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Ti Amo, Mr. Nibbles film review by UK film critic Jason Knight. Starring Kelsey Cooke, Emily Kontu directed by Govind Chandran. HOME | FILMS | REVIEWS Ti Amo, Mr. Nibbles Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Jun 1, 2024 Directed by: Govind Chandran Written by: Govind Chandran Starring: Kelsey Cooke, Emily Kontu A young woman struggles to communicate her feelings to her partner. Prolific filmmaker Govind Chandran teams up again with frequent collaborators to tell a story about expressing emotions in relationships, particularly saying the phrase 'I love you'. This story concerns two youths, Casey (Cooke) and Mia (Kontu) and a stuff toy named Mr. Nibbles. Mia is Italian and Casey is English and they live together and they are in a romantic relationship. However, Casey has a problem: she does not know how to tell Mia that she loves her. Eventually, one day she believes that she can finally say it to her. Or can she? The whole narrative takes place inside the protagonist's bedroom, with the two of them having meaningful conversations. The conflict in this short drama consists of Casey's hesitation to announce the major words to her girlfriend and Mia being unwilling to listen. Mia comes across as a cheerful and carefree person and she does not seem to want drama in her life and therefore, she avoids Casey when she attempts to talk about serious things, utilising Mr.Nibbles, a stuff hamster toy as a shield or distraction much to Casey's annoyance. Now might be a good time to mention that regarding the title, 'ti amo' means 'I love you' in Italian. The screenplay centers on the words 'I love you', exploring their content and value when they are used in romantic relationships. The film pretty much enquires regarding when the time is right to make that statement and whether it is even necessary to do so at all, as being happy together and enjoying each other's company proves that love is present. As mentioned above, Chandran reunited with several people for this project, one of them being Cooke. Others include director of photography Jamie Laxton, who develops moody cinematography and composer Benjamin Doherty, who creates a beautiful and emotional score. Perhaps the strongest aspect of this film is examining whether 'I love you' does actually have a real use in romantic relationships. Does it need to be said or are actions enough to 'say' that statement? It is said that actions speak louder than words, nevertheless the answer might depend on a person's perspective. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

The Spinning Man film review by UK film critic Swati Verma . Starring Travis Mitchell, Booth Daniels directed by Jordan Rosenbloom. HOME | FILMS | REVIEWS The Spinning Man Film Review average rating is 3 out of 5 Critic: Swati Verma | Posted on: Dec 29, 2022 Directed by: Jordan Rosenbloom Written by: Jordan Rosenbloom, Ben Eisen Starring: Travis Mitchell, Booth Daniels The writer-director Jordan Rosenbloom introduces the audience to an extraordinary situation the two male protagonists Stan the spinning man (Travis Mitchell) and Jim (Booth Daniels) are trying to combat with. The plot of the short film-The Spinning Man revolves around a man named Stan a radio jockey who is adapting to a new lifestyle as a result of a nuclear explosion The film opens with a message playing on the radio along with an eerie sound in the background as the several tracking shots assist the filmmaker to establish the subject matter of the film thus appealing for an emotional connection from the viewers and also increasing the degree of engagement with the content of the movie. The long shot of the blast showcases the details of the long-term effects it had on people living in the vicinity. The colour pallet is a combination of white, blue, red, black, and grey allowing the audience a better understanding and interpretation of the various scenarios the film takes us through. The set design, dim lighting, dialogue, costume, hair, and makeup defines a sense of disruption in the daily routine of the main lead and many others Travis Mitchell plays Stanley who is forced to live in isolation as things around him turn on his head for the worse. Mitchell through his brilliant acting skills effectively brings out various emotional and physical nuances of human behaviour when exposed to such emergencies. The body language, voice modulation, facial expressions, and eyes communicate the multiple shades portraying the much-required dynamism as a skill to survive the difficult days. Booth Daniels as Jim is like a breath of air. He adds enthusiasm to the conversation Jim and stan have. Daniels works on creating the contrast while Travis continues chatting subtly making the script interesting for the audience up until the climax. The parallel lead actor does an amazing job to be able to uplift the film and get the desired reaction from Stan the spinning man in the film as well as the viewers watching the same. The Spinning man pays homage to mankind highlighting the ability to continuously evolve as per the changes in their lives. The short film talks about the importance of searching for self-worth and keeping busy which helps survive the toughest circumstances. The cinematic piece reiterates how critical it becomes to find some sort of mental peace and stability to battle the hardships unpredictable conditions bring with them. The creative piece tells us that struggles in life in a common occurrence and resilience are an essential quality that needs to be developed as sometimes being strong is the option one has. I want to appreciate the director Jordan Rosenberg and the writer Ben Eisen for keeping the script close to the realism factor and reminding the viewers regarding things we deal with regularly but don’t pay attention to the same very often. About the Film Critic Swati Verma Short Film < All Reviews Next Film Review >

Christopher Hart writes movie reviews for UK Film Critic. As one of the talented UK film critics, find out more here. Christopher Hart Cinema is an endless source of joy. There are hundreds of thousands of beautiful and thought-provoking films out there, so it is important to seek them out and experience them. I am an anthropology student moving into his third year at university, and I am always looking for different perspectives on life. Favourite directors of mine include Ingmar Bergman, Richard Linklater, and Wes Anderson. I love unique colour pallets and immersive dialogue. I will watch just about anything, but I am still slightly apprehensive to watch horror films on account of my vivid imagination. I am thankful to be a part of UK Film Review, and happy to share my thoughts with anyone interested. Follow On Twitter Read My Film Reviews

WanderLand film review by UK film critic Jason Knight. Starring Holly Hajbok, Haylie Jones, Dru Jones, Ray William Butler directed by Nicole Pott. HOME | FILMS | REVIEWS WanderLand Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Oct 15, 2021 Directed by: Nicole Pott Written by: Nicole Pott Starring: Holly Hajbok, Haylie Jones, Dru Jones, Ray William Butler A poignant story about a six-year-old girl who is being neglected by her mother. Alice (Hajbok) is the young daughter of single mother Tracy (Jones). Tracy claims to love her, however, she is an irresponsible parent and that is seen several times. She fails to pick Alice up after school, she makes her wait in a room full of slot machines, she swears in front of her child, she is rude and mean towards her and she generally does not go to great lengths to take care of her. Alice is forced to deal with her mum's unacceptable behaviour and Tracy does not appear to understand that her parenting is flawed. The narrative of WanderLand explores the relationship between Alice and Tracy and directly reveals how the child is ignored by her mum. Tracy takes her daughter here and there and makes her wait time and time again, not showing any remorse for her actions. Things get rather dramatic when Tracy is walking along the beach with a man she just met and Alice falls behind, subsequently getting lost. The mood is rather sad throughout the film and the audience will most likely sympathise with the little girl as she suffers from her mother's neglect and they will disapprove of Tracy as a parent. However, Tracy's better side is also shown, although it is not a side of her that she shows often. People's kindness is also present when Alice is looking for her mother and is approached by two constables who are kind to her. Hajbok delivers an emotional performance as a gentle, innocent little girl who is unfortunate to have an uncaring mother. The world is seen through Alice's eyes and the viewer feels for her and wants things to get better for her. Jones is quite convincing as a person who does not appear to know how to be a responsible parent. Pott does a great job with the direction and the cinematography by Fraser Oxlee is wonderful. Composer Richard Collins creates a mesmerizing and beautiful score, which along with Kim Moore's vocals, develops a melancholic atmosphere. The filmmakers also make effective use of sound techniques, with the sound of slot machines, waves and rain being quite strong. This short drama will most likely move the audience. With an unhappy but intriguing plot, beautiful cinematography and great acting, this accomplishment deserves a great deal of praise and recognition. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Konpa film review by UK film critic Jason Knight. Starring Edson Jean, Nagela Lukacs, Marie Lafalaise-Noel directed by A. Plancher. HOME | FILMS | REVIEWS Konpa Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: May 13, 2023 Directed by: A. Plancher Written by: A. Plancher Starring: Edson Jean, Nagela Lukacs, Marie Lafalaise-Noel A young man looking for a bite to eat ends up meeting a girl and dancing with her. Jean (Jean) is a young Haitian-American living in Miami. One night, he goes to a Haitian restaurant to get some takeaway food. After failing to communicate with a middle-aged Haitian woman (Noel) who works there and does not understand English, he finds himself being introduced to her daughter Minouche (Lukacs), who introduces him to Konpa, a modern merengue dance style. As the two of them spend time together on the dance floor of the restaurant, it becomes apparent that Jean has found new values in his life. This beautiful and emotional short drama has a plot that takes place over the course of one fateful evening, during which the protagonist discovers the joys of music and dancing and it is strongly hinted that he has also found romance. The majority of the narrative takes place inside the restaurant's crowded dance floor, where Minouche romantically teaches Jean how to dance Konpa, surrounded by dancers. The atmosphere is quite wonderful and romantic and the two of them end up getting along rather well and taking a liking in each other. The final scene is quite dramatic but also offers hope. The screenplay suggests that dancing and music are a form of communication as Jean and Minouche, two people from different cultures find blissfulness between them while dancing to music, even though they are not fluent in the same language. The last scene seems to point out that music can also offer joy and healing. Regarding the characters, Minouche is the most interesting one, a confident young woman who appreciates the beauty of Konpa and is more than willing to share it with others. Jean is a likeable protagonist, one who makes a life-changing discovery and goes through significant character development. Huge commendations go to director of photography Juan Camilo Barriga for the splendid cinematography and to composer Darnell Monestime for the wonderful score. The dancing is very well choreographed and the filmmakers make effective use of slow motion. This film uses a boy-meets-girl concept in order to tell a romantic and emotional story about the art of Konpa and about the joys of music and dancing in general, how they bring people together. There is romance and the tenderness of caring for others, however, more than anything, the centres of the film are the contributions that dancing and music make to the ones who experience them. About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Bigfoot Unleashed: Part VII film review by UK film critic Patrick Foley. Starring Valena Zitello, Joe Fishel, John W. Iwanonkiw directed by Don Swanson. HOME | FILMS | REVIEWS Bigfoot Unleashed: Part VII Film Review average rating is 1 out of 5 Critic: Patrick Foley | Posted on: Sep 9, 2023 Directed by: Don Swanson Written by: Joe Fishel Starring: Valena Zitello, Joe Fishel, John W. Iwanonkiw Forming part of a larger feature ‘The Haunting of Prince Dom Pedro ’ but released as a stand-alone short, Bigfoot Unleashed: Part VII draws upon classic horror film presentation in an attempt to ingratiate itself as a self-aware B-movie, but severe lack of substance means its overall oddness is more confusing than charming. A secretary (Valena Zitello) working for a construction company that is mining in woods of Appalachia finds herself constantly under threat from the legendary Bigfoot, who is angry at his territory being invaded. As she attempts to escape for a seventh time, it appears her luck has finally run out. But Bigfoot may not be as terrifying as he is made out to be… Bigfoot Unleashed: Part VII is not shy about the fact that it was produced on a very limited budget, and its circumstances of being a segmented part of a longer production mean it is difficult to know exactly what it is looking to accomplish. Judged on its own, it is a highly limited short film that elicits some amusement at the hokey Bigfoot costume it employs and the call backs to B-movies of the 70s and 80s. But ultimately, it contains only the semblance of a storyline that makes little sense to viewers, and ends on a strange, disconnected and unsatisfying note that leads viewers to question what it is ultimately for or about. Perhaps this was the point – and director Don Swanson was aiming squarely at ‘so bad it’s good’. But even the bad has to have purpose – and Bigfoot Unleashed: Part VII does not. It’s not a straight horror. It’s not a parody (or at least it is not clear what it’s parodying). It’s not a comedy. And it’s not good enough to be undefinable. Low production values are part of the package, and the film at least tries to work with what it has, and embraces making use of this in place of what it hasn’t. The director tries some innovative shots – such as when Valena Zitello’s character is chased by the titular creature, but these are few and far between. It’s as though someone forgot to add an actual plot to Bigfoot Unleashed. Beyond an opening title card, viewers would have zero idea about the big business/environmentalist elements to the ‘story’, and the protagonist’s previous history with Bigfoot is told solely through bizarre shots of the actress screaming. Budget restrictions really are the least of the film’s problems – the key question is what does this film try to achieve. It’s a mystery bigger than Bigfoot. About the Film Critic Patrick Foley Digital / DVD Release, Short Film < All Reviews Next Film Review >

Searching for Lily film review by UK film critic Joe Beck. Starring Maisie Preston, Nia Trussler Jones, Michelle Collins directed by Alexander Williams. HOME | FILMS | REVIEWS Searching for Lily Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Mar 8, 2023 Directed by: Alexander Williams Written by: Alexander Williams Starring: Maisie Preston, Nia Trussler Jones, Michelle Collins On paper, ‘Searching for Lily’ should work as an intimate character study of a fraught with troubles and with the whole world set against her. In reality, it ends up rather shallow, with too much left unsaid by a screenplay which lacks any drive or vigour, and crucially any narrative thrust. Excellently played by Maisie Preston, we’re first introduced to Lily as she lays flat on a bed, ‘servicing’ her client. The vulnerable, unsatisfied gaze in her eyes makes it obvious that she doesn’t enjoy her business. She’s only recently turned eighteen and should be in college, living her life, but instead she’s saddled with a crippling, and looming, debt, and a weak mother in need of her care. In the position she’s in, it’s easy to empathise with Lily for turning to sex to make money, after all it pays more than her retail job, and sees cash paid in hand. Still, the debts mount up, as does the alcohol, and Lily’s sense of despair only heightens as she continues to dehumanise herself and the relationship between her and her mother (Nia Trussler Jones) deteriorates. Again, Lily’s frustrations are understandable - she’s sacrificing both her future and her dignity in order to care for her mother, all to receive limited gratification. Her clients, both old and young, appear genial enough, yet all carry a sinister edge as they take advantage of Lily’s troubles in using her body. There’s solace for Lily in her budding friendship with the older, more experienced sex worker, Queenie (Michelle Collins), who evidently cares for Lily, and doesn’t want to see her follow a similar path to the one which she’s taken. Whilst she’s an interesting case study, it never really feels as though Lily is a real woman or anything at all more than a character in a film. The events which befall her throughout the film just happen - there’s no set up or narrative drive, they just occur and we are forced to accept that as she responds to a fresh set of problems. This means that when, for example, Lily’s mum discovers how Lily has been spending her time, it is unceremoniously thrust upon us, detracting from the drama of the situation as writer-director Alexander Williams fails to imbue the scene with tension of any sort. This is indicative of a screenplay which doesn’t hold a candle to Williams’ direction, which is competent, and occasionally great. The writing on the other hand, in particular the dialogue, feels forced for large parts, with characters presented too broadly, and wedged into one-dimensional roles that suite Lily’s perception of them. She believes that her mother is dragging her down, so we don’t see another side to her; she sees Queenie as a mentor figure, so that’s how she’s portrayed; her clients are merely transactional, so they are only vehicles in the plot to enhance her frustration. Though in some respects, and in greater films, this works to ensure a fully fleshed out, and intimate portrayal of a central character, in ‘Searching for Lily’, it is instead a failed, missed opportunity. The trouble with ‘Searching for Lily’ is that in its attempts to probe deeper into its central characters it instead ends up going nowhere inventive with its story, and therefore, the character isn’t allowed to develop naturally. The film never succeeds in its search for Lily, and the result is a sometimes well-crafted, and definitely well-acted, film, but one which is massively underwhelming. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Orchestrator of Storms: The Fantastique World fo Jean Rollin film review by UK film critic Hope Madden. Starring Brigitte Lahaie, FrancoisePascal, Kier-La Janisse directed by Dima Ballin, Kat Ellinger. HOME | FILMS | REVIEWS Orchestrator of Storms: The Fantastique World fo Jean Rollin Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 13, 2023 Directed by: Dima Ballin, Kat Ellinger Written by: Dima Ballin, Kat Ellinger Starring: Brigitte Lahaie, FrancoisePascal, Kier-La Janisse Who is Jean Rollin? He was an underappreciated French genre filmmaker of the 70s, 80s and 90s – kind of the Jess Franco of France. Who is Jess Franco? A horror filmmaker known primarily for lurid, colorful B-pictures, often featuring hot, naked lesbian vampires. He’s the Jean Rollin of Spain. You’ll be better able to tell them apart if you watch Orchestrator of Storms: The Fantastique World of Jean Rollin . Documentarians Dima Ballin and Kat Ellinger want to make sure the world remembers and recognizes Rollin’s contribution to film. Changing the smarmy discourse among those of us who do know his work is a second-tier goal. That’s not to say that the filmmakers shy away from Rollin’s poor critical reception or comparisons to Franco. Indeed, Rollin stepped in to complete two films Franco started, including Zombie Lake , a film so terrible it nearly ended Rollin’s career. Talking with several of Rollin’s colleagues, a couple of the actresses best known for his films, and writers who’ve championed his work, Orchestrator of Storms tells the tale of an artist who loved what he did and struggled to make a career out of filmmaking regardless of the challenges. He even directed a load of hard-core porn titles to keep the lights on. Fascinatingly, one of the challenges was France itself, which, in the 70s and 80s, was hardly a hot spot for genre filmmaking. Being a contemporary of New Wave artists, Rollin faced backlash for his fanciful, decidedly unpolitical output. A lot of the struggle could also have been that many of Rollin’s films are just plain terrible, a possibility mostly unexplored in the doc. But what’s most intriguing is the image you get of Rollin as a person, mainly from actors Brigitte Lahaie and Francoise Pascal, as well as former film festival programmer Kier-La Janisse, who also produces. They build a picture of a humble, kind man driven to exercise his imagination. And, as the film rightly points out, there are times when that imagination delivered amazing product. Fascination, The Iron Rose and Living Dead Girl are more than macabre dances among the nubile nude, although they certainly are that as well. With these films, Rollin’s evocative imagery details gruesome stories unlike anything else. Orchestrator of Storms would have benefitted from more of Rollin’s work. Though Vallin and Ellinger do a fine job of enlivening talking head footage, no one’s movies looked like Rollin’s. Talking about his aesthetic doesn’t do them justice. You need to look at them. That aside, this is a film that deeply appreciates a filmmaker who rarely received such love. The conversations are candid and often moving. The film leans a little too close to mash note, but there is something undeniable in the work of Jean Rollin that probably deserves this kind of love. About the Film Critic Hope Madden Digital / DVD Release, Documentary < All Reviews Next Film Review >

Strays film review by UK film critic Hope Madden. Starring Will Ferrell, Jamie Foxx, Isla Fisher directed by Josh Greenbaum. HOME | FILMS | REVIEWS Strays Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Aug 17, 2023 Directed by: Josh Greenbaum Written by: Dan Perrault Starring: Will Ferrell, Jamie Foxx, Isla Fisher Have you seen the trailer for Strays , the live action dog movie about a sweet mutt (voice by Will Farrell) abandoned by his terrible owner, Doug (Will Forte)? He’s taken in by other dogs off the leash who join him on a journey to return home and bite Doug’s dick off. If that trailer did not make you laugh, you will not laugh during Strays . If that trailer made you laugh, savor it, because it represents all the laughs to be found in the entirety of Strays . Unless you’re a huge, huge fan of couch humping and feces. If so, then by all means, nab a ticket. Farrell’s Reggie is in a toxic relationship, and new friends Bug (Jamie Foxx), Maggie (Isla Fisher) and Hunter (Randall Park) want him to see that he deserves better than Doug. And he deserves to bite the man’s dick off. So, it all becomes a sort of homicidal Homeward Bound , if you will, and that’s a funny idea. The film is very definitely R-rated, taking unexpected detours that sometimes go where you just don’t want them to go. Other times, they go to a carnival so they can make fun of “narrator dogs” (voiced by A Dog’s Journey ’s Josh Gad, which is honestly ingenious). But these sparks of fun are few and far between and the meanspirited humor overwhelms the odd bits of inspired comedy. And then there’s all that dog shit. Director Josh Greenbaum was mainly successful in finding a balance for the zaniness of his 2021 effort, Bar and Star Go to Vista Del Mar . Mainly. But the bright points were brighter and the rest of it was just weird. Strays , written by Dan Perrault, is the laziest kind of “road picture” – a series of unrelated sketches. There’s a Point A (the scary city block where Doug abandoned his dog) and Point B (Doug’s penis), but those steps in between are random skits about red rockets and chew toys. And those moments are just not funny enough to merit a full feature. About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

The Irish Connection film review by UK film critic Jason Knight. Starring Rosa Coduri, Shane Robinson, Jack Bence, Paul O'Doherty, Moses Gomez Santos, Flora Spencer-Longhurst, Matt Healy, Nicola Wren directed by Danny Patrick. HOME | FILMS | REVIEWS The Irish Connection Film Review average rating is 3 out of 5 Critic: Jason Knight | Posted on: Aug 25, 2022 Directed by: Danny Patrick Written by: Danny Patrick, Emily Corcoran Starring: Rosa Coduri, Shane Robinson, Jack Bence, Paul O'Doherty, Moses Gomez Santos, Flora Spencer-Longhurst, Matt Healy, Nicola Wren A mobster's bearer bonds are stolen in Ireland, leading to all sorts of trouble. When the high-value bearer bonds are snatched by a man known as The Priest (Santos), their owner Alice (Longhurst), who is a crime boss (and also pregnant), wants them back and intends to do so with the help of her brother Rory (Robinson) and her partner Casper (Healy). The thief's father Danny (O'Doherty) and half-brother Jay (Bence) find themselves in deep trouble when the gangsters go after them and a special agent named Aureille tries to protect them and retrieve the bonds. This crime comedy is an enjoyable experience that will most likely appeal to fans of the genre. The screenplay contains good humour that involves clever dialogue and multiple characters, whose lives are effectively explored. Events that take place include people being threatened and assaulted, shootings, a car chase, awkward situations and quite a bit of clown stuff and movie references. The action takes place in Irish cities Derry and Cork, before moving on to Malta. The characters are well-written and the acting is entertaining. Coduri does a fine job as a tough and determined agent who is focused on bringing down the bad guys. Robinson and Healy are amusing in their gangster roles, however the biggest comedy credit should probably go to O'Doherty and Bence for their performances as a father and his son who unwillingly get involved with criminals and find their lives in danger. Bence is great as a clumsy and immature guy and O'Doherty is equally good as his more sensible and wise dad. The two of them appear to work well together and generate a lot of fun. As the director, Patrick creates some wonderful establishing and aerial shots that capture the beauty of the locations. Composer Paul Casey develops a score that goes well with the atmosphere and praise also goes to the creative montage sequence that introduces each character with title cards. Basically, the plot of this feature is a lot of people going after the same thing: bearer bonds. Overall, it is a funny film, with an intriguing story and delivers a few laughs. Fans of movies such as Lock, Stock and Two Smoking Barrels and Snatch should give this one a go. About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

The Dove Never Breaks Its Promise film review by UK film critic Joe Beck . Starring Iman Zulkarnain, Lugman Junaidi, Adman Salleh directed by Tengku Adrian Ismail . HOME | FILMS | REVIEWS The Dove Never Breaks Its Promise Film Review average rating is 4 out of 5 Critic: Joe Beck | Posted on: Mar 6, 2022 Directed by: Tengku Adrian Ismail Written by: Tengku Adrian Ismail Starring: Iman Zulkarnain, Lugman Junaidi, Adman Salleh HIV/AIDS is still huge problem in parts of the world, not least in Malaysia where the short ‘The Dove Never Breaks Its Promise’ originates from. Every day in Malaysia, almost 10 people are diagnosed HIV positive and more than 100,000 people have been diagnosed with the disease since the first case in the country in 1986. AIDS has caused the deaths of more than 13,000 Malaysians, and whilst in the West we see it as a problem we long ago overcame, its a telling reminder that the same is not true for everywhere in the world. ‘The Dover Never Breaks Its Promise’ is also a telling reminder that being homosexual is not accepted in all cultures around the world. More than 70 countries around the world still criminalise homosexuality - it was less than 50 years ago that it was decriminalised in the UK and in parts of America there are still laws prohibiting the rights of LGBT folk. In Malaysia, lesbian, gay, bisexual, and transgender persons are prohibited from expressing their sexuality. Sodomy is a crime and laws are strictly enforced with punishments of up to 20 years in jail and the authorities will also bring the person to corporal punishment. In the West we like to think that the world has moved on, and everyone is more accepting than they once were, sadly that’s not the case everywhere. ‘The Dove Never Breaks Its Promise’ tells the story of a HIV-infected man, Norman (Iman Zulkarnain), who struggles to cope with thoughts of suicide in the wake of his diagnosis and as he copes with the inescapable fact that he’ll likely die. Norman is a shy man in his early twenties, cast out by his father, played by Adman Salleh, as is often the way with in Malaysia when parents find out their children are homosexual. Norman lives alone with his dove, who stays in its birdcage - the dove is the only one that can truly comfort him. His former lover, Izuan (Luqman Junaidi) comes round to visit, asking how he is following the diagnosis. They’ve been apart three years but Izuan still cares for Norman, breaking up and marrying Fazia was the only way he could stay safe. The two talk, searching endlessly for ways out of their desperate plight. There isn’t one. Norman knows this, hence why he’s suicidal, a major health problem associated with HIV/AIDS. Suicide rates among people living with HIV/AIDS are more than three times higher than the general population, a telling inditement of just how difficult it must be to suffer from such a diagnosis. The film is directed with a tenderness befitting of the sensitive subject matter. Director Tengku Adrian Ismail was inspired by the short story ‘Al Ghaist’ by Fadli Al-Akiti and he tells it with heart and care for the gentleness of the subject matter. That doesn’t mean that he skirts around the edges, rather that he tells the story in such a sympathetic way that you’ll do well not to have tears in your eyes by the end. The acting is impressive from both Zulkarnain and Junaidi, who have good chemistry together and the conversation between the two of them flows effortlessly. Zulkarnain is excellent as Norman, with a tear-jerking performance of bravery in the face of hopelessness. Junaidi, with his strikingly long hair, comes across as the more confident of the pair and also catches the eye. Adman Salleh is solid with little to say and asserts his presence onto the film. The score is similarly amazing, with the sound of a piano gently rising and falling throughout, it matches the sombre tone of the short to a tee, and would not be out of place in a feature length film. However, the biggest issue with the film is also to do with sound because although the score is magnificent, the sound mixing is torrid and often breaks the tight, enclosed mood of the short, with an unnaturally loud closing of a door, especially when contrasted with the quiet whispers of the dialogue. ‘The Dove Never Breaks Its Promise’ is an essential short, if only to serve as a poignant reminder that many parts of the world still suffer from HIV/AIDS and even more still criminalise homosexuality. Tengku Adrian Ismail has created a tear-jerking short, which tells an important story with masterful direction and all-round terrific performances. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

A Night and Some Change film review by UK film critic Joe Beck. Starring Ines Badila, Richard Logun, Jack Maddison, Lanya Matthews, Fiona Pirie directed by Eke Chukwu. HOME | FILMS | REVIEWS A Night and Some Change Film Review average rating is 3 out of 5 Critic: Joe Beck | Posted on: Feb 10, 2023 Directed by: Eke Chukwu Written by: Esme Allman Starring: Ines Badila, Richard Logun, Jack Maddison, Lanya Matthews, Fiona Pirie To shoot a film in black and white shouldn’t ever just be a stylistic choice. There should always be some deeper meaning or value in choosing a monochrome colour palette, yet ‘A Night and Some Change’ seemingly lacks any reason - there is nothing lurking in the shadows, and nothing brought out by the black and white which couldn’t be expressed otherwise. That is indicative of the rest of the film, which begins promisingly, and is good in many aspects, yet ultimately amounts to little in the way of profundity. We begin with a woman dancing around a studio. What at first appears to be rhythmic becomes more angered, as though she’s channeling all her emotion into this one dance. I suppose that’s what dancing, like any art form, is like. Beginning without words, only the sound of a piano and the image of woman dancing is a bold way to begin a film, and one which suggests a level of competency and depth in its message. Though ‘A Night and Some Change' is undoubtedly competent, with Eke Chukwu’s direction at times mesmerising, it lacks the complexity to push it to greater to heights. That’s because Esme Allman’s screenplay, though never blocky in terms of dialogue, fails in terms of subtext, leaving the film feeling rather empty. This means that it's hard to become invested in the affairs of the film's characters, all creative types, as they deal with issues of love, friendship and the mounting pressures of adulthood. Anya (Ines Badila) has recently moved to London from Paris in order to become a dance teacher, and has taken a whole lot of baggage across the channel with her, not all of which can be completely shaken off. Moving in with Kenny (Richard Logun) and Joel (Jack Maddison), there is a suggestion that a romantic triangle could develop between the three of them, with the interactions between each bearing hallmarks of attraction. Kenny and Joel are clearly longstanding friends, but there is a hint of something more, though it also appears that both may have their own feelings towards Anya. Things are cordial, if a little awkward when the trio decide to go out to an eerily deserted bar in the evening, where they meet Dylan (Lanya Matthews) and Emilia (Fiona Price). There is a sense that these two characters were intended to be of greater prominence, but instead end up feeling like half-developed caricatures - the petulant chaos causer and a woman with a deeply troubled background. Still, Eke Chukwu's direction is promising, even with the questionable and seemingly redundant decision to shoot in black and white. Frames are competently held together, and Chukwu films all movement with a kind of rhythm not too dissimilar from the dancer. Ultimately, however, while 'A Night and Some Change' may be stylistically impressive, it lacks a substance in its screenplay which Chukwu's impressive direction, and competent acting all round, is unable to make up for. It's not quite being short-changed, but the disappointment that 'A Night and Some Change' doesn't build upon it's promising opening is only slightly less dissatisfying. About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >