die Hexen's dramatic music that includes striking cords. As things move towards the sinister and supernatural, creative sound effects take place such as constant whispering and the appearance of a demonic entity that involves impressive special effects. Then, there is the mise-en-scene, which convincingly places the viewer in the 19th century thanks to the work by costume designer Anastasia Crossley. The dramatic screenplay includes regular use of the Welsh language, making the film's time setting more believable. Taking under consideration that the story revolves around the death of an infant, it would be fair to consider that some viewers might find that upsetting, particularly when the baby's lifeless body is shown lying inside a small coffin. All five protagonists deliver strong performances. Davies is outstanding and very dramatic as a grieving woman who wants her child's soul to be safe and is determined to go to great lengths in order to achieve that. Parry-Jones' character could be described as a sinister one. A person who performs forbidden religious rituals and whose behaviour makes it questionable whether he can be trusted. Morgan is the deceased child's grandmother and she (along with Jewell who plays Jemima's partner) are unwilling to brake any procedures involving the child's passing and neither is the priest who is portrayed by Mackinnon. This film explores heavy themes. The main one is death, the death of a baby and the loss and grief that follow such a devastating event. Then, there is religion, deception and the search and hope for redemption. From a different perspective, subjects involving life in 19th century Wales are brought to light, including the religious procedures following a person's passing, the family values of those times and the Welsh language, a language that is acknowledged considerably in this short. A dark gothic horror film with superb acting and a downbeat and sinister atmopshere. Although a horror story, the atmopshere feels primarily sad as the narrative is the aftermath of an infant's passing. The film is probably best categorised as a period supernatural horror film about a ritual and it is highly recommended for horror fans and those who appreciate a good story. VIEW REVIEW Renters: The Holiday Special Renters: The Holiday special is a follow-up to amateur filmmakers SixBananasinaKnot’s Renters – a short, irreverent snapshot of the mania that ensues when disturbed young men are tasked with sharing the same living space and making monthly payments. The follow-up maintains a frenzied humour and direction, but lacks a comprehensive throughline to justify a sequel (to the knowing admission of the filmmakers…) Starring Dylan Manley, Darragh Boland, Leigh Carroll and Shane O’Grady – reprising their roles as a gang of eccentric reprimands – the film follows the gang as they embark on a homemade film project. The ‘Holiday’ part of the film’s title does some seriously heavy lifting as there is little festive about the short, but an unlikely effort to make it big as amateur directors leads to a few chuckles. The appeal of Renters comes from the filmmakers themselves. There is something admirable about an unapologetic piece made by and for a group of mates and released out into the world to find whatever audience shares the same sense of humour – likely those in a similar living environment where you are never quite sure if your roommates have psychotic tendencies. The opening credit openly admits that the guys are out of ideas – and its hard to really pinpoint what the point of the film is beyond breathing more life into the gang from the first short. Their capturing of the rental life makes this watch enjoyable and relatable (even though most people will not have experience of being the subject of their cohabitants amateur film project), though it is hard to make this a sales pitch in of itself. Prior knowledge of the characters from the first film is a must to have an appreciation of the group’s dynamics and circumstance. For a homemade production, the dialogue is quite impressive, and the cast deliver it with conviction – bolstering the unlikely world of the renters and making their characters believable (or as believable as they can be given their actions…). Most of us will have known a Dylan or Darragh in our lives through Uni halls or from paying a grand a month to flatshare with 8 people because how else can you live in London these days… and their bizarre, directionless lives will bring up old memories for viewers. Renters: The Holiday Special is odd – much like its predecessor. It’s an admirable effort from its amateur filmmakers who deserve credit for throwing ideas out there. Although it fails to raise as many laughs as the original. The filmmakers say they are out of ideas, and most viewers will agree. But ideas were never really the point of the series anyway… VIEW REVIEW The Revolt of the Bovine The Revolt of the Bovine is an odd but enjoyable new animated short film from Scott Kingsnorth which follows a couple of cows as they ponder power and politics. We witness the characters eventually wreaking havoc across the world under the rule of a domineering bull. The story is effectively a satirical retelling of George Orwell’s Animal Farm – in fact, the book is explicitly referenced in the film’s opening moments – but where it greatly differs is in its love of the ridiculous. Through its witty representation of deeper subject-matter, the comedy becomes both accessible and thoughtful. Aiming to entertain – in part – through the filmmaker’s incredibly British, sardonic sense of humour, the short combines vulgarity with commentary. One could argue that much of the comedy is inspired by a Monty Python-esque sensibility. This can be seen especially in one shot in which a human is squished and killed by an animal, with that classically jarring animation. The picture’s script also reflects a similar comic ambition, with its acidic tone complementing an already absurdist aesthetic. It’s great fun when a film isn’t afraid to do joke after joke; and for a piece of such a short runtime, it wouldn’t make sense for this kind of comedy to go any other route. The director also voices the character of the farmer, who bookends the piece by dryly joking about cows’ intelligence and/or stupidity. This framing device gives you a good sense of the kind of matter-of-fact, emotionless attitude which adds to the specific brand of comedy, and is prevalent throughout the short. In terms of the film’s animation style, it could very well be described as striking a tone between the minimalist existentialism of Don Hertzfeldt and the handmade vulgarity of South Park ; both elements serve as great strengths. The filmmaker understands that they have to play to their limitations – in that it’s a low-budget cartoon made entirely by one individual (an impressive feat in and of itself). Yet it’s through the purposeful ugliness of the character designs, and the simple direction on display, that the work finds its unique and endearing personality. Namely, audiences are bound to find a lot to enjoy about the disturbingly detailed appearance of the animals – the vivid definition of their outlines giving a slightly gross, overly realistic idea of a cow, for instance. It’s just so strange to observe, while also being visually inventive. The Revolt of the Bovine accomplishes what it sets out to achieve, and the fact that it manages this within its six-minute runtime is a testament to the writing and structure. I’d be interested to know why the filmmaker wished to use their humour and mode of animation to tell this story in particular, for it would certainly feel like a slightly random watch were you to stumble across it. But then again, due to its style and short-form storytelling temperament, this piece is absolutely designed for the internet (not to sound like a backhanded compliment, its internet success just feels inevitable). It’s a thoroughly entertaining movie which showcases some amusing animation. VIEW REVIEW Learning Is Fun Writer-director Adam Boland has chosen this film title to promote the fun element of learning making it relatable and engaging for the audience. Boland has incorporated the comedy genre to enhance and establish the subject matter. Conor Carberry, Ryan Klatt, and Conor Doonan are experienced and talented actors, making the content shine in front of the viewers. The plot of Learning Is Fun revolves around a young lad who goes to do his theory test but gets wound up into a Russian gun smuggling. The movie- Learning Is Fun begins with a combination of close-up and mid-shot which reads some information regarding booking the theory test. There are a series of mid-shots utilised to showcase the intricate details between the tester and Mark Klatt helping the viewers to understand the storyline as well as the characters during the conversation. The set design, black and white colour pallet, natural lighting, and sound, camera angles, dialogues, costume, hair, makeup, and props are kept simple and therefore, complement the comic timing in the narrative. In the performance department, Conor Carberry plays the tester who is frustrated with his married life and his wife Carol. Carberry utilises his body language, and voice modulation to hide his inner turmoil and bring out the dominant avatar all through the running time of the movie. Ryan Klatt plays the role of Mark Klatt who comes to the driving school theory test centre. Mark is tensed about the test wants to do his best to get the driving license as soon as possible. The young actor portrays the simple innocent side of Mark beautifully and the audience wants to protect the character as soon as they realise what’s in store for him. Conor Doonan as Dan is very enthusiastic and funny with excellent comic timing even though the screen time for him is very limited, he manages to make a mark in the viewer’s mind. They tend to remember Dan and smile even after people have finished watching Learning Is Fun. Learning Is Fun talks about being enthusiastic, calm, soft and positive regarding every testing phase in life. The short film reiterates how crucial the role of a true friend is when one needs motivation, encouragement and that slight extra push to face tricky times. The cinematic piece highlights the nature of adding many life lessons which are essential to leading life as one wants to. The creative piece also focuses on reminding the viewers that that challenges keep coming up even after one has achieved a certain task or goal and one needs to be prepared for each one till the journey called Life ends. The post credit scene included by the makers at the end of the movie gives a sense of inclusivity to the audience and also a chance to learn a lot from the narrative. VIEW REVIEW Blood is Thicker A short drama written and directed by Melissa Skirboll and starring herself and Jeanine Bartel. Jessie (Bartel) and Shana (Skirboll) are sisters and Jessie invited Shana to her New York City apartment for a meal, just the two of them. The two of them have not been in regular contact for a while and this is an opportunity to catch up. After a pleasant beginning, the atmosphere becomes dramatic as Jessie accuses her older sibling of being distant, having lost contact with her and their troubled mother. A home meal that turns into an argument about commitments. This film does a great job in creating drama and exploring the two protagonists. Jessie's accusations regarding her sister's behaviour are what creates the plot and moves the story forward. It becomes evident rather early that the main reason Jessie invited Shana to her home was not for a friendly chat but to make her understand that for a long time she has been ignoring her and their mother, who seems to have a mental disorder. Shana claims that she disappeared because she was been busy with work and her personal life, however Jessie refuses to accept that as an excuse and repeatedly tries to convince her to become more committed to her sister and her mother. There is a lot of drama and heavy emotions and a surprise plot twist and Louis Robert King's score adds to the atmosphere with the piano melodies. Skirboll also worked on the editing and does a good job witht the dissolve technique. However, there is a brief sequence during a tense monologue by Jessie that utilises dissolve and the result feels awkward. A simple cut would probably had been better. Other than that, this short is fine. Both Bartel and Skirboll deliver amazing performances. As mentioned, Bartel's character is the one who creates the plot with her perspective regarding her sister's failure to keep in touch with her loved ones. A restaurant manager, Jessie has been looking after her mother, despite having a busy schedule and she is upset that her sibling has not followed her example and intends to change that by making her see the errors of her ways. Shana is naive and stubborn, insisting that she is not to blame for anything. Perhaps the main theme is acknowledging priorities, especially when it comes to family values, stating that people should do their best not to lose contact with loved ones. The film also focuses on self-reflection, regrets, reminiscing about the past and understanding one's mistakes. A dramatic story about a woman who is massively disappointed that her sister has drifted away. The acting is strong and the screenplay succeeds in keeping the story intriguing and exploring the characters. Plus, the clever revelation at the end moves the atmosphere towards thriller territory. VIEW REVIEW

Interview by Chris Olson Tell us a bit about your background, in particular some of the impressive acting credits you have. I had been acting for over a decade when, in 2015, I started to make the shift into writing/directing/producing. My family’s background is in public service and community development and although I was tremendously grateful for the acting roles I was able to play, I wanted a little more agency in what stories I was putting out into the world. I was also curious if I could use film to advocate for some of the ideas I thought were important. The short film The Last Ranger is your current project (which we love). Can you tell us your role in the movie and how it all came about? At the start of the pandemic, a fellow actor-turned-producer, Darwin Shaw, approached me about using the time during lockdown to work with other #filmmakers to tell stories about what was happening around the world at that time. We created an anthology series of 24 stories by 24 filmmakers around the world about systemic issues affecting their communities that were exacerbated by the social and cultural upheaval of the pandemic, called, When the World Stopped . We received over 100 scripts and have been developing stories with these amazing writers and it has turned into an incredible adventure around the world. Why did you want to be involved with this story? David Lee submitted a wonderful script from South Africa about game rangers protecting rhinos from poachers during lockdown. We thought it was essential for the series to have a story representing the point of view of one of the other non-human, sentient beings we share the planet with. We developed the story and were introduced to his sister Cindy Lee who happened to be a highly talented South African director. It all fell naturally into place. Also, how could we pass up the chance to shoot a film in a South African wildlife park with real rhinos, elephants, lions and other magnificent creatures roaming about? Getting to make a narrative, dramatic film with actors this up-close and intimate with these majestic animals was a once in a lifetime opportunity. What were the challenges getting it made? Obviously shooting with kids and animals is always a huge challenge, let alone when those animals weigh 3 tons. The wildlife vets and rangers at the Amakhala Game Reserve where we shot the film, did a superb job of keeping us safe and teaching us how to interact with the marvelous animals. We were also supremely fortunate to have our brave and talented actors, who delivered such astonishing performances in this challenging environment. Our young star, Liyabona Mroqoza, was 11 years old and had never acted before. The performances she and Avumile Qongqo (who plays her ranger mentor) delivered are so full of emotional depth and understanding of the human spirit, I am utterly in awe every time I watch the film. How are audiences responding to the film? We started submitting The Last Ranger  to festivals last year, and pretty quickly we were getting to travel and share the film with audiences around the world. It’s been pretty special seeing the powerful reactions of audiences witnessing a story this up-close and personal with wild rhinos. We were fortunate to get a win at the Oscar-qualifying Pan African Film Festival  and after submitting to the academy, we got shortlisted in December. We find out on the 23rd if we make the final 5 nominees. Feels kinda surreal. What will you do if you win the Oscar? It feels wild even answering this question, but it would actually give us the chance to share the film with more people and to motivate them to take action to protect wild rhinos and to advocate for broader wildlife conservation. What’s next for you? While we are continuing to produce the remaining stories in the When the World Stopped anthology, we have created a non-profit called, Kindred Films, where we collaborate with charities aligned with the theme of each film to allow them to use it to raise funds and awareness from their supporters, and with educators to inspire the next generation to advocate for causes they care about. Where and when can people watch The Last Ranger? It will be playing next month online at the Manhattan Short festival where we you can also donate directly to the game reserve. We are aiming for it to become available as part of the When the World Stopped  anthology on a major steamer.  In the meantime, you can go to kindredfilms.org  to find out more about our mission and to arrange to privately screen The Last Ranger  for a charity or student group you think would benefit from the message. #ChrisOlson #FilmmakerInterview

BAFTA have now officially announced their nominees for their prestigious EE Rising Star award, the only #BAFTA award voted for by the public which honours an emerging actor or actress who has demonstrated exceptional talent and begun to capture the imagination of the British public. Past winners have included the likes of James McAvoy, John Boyega, Letita Wright, Lashana Lynch, Daniel Kaluuya, Jack O’Connell and more. Now as the award enters its 20th year, let’s take a look at the nominees for 2025: Marisa Abela – Marisa Abela has starred in the BBC smash-hit financial thriller Industry as well as having even appeared in Greta Gerwig’s phenomenal Barbie, but has now fully stepped into the spotlight with her portrayal of the late Amy Winehouse in Sam Taylor-Johnson's Back to Black and will soon be starring in Steven Soderbergh’s upcoming spy thriller Black Bag alongside the likes of Cate Blanchett, Michael Fassbender and Regé-Jean Page. Jharrel Jerome – Having made his film debut in the Oscar-winning Moonlight, Jharrel Jerome recently starred in sports biopic Unstoppable, having already gone from strength to strength by starring in Stephen King adaptations such as Mr. Mercedes, lending their voice to both Spider-Man: Across the Spider-Verse and Spider-Man: Beyond the Spider-Verse, and starring in the highly-acclaimed Ava DuVernay Netflix series When They See Us. David Jonsson – Also with a key role in the ensemble behind BBC’s Industry, David Jonsson has impressed further with his performance in British romantic-comedy film Rye Lane, but most recently undertook a co-leading role as android as Andy in Fede Álvarez’s Alien: Romulus. Jonsson will also join the Stephen King universe in the upcoming Francis Lawrence adaption of King’s The Long Walk. Mikey Madison – Mikey Madison is no stranger to big things, having already had roles in Quentin Tarantino’s Once Upon a Time in Hollywood as well as the fifth instalment in the Scream franchise, but is currently scooping up awards and nominations everywhere for her portrayal as Anora "Ani" Mikheeva in the Palme d'Or winning, Sean Baker directed Anora and will soon be starring in the limited series, Lady in the Lake. Nabhaan Rizwan – Starring in such series as Informer, Station Eleven, and the greatly under-appreciated Netflix mythological comedy Kaos, Nabhaan Rizwan and their latest film In Camera have been getting rave reviews since premiering at the Karlovy Vary International Film Festival, and will also be starring in the upcoming drama series Dope Girls. You can vote for BAFTA’s EE Rising Star Award here .

Filmmaker Interview by Chris Olson Hi Hsi, thanks for speaking with us. For those who don't know you, please can you tell us a bit about you as a filmmaker? I am a writer, director, producer specializing in social documentaries, currently based in New York City. Growing up in Taiwan, I was deeply influenced by the diverse cultures that surrounded me, igniting my passion for storytelling. My work often delves into themes of identity, community, and resilience, reflecting my commitment to amplifying underrepresented voices. My documentary “ Find Me ” tells the poignant story of a human trafficking victim returning to my home country to find my birth family and reconnect with my identity. The film has received recognition at various film festivals, including DOC NYC and the Big Apple Film Festival, earning accolades for its emotional depth and cultural insights. In addition to documentaries, I also like to explore human emotion through narrative storytelling. My horror romantic drama, “I Heard a Fly Buzz,” examines the unrequited love between two women in the Victorian era. The original script won first place at the Annual School of Visual Arts writing program contest and was published in Match Factory Magazine in 2023. It has also been selected for the New York International Short Film Festival and the Odyssey Film Festival in 2024. My short film "The Balloons" (10mins) in 2022, a drama about grief and friendship, was selected to screen at the SVA's 2022 student film festival. "What's Wrong With Eliza" (10mins) is a drama short about a sugar baby's encounter with a client who was not who she thought he was. It is currently under post production. My Sci-fi TV pilot, A Ship Leans on The Beach (20 pages) was awarded in VII Youth Film Festival Golden Frame, and LA Under the Stars Film Festival. “Bad Faith” (4 mins), my experimental short, was selected in Progeny Short Film Festival and Lift-Off Filmmaker Sessions. Using my voice as a female director, I am dedicated to telling unique stories that would otherwise remain unheard—whether through fictional historical dramas or the real-life journeys of those navigating complex social issues. Despite coming from a culture where women in directing is a recent phenomenon, I like to embrace my background, infusing it into my body of work. My perspective has been shaped by my multicultural experiences, and I aim to create compelling narratives that resonate deeply with audiences. "Find Me" sounds like a fascinating documentary. Why did you want to make this film? Growing up in Taiwan, I've always struggled with the idea of identity and belonging. Not being able to speak fluent Taiwanese, trapped in between the cultural and historical conflict, unable to be proud of my own heritage. I didn't feel that belong in the place that I was born in, even though I called it "home." However, since I started traveling , living in different parts of the world , the further I am to my "home ," the more I appreciate the influence it had on my life. Home never meant a room with four walls, it's a place where you can come back to, a place where you don't feel alone. Not everyone is born into their identity and where they belong, sometimes you just have to leave in order to find it. That sounds like a really personal film to make. What were the other challenges in making "Find Me"? One of my biggest challenges was the budget, particularly concerning transportation for the crew and our documentary subject. I was unsure how we would be able to send Kuo to Taiwan. I created a promotional video and reached out to news outlets while setting up a GoFundMe for her trip. Our efforts led to features on Spectrum News and Taiwanese news channel The Reporter. This helped us raise funds through crowdfunding, the Taiwanese government, and various NGOs. The financial support allowed us to fly Kuo to Taiwan and provide accommodations for her and her adoptive mother, Mary, for a week. It was an ambitious and challenging first documentary to make, but I was driven by my belief in the story. With meticulous planning, my amazing crew and I brought this vision to life. What stage is the film at currently? Can people see it? Find Me is now in Festival circuit, previously premiered at DOC NYC. Congratulations! Hopefully our readers will get to see it soon. A bit more of a personal question in what has already been a personal interview, but, why do you make movies? I’ve always been drawn to the magic of storytelling. Growing up in Taiwan, my family and I would visit the local Blockbuster every week. We'd rent two or three movies, and those trips became a cherished ritual. It wasn’t just about the films themselves, but about the worlds they opened up for me—the way they sparked my imagination, transported me to different places, and allowed me to experience emotions I’d never felt before. It was during these movie nights that my love for cinema took root. It became clear to me that #filmmaking wasn’t just something I enjoyed; it was something I had to pursue. That passion led me to the U.S. to follow my dream. It’s been a journey of trial and error, with moments of doubt, but every step has deepened my love for what I do. I’ve found something that challenges me, inspires me, and allows me to express my own unique voice. Cinema is where I feel most alive—it's more than a career; it's who I am. What advice would you give to someone just starting out in the film career you have pursued? I’ve always been a practical person, but what I learned from making Find Me is that you shouldn’t be afraid to dream big. Filmmaking often requires balancing ambition with the realities of the process, but if you truly believe in the story you want to tell, go for it. Your greatest resources will be your ability to manage time, your work ethic, and the people around you. The connections you build with talented, like-minded individuals are invaluable, and there are fewer opportunities to be surrounded by that energy once you've completed a project. My advice is simple: take that leap of faith in yourself. While the process will require hard work and perseverance, the support you receive from your team will make all the difference. I’m incredibly grateful for the people who supported me throughout Find Me . Without them, I wouldn’t have been able to bring my vision to life. Filmmaking is about collaboration—your story may be your own, but the process of telling it is always shared. Who would you love to work with and why? I met so many incredibly talented people at DOC NYC last November, and I’d love the opportunity to work with any of them. The experience was both inspiring and humbling, and it reminded me how much I still have to learn from others. Whether it’s collaborating with fellow filmmakers, editors, or producers, I value the opportunity to work alongside people who push boundaries and bring fresh perspectives to the table. The passion and creativity I encountered there made me even more excited to keep growing in my craft, and I’m eager to continue learning from those who are as dedicated to storytelling as I am. What's next for you in your filmmaking career? I’m excited about the possibility of expanding Find Me into a longer project. Looking ahead, I want to continue creating documentaries that have a meaningful impact—whether by telling stories that inspire others or by sparking important conversations around social issues. In a world that’s constantly evolving, I’m passionate about telling stories that reflect who we are as a community. I want to highlight both the extraordinary and the everyday people, showcasing the beauty and complexity of our lives. Ultimately, my goal is to create work that resonates deeply with audiences and helps us better understand the world we share. #ChrisOlson