Search Results

Filmmaker Interview by Chris Olson Hi Charlie, many thanks for speaking with us. Where in the world are you right now? I'm currently based in Metro Manila. Your most recent short film, Through the Viewfinder, looks like a powerful piece. How would you describe the film to a new audience? Through the Viewfinder is a narrative experimental short that follows a photographer with glaucoma who documents his life as he goes blind. It explores different aspects of blindness, from how it significantly changes different aspects of your life to how it could affect the lives of the people around you. As a blind filmmaker, how important was making this film to you? It was important to me because it was my first time confronting my low vision through a film. At the time, I wasn't ready to write it myself and I was just really lucky to have a friend who I could trust so much with writing the story. Jake has always been an incredible writer and he really made sure to talk to me about my eyesight during the writing process. What were the challenges of getting Through the Viewfinder made? I was very new to this style of filmmaking. The treatment for some parts were very experimental and it was mostly a matter of figuring out what the best narrative approach would be. I'm glad to say that I learned a lot from the production of this film and it really impacted my style of writing and directing. Where can people see the film? Our plan for now is to continue premiering in festivals. We recently had our first premiere at the 2023 Gawad Sining Short Film Festival in Manila, but I plan to have special live screenings of the film within the next few months or so. Nothing's final yet. You have made short films before, such as Love Again and Romuelda. What do you love about making short films? My experiences with Love Again and Romuelda were very different from each other. Love Again was a sad romantic musical while Romuelda was a really short political satire. Through the Viewfinder was the most heartbreaking among the three, I'd say. I guess what I love about making shorts is how creative you have to get just to send a message across or to tell a story. There are so many ways to tell a story that spans years of a person's life in less than a few minutes of runtime. It's that uniqueness that makes it so challenging but also so fun. What's next for you and your filmmaking? I'm currently in the process of writing my thesis film. It's called Babe sa Mata ng Bulag ("Women in the Eyes of the Blind"), but it's more about feminism than it is about disability. I'll be releasing it sometime in 2024. What film (or films) have inspired you and why? Honestly, no specific film inspires me as a filmmaker entirely. For Love Again, it was Noah Baumbach's Marriage Story. Babae sa Mata ng Bulag takes a lot of inspiration from Celine Sciamma's Portrait of a Lady on Fire. I'd say most of what inspires me are people that I've gotten to know. Sometimes it's friends, family, and sometimes it's just inspired by a really nice conversation I get to have with someone. I really owe the filmmaker and the person I've become to the wonderful people that surround me. #ChrisOlson #filmmakerinterview #interview

★★★★ Directed by: #TimothyDraper Starring: #TimothyDraper, #ShaunFotheringham, #ToddAndresen, #ChuchieZitting and #MarcHoover Short Film Review by: Alexandra James Uncharted Expedition follows team leader Timothy Draper and Shaun Fotheringham, embarking on a fantastically thrilling adventure and bringing a team together to explore and investigate treasures across Western America. Covid-19 unfortunately put a delay on the team and stopped them from making headway with their mission. However, episode 1 of this series shows the guys constructing a secure and loyal team, all keen and with the perfect expertise needed to document and make some fascinating discoveries. The series begins with Shaun and Timothy expressing their desire and passion to get their project off the ground once and for all. The pair discuss the logistics of how they would like their series to be documented and who would be the best characters to join them on their expeditions. The people involved needed to have that desire and enthusiasm for treasure hunting as well as stamina, as the pair go on to say that there will be caves and mines that they will need to explore, working mainly outdoors and in all types of weather. They certainly needed a cameraman who was quick on his feet to be able to keep up with their fast pace and capture raw footage of their ventures. It was important that every detail is captured as you never know what discoveries are going to be around the corner. With a cameraman, metal detectorists, treasure hunting specialists and lots of equipment and gear needed to begin their journey, the two men set the series up in a positive and exciting way. At the end of the episode, at the edge of St. George, Timothy shows the two men where they will begin their first treasure hunting experience. Timothy explains where the site is and the silver that is buried out there, it is said that there is a value of up to 1.5 million. This was a great way to end the series and entices the viewer in, wanting to invest more in their new projects. It would have been beneficial to include more about the expedition they are about to embark on, perhaps more of a breakdown of the location and the history of the treasure and to mention this a lot earlier on in the episode. There seemed to be a lot of repetitive dialogue throughout, as they discussed the team and their expertise, of course this is all crucial information, however, there needs to be that hook from the start. It was the camera man that directed the men and have them focus back on the mission at hand. There needs to be that guidance throughout to keep everyone on track and to not get caught up in conversation. The viewer relies on the team to explain their movements and what the journey entails, this is what drives the piece and ultimately is the sole focus. This series is interesting, exciting, and certainly aimed at adventure seekers and those that are fascinated by history. Its an informative short series, with specialists that have a lot of experience in treasure hunting, combined with the ability to make the series fun and interactive for the viewers at home, definitely one to watch.

★★ Directed by: #EugeneTan Short Film Review by: Alexandra James Eugene Tan’s short film The Mountain is about a father and son who remain sheltered in a room, fearful of what lies outside the confined walls and the dangers that it inhabits. Did I mention that this father and son are stuffed toys? This is an unusual piece that is comical, emotional, and very bizarre. A simple yet interesting short story that follows a fathers need to protect his child against the outside world, as well as understanding the importance of embracing change and the need to explore outside of one’s comfort zone. The father tries to impart some words of wisdom on his child, however, as they awake the next morning his child is missing, and the culprit is the ladybug! By combat, the father must defeat the ladybug in order to retrieve is son and bring him back to safety. It is up to the father to move beyond the realms of the room he has chosen to lock himself in, to save his son and defeat the one that has held him captive, in this case it’s a stuffed ladybug. The camera angles to this piece were limited and the shakiness throughout was slightly amateurish. Understandably, this is a home film with a small budget, however, it’s the details that can make a huge difference and even with a simple storyline, the location, sound, and cinematography need to be on point and diverse so that the audience can engage with the narrative and become blown away by the scenes. Unfortunately, this short film was undeveloped in terms of this diversity, and it was difficult to remain connected with the narrative throughout. The comedic element was there but could have been strengthened further. Eugene Tan has the components to build on this piece, however, there was not a lot of investment in its potential. I’m afraid to say that stuffed animals rolling across the floor is not a film that I can truly say amazed me, however, there is certainly a passion for cinema within this piece and it should be commended for its storyline that flowed extremely well and added a touch of key life lessons. The story teaches us to expand our horizons and move beyond the safe life bubble we create for ourselves. The Mountain can be considered deep and emotional narrative…once you accept the stuffed animal aspect.

★★★★ Directed by: #ToniVGenov Short Film Review by: Alexandra James This short documentary focuses on the incredible work of Alice Guy-Blaché, the first female director who began her career as early as 1896, experimenting with colour, visuals and sound effects in movies. Unfortunately, the reason as to why she is not heard about to this day is due to several factors. Alice was a woman in a very male dominated industry and many people tried to have her fired and removed from the set, they did not want this amount of credit being given to a woman. Moreover, many of her films were destroyed and her company did in fact go bankrupt. A lot of tragic circumstances occurred during Alice’s career; however, this documentary highlights her remarkable work and shows the world the innovations and unique perspective she had within the film industry. This film is truly enlightening and reveals to the audience a story which otherwise may have been untold. This was a fascinating short film that kept me invested throughout, I wanted to learn more about Alice Guy-Blaché’s life and discover the projects she had created and was a part of throughout her lifetime. This is a sad, yet informative piece and it is crucial that we learn about pioneers such as Alice in history, those that are sometimes forgotten yet are the ones that pave the way for many directors and artists to this day. The short goes on to explain that film during this period were essentially documentaries of everyday life and factual. However, Alice had the idea of filming fictional scenes, inspired by books (being the daughter of a book seller). It was this moment that practically changed the future of film. This spectacular idea made Alice’s career flourish and Léon Gaumont made her the Head of Production of his own company. I enjoyed the style of this documentary; it took raw footage of Alice’s life and added a modern twist to it by using Facebook group references and messaging between some of the important characters such as Alice and Léon. This certainly draws in a younger audience to want to learn more from this documentary and allows for a storyline that is snappy and flows extremely well. This type of film making is very popular and is often seen on many Netflix documentaries, it’s a style that keeps us invested and spells out the story of each character coherently and with a lot of detail. There were times that it was information overload! However, this isn’t an issue, the documentary could have slowed down in parts so that we could have a full and complete understanding of Alice’s life. It was clear that Alice’s life was rich and full, so it’s crucial that the audience can soak up all this information. This Untold Story is a great documentary that gives Alice Guy-Blaché a voice, it’s a platform which examines the value of her work and the influence she has had on directors and the film industry. Without her, cinema may not be where it is today, this type of passion and enthusiasm for cinema should be celebrated and highlighted to all.

★★★★ Directed by: Phil Dunn Written by: Phil Dunn Starring: Joshua Griffin, Shaun Mason, Ellie Piercy, Derek Elroy Short Film Review by: Chris Olson Exploring themes of love and hate, the short film The Stupid Boy by #filmmaker Phil Dunn is a powerful and affecting drama. It stars Shaun Mason as Stephen - a young man with a tragic background being groomed for a white supremacist group operating in London, and Joshua Griffin as teenage schoolboy Michael whose unique perspective of the world and unusual behaviour sees him as a target for bullies. The short film culminates in these two characters colliding. When grappling with such competing ideas of characters fuelled by hate and those being overtly kind, it can be difficult to avoid the audience becoming alienated. Dunn makes sure all his characters feel believable and relatable. Even Stephen’s growing rage is founded on a harrowing backstory of parental abuse and we are also given moments where he struggles, such as dropping a cup on the floor. This eschews villainous caricature in favour of something more empathetic, even with the rising sense of dread the viewer will feel if they have been clocking the signposts throughout the short movie. For some, it will be Michael’s journey that feels more special and intriguing, however. From his opening scene looking through an upside-down periscope at his street outside to essentially rugby tackling a new teacher with a greetings hug, his warm and inquisitive nature makes him an instantly likeable character and one that an audience is going to care for and indeed worry about. Even his parents seem to have differing viewpoints on how to approach the way the world treats someone like Michael. When it becomes apparent he had an altercation with a boy at school, his mother (Ellie Piercy) labels it bullying, whilst, after hearing Michael’s version of events, his father (Derek Elroy) simply states the boy is probably just not his friend. The Stupid Boy is packed with impressive #filmmaking, including one strong sequence involving an upside-down camera in a busy London market. The film makes use of numerous locations and additional supporting characters without every feeling baggy. In fact, it’s one of the tightest short films, telling what is actually two rather large stories at once and all within fifteen minutes. A powerful score accompanies the majority of the film and is particularly effective in the gripping final scene (no spoilers here). To deliver such an eclectic mix of emotional experiences for the viewer in such a short film is a massive achievement. The Stupid Boy, through its wonderfully written central characters, explores our vulnerabilities and strengths which often get caught in the crossfire when manipulated by others but can also be our, and others, salvation when used purposefully. #ChrisOlson #ShortFilm

Grimmfest, Manchester's International Festival of Fantastic Film, will be returning to regular venue, Manchester’s Odeon Great Northern, from 6–8 October to showcase the best in genre cinema. With the feature film lineup already announced, we are delighted to share this year’s poster artwork by Ilan Sheady, emphasising this year’s celebration on female-centric horror. But now, that celebration is set to start a day earlier, on the evening of Thursday 5 October, with a special preview screening of Joe Lynch’s SUITABLE FLESH alongside two startling short film premieres and the infamous Evolution of Horror pub quiz. Boasting a fearlessly full-on lead performance from Heather Graham (TWIN PEAKS, BOOGIE NIGHTS), SUITABLE FLESH is a vibrant, visceral and challenging contribution to the cinematic representation of Cthulhu cosmology, and a heartfelt homage to the late, great Stuart Gordon, to whom it is dedicated. Plus, an exclusive world premiere: Najarra Townsend (THE STYLIST) stars as an isolated young woman caught between a potentially predatory neighbour and her own paranoia in Stu Silverman's slippery and suffocatingly claustrophobic psychological thriller BUG. Also, in Brendan Cleaves’ SAM AND DOUG (UK premiere), a tense suburban post-lockdown spin on THE WALKING DEAD, Craig Charles, Carla Langley and Elliot James Langridge star in a tale of a desperate mother forming an unlikely friendship to save her family. We can also now reveal the lineup of short film premieres in this year's trio of programmes. Friday 6 October: NOTHING IS REAL A couple's home life grows ever more divided in Peter Collins Campbell's deadpan and disturbing VARIATIONS ON A THEME. A young man finds himself, and everyone close to him, undergoing a terrifying metamorphosis, in Matt Bentley-Viney's disquieting CATERPILLAR (Greater Manchester premiere). A young woman uses her ability to hear the voices of the recently departed to help those left behind in Nacho Solana's unexpectedly moving THERE ARE NO GHOSTS (regional premiere). A young man and his grief-stricken boyfriend come to regret their choice of holiday resort in Gus Reed's subtly nightmarish RINGING ROCKS (Manchester premiere). Two young women on the brink of romance discover that time is not on their side in Antoine Dricot's quietly devastating MEMORIES OF THE MOON (UK premiere). A couple's toxic relationship awakens something evil in Jo Smyth's fever-dream folk horror, FIND YOU HERE (Greater Manchester premiere). Saturday 7 October: WHERE THE HEART… ISN’T A man returns to the community he grew up in to discover friends and family in thrall to a sinister cult in Jesse Aultman’s macabre morality tale THE SPIRIT BECOME FLESH (international premiere). Doting parents teach their young daughter the meaning of Halloween in Sabrina Ariss's chilling TRADITION (UK premiere). Alan Dunne offers a truly terrifying glimpse of a toxic home environment in the darkly comic FAMILY NIGHT (regional premiere). An overworked young man receives a truly unwelcome phone call in James Hughes' nail-biting NO CALLER ID (world premiere). A neglected wife develops an unhealthy fixation with an insect in Stef Meyer and Pascal Bourelier's creepy and claustrophobic MANTRA (North West premiere). A young man's reunion with his biological father proves traumatic in Andrew Rutter's surreal comic nightmare THE HERITAGE (regional premiere). An infertile woman remains determined to have a baby in Michael Squid's heart-rending and utterly horrifying JANELLE'S BABY (international premiere). Sam Fox offers the ultimate “meet the parents” shocker in the truly outrageous FUK'N NUTS (UK premiere). Sunday 8 October: HERE BE MONSTERS A desperate scientist finds himself caught between marauding zombies and a food-stealing rat in Semyon Voinov's mordantly funny TRAPPED (regional premiere). A father-and-son weekend adventure becomes a terrifying fight for survival in Michael Trainotti's gripping old-school creature feature SCRATCH (international premiere). A would-be social media star discovers that success requires sacrifice in Riccardo Grippo's sour splatter-satire STARR (world premiere). A rejected young woman discovers an unlikely source of moral support in Shane Bannon's troubling A PERFECT PLACE TO CRY (European premiere). An aspiring romantic novelist becomes increasingly obsessed with a mysterious, possibly supernatural figure who haunts the library where she works in Javier Yañez Sanz's utterly horrifying BOOKWORM (UK premiere). An inebriated duo attempts to rob an antique store, only to discover that the older woman running the shop isn't quite as defenseless as she seems, in Tyler Savage's droll tale of EC Comics-style poetic justice, ODDITIES, starring genre legend Adrienne Barbeau (Manchester premiere). We can also share details of the first of this year’s confirmed guests and Festival Jury members. Joining us on this year’s blood-red carpet thus far: Raymond Wood, director of the candy-coloured and confrontational FACELESS AFTER DARK. Starring and co-written by Jenna Kanell in the wake of appearing in the first TERRIFIER, the film combines splatter, satire, vicarious vengeance, and a twist of sly metacinematic mischief to offer a pointed critique of some of the more questionable aspects of the horror genre and the ways in which fame in an era of toxic social media can prove a truly Faustian bargain. Writer-director Miguel Azurmendi, producer Antonio Rosa Lobo, and producer-actor Pablo Lapastora will represent the jaw-dropping KERATYNA, a tense, surreal spin on REAR WINDOW for the age of the internet incel conspiracy theorist. Enigmatic writer-director Quarxx will take the audience on a tour of hell in his existential portmanteau PANDEMONIUM. From the creative team of ABRUPTIO, composer and musician Patrick Savage (THE HUMAN CENTIPEDE, A CURE FOR WELLNESS, BENEDETTA, COCAINE BEAR) will be in attendance. Representing SAM AND DOUG, we will welcome actor Elliot James Langridge (HABIT, NORTHERN SOUL). Finally, Mike Muncer, founder and host, and Becky Darke, returning guest and events coordinator, of podcast THE EVOLUTION HORROR will be presenting various events in and around the festival. We will also be joined by actor-writer Adam Z. Robinson of theatre company THE BOOK OF DARKNESS AND LIGHT, who will be performing HAUNTED on Thursday night at The Lion’s Den. Mike and Becky will be hosting a special THE EVOLUTION OF HORROR pub quiz for festival attendees, with horror-themed prizes and merchandise for winners and runners up. This will take place at Lion’s Den on the evening of Thursday 5 October, after the screening of SUITABLE FLESH, BUG and SAM AND DOUG. We are also delighted to release details of this year's Festival Jury. Faced with the daunting task of debating and deliberating over this year's lineup, and determining those most deserving a visit from the Reaper, will be: Mary Beth McAndrews, film producer and editor-in-chief at Dread Central Ben Parker, screenwriter and director (BURIAL, THE CHAMBER [Grimmfest 2016]) Caroline Couret-Delègue, managing director of sales and distribution company Film Seekers Dr Xavier Aldana Reyes, reader and co-director at the Manchester Centre for Gothic Studies at Manchester Metropolitan University and co-president of the International Gothic Association Amber T, writer and journalist (Fangoria, Arrow Video, Ghouls Magazine, Grimoire of Horror) Full and day passes and individual tickets are available at https://www.grimmfest.com/festival/

★★ Directed by: Nick Gatsby Written by: Nick Gatsby Starring: Skye Armenta, Nick Gatsby, Christopher James Taylor Indie Film Review by: Chris Olson Serving up surrealist sci-fi, filmmaker Nick Gatsby invites viewers to take a “trip” with him in this experimental comedy Zapper!. Not a film for any viewer who suffers from epilepsy, the film achieves and maintains an acid-trip aesthetic throughout, constantly shifting colour and utilising a smorgasbord of special effects and wacky props (the guns are bananas). A group of higher beings engage in an annual game whereby they use lowly zappers to compete for glory. This time, the combatants are attempting to locate four puzzle pieces that have been scattered in parks near conveniently placed portholes. Together, the puzzle pieces create a mystical longboard. We follow a few different zappers along the way, who all meet with an array of treachery, gangsters, and oddball characters - with only their trusty weapon (rich in potassium and fibre) to keep them playing. It’s easy to get distracted by the visuals in Zapper! - a lot of the visual elements are fun and give the indie film a certain charm, however, with an enjoyable electronic score and effective soundscape (listen out for the use of echoing maniacal laughter), it’s a movie that has been rigorously worked on and has a lot of impressive moments. Several of the gags are also well executed, in particular a certain psychopathic moose. Sadly, the kaleidoscopic colour changes outstay their welcome and make the film an endurance test for those willing to see the movie through. The plot starts fairly strong but loses its way in the second half, with the viewer being jolted on to different protagonists not helping things. Seemingly mundane scenes get given way too much room to breathe and the actors just aren’t up to the task of keeping us intrigued with the childish dialogue and melodrama. Embarking on a hallucinatory comedy caper is a brave task and Gatsy gets a tip of the balaclava for that. Were it a full-throttled short with a cohesive plot and fewer characters, Zapper! could have gone the distance. As it is, the film is a trip few will go on and more will leave during. #ChrisOlson

★★★ Directed by: #BillSorrice Starring: #BillSorrice and #MonishaShiva Short Film Review by: Alexandra James Dyed in the Wool is a short series that follows couple Ev and Freddie. Ev has lost her job recently and the pair find themselves in some very awkward social situations as they visit friends and family and inform them of the news. Sadly, Freddie is not the type to hold back on some of his opinions and fails to live up to Ev’s expectations when it comes to social cues and general etiquette. However, many of Freddie’s gibes are not far off from what we are all thinking when it come to dealing with insufferable guests that just don’t know when to shut up! The series did not follow on from one another, each episode was its own individual comedic piece, so it made it interesting to discover something new within each episode, and new characters to connect with. Freddie is an average guy that enjoys football and drinking beer with his mates, his girlfriend Ev is polite, friendly and tries to make sure everyone around her is comfortable, the total opposite to Fred! Their relationship seemed unusual, I struggled to see the chemistry between the two, their personalities were clearly opposites. There needed to be something that bonded to the two, such as through humour or subtle glances towards one another when placed in such uncomfortable situations. The comedic side to these short episodes were great and included lots of humorous and uncomfortable moments for our main characters. It is a series that projects the normal day-to-day interactions we have in life whether this be dinner parties or catching up with old friends and shows the audience what it would be like if we did highlight the absurd behaviour of people. There was almost a Larry David vibe to the main character Fred. His unfiltered nature, alongside some rather alternative characters made for some funny moments and made it easy to relate to some of the awkward moments. Unfortunately, the drawback to this short series is the editing and camera work. This did let the scenes down a fair bit, it had an amateurish feel throughout and seemed close to a home video style. The camera angles were extremely shaky in places which made the piece look poor in quality. However, with this said, if this became tightened up and improved upon this series has a lot of potential with its strong comedy element. The main characters need to be established further and the audience need to see that connection between the two. Dyed in the Wool is a great comedy short series with hilarious characters, entertaining storylines, and strong potential.

★★★★ Directed by: #BennyWatson Starring: #SylviaClegg and #JamesWoolley Short Film Review by: Alexandra James A seemingly sweet tale of an old man who is an avid birdwatcher, living an easy life with his wife. There days are consumed by cooking for one another, dancing in their living room and taking a short drive to the forest to listen to the harmonic tunes of the birds. Unfortunately, as the story develops, we quickly learn that there is something amiss within this elderly man’s life. Although not completely obvious, the audience quickly establishes the subtle hints throughout this short film and our response changes dramatically from happiness to empathy for our protagonist. Benny Watson’s One for Sorrow adds a dark layer to this film and draws out the realities for someone suffering with dementia and what a day-to-day life looks like for some people. Stanley resides in the countryside, completely isolated from society and lives in a beautifully grand home. From the beginning, it becomes clear that Stanley is a gentle soul with simple pleasures in life. The film is black and white which at first appeared to not fit the scenes, however, it became obvious that this was intentional and reflected the dark undertones that lied beneath. Stanley was often seen speaking with his wife, this was either general chit chat regarding their dinner or the birds singing in the forest and even dancing together in the living room. Nevertheless, something appeared off about their relationship, his wife never spoke a word and the audience could never see her face. She was merely an image on screen that only Stanley was able to interact with and receive any form of response. As we witnessed more interactions they had with one another, there were hints that made it clear that Stanley’s wife was no longer around. She had no reflection in the mirror and the birds would not respond to her calls, only Stanley. It was these subtleties that really set this film a part and sent a powerful message. Stanley’s vision and the audiences were disconnected, and this really blurred the lines between reality and imaginary. The viewer was unable to trust anything that was on screen, however, to Stanley, this was his world, and his wife was with him always. He remained content within this bubble he had created, until reality began to break in, and he was entrapped in this state of confusion. This was a hard-hitting film that places the viewer in a person with dementias shoes, unable to determine reality from fantasy and the emotional and heavy struggles that come with the disease. One for Sorrow is a poignant film that expresses the hardships of living with dementia in a sensitive and powerful way. It was a truly touching, mesmeric character based short film that can be seen as bittersweet in a way by highlighting one man’s journey with dementia, and reliving memories his life.

★ Directed by: #JunayedAlavi Starring: #SayanBiswas, #ArijitSaha and #MayurThakur Short Film Review by: Alexandra James Dendrophobia is a short film that exposes one man’s deep-rooted fear of trees. This is one phobia which I did have to Google as I had to know if this was a true fear, and low and behold discovered it is in fact real. I suppose there is a fear out there for everyone to suffer with! Director Junayed Alavi begins this narrative with a teacher and child sitting across from one another. The teacher begins to tell the child a tale about fear and attempts to impart some wisdom onto the young boy, that fear is just an illusion, hoping that he will understand the real monster of his story is. The opening scene to this short looked intriguing and promising. The audience see a man walking through a wooded area, the music added over the scene created this intense and eerie atmosphere and appears to be the beginning of a psychological horror, a twisted story between man and nature. The audience then become confused at first at the protagonist’s reaction to the trees and plants that surround him, his face clearly showing panic and torment from being trapped within the woods. As the music begins to heighten and intensify, we begin to wonder what is lurking behind the dark trees to evoke such fear from our main character. The scene quickly changes to him at home, and again as he looks out the window and sees the trees, he begins to breathe heavily and become more and more panicked by the outside and nature, even fearful of a small plant growing outside in the alleyway next to his home. It was at this point the film became comical rather than scary, it was extremely difficult to take the short seriously and understand the narratives direction. Understandably, the film is called Dendrophobia, however, although this is a fear that exists and one which has not been used within the horror genre, it may be for a very apparent reason that to the average person trees are not scary! So, it was difficult to watch this film without smiling and becoming amused by some of the scenes taking place, the complete opposite reaction to how the director wanted us to feel which was frightened! It would have been creepy to generate the plants into a creature or become creative with the lighting and allow the audience to truly envision nature as a scary force. Unfortunately, it was one man attempting to fight off a plant and the plant slowly beginning to take over his body. This did not make me look at trees in a different way! The music although was fitting for a horror genre, does not then make the scenes themselves scarier in anyway, there needed to a stronger narrative to really project this film into the horror genre as well as allow the audience to empathise with the character and feel this level of fear that he was experiencing.

Passages is easily one of the most exciting films of the year and with Ira Sachs attending screenings at the 76th edition of the Edinburgh International Film Festival I was fortunate enough to get to chat with the director. SYNOPSIS: Celebrated filmmaker Ira Sachs (Love is Strange) makes a breathtaking return with PASSAGES, a fresh, honest and brutally funny take on messy, modern relationships, starring Franz Rogowski (Great Freedom), Ben Whishaw (Women Talking) and Adèle Exarchopoulos (Blue Is the Warmest Colour). Set in Paris, this seductive drama tells the story of Tomas (Rogowski) and Martin (Whishaw), a gay couple whose marriage is thrown into crisis when Tomas begins a passionate affair with Agathe (Exarchopoulos), a younger woman he meets after completing his latest film. Perceptive, intimate and unashamedly sexy, PASSAGES sees Sachs bridge his usually tender style with a uniquely European sensibility, providing an insightful and authentic take on the complexities, contradictions and cruelties of love and desire. AM. Was it fun writing the character of Tomas? Because he gets to make all the wrong decisions IS. It was very fun to create the character, particularly working with Franz Rogowski who is a delight, and a sweetheart, unlike Tomas. Finding the tone and the texture of the character was a great pleasure. I had to convince him at a certain point that behaving badly would be permissible. I think he thought, “How far can I go?”, and I said, “Don’t worry, I got you”. We watched a couple of movies, James Cagney movies, because Cagney often played a sociopath, impossible characters who were prone to violence but he did it with such beauty that they are endearing and indelible. AM. I watched your first film Vaudeville. I thought it made quite a nice pairing with Passages, and because the Edinburgh Fringe is on at the moment with all these plays that will have three people in the audience. There is also this character there that is teasing people, and pulling bad decisions out of them. IS. Yes, Charlie Guidance AM. Did you see a link between the two? IS. I thought a lot about my early work making this movie. I think almost all my films have had central characters that are white guys behaving badly and doing things they shouldn’t. Cause I think I’m interested in exposing myself, in putting myself in the centre of my films as a way of understanding my role in the universe. I think also I had certain instincts of observation as a filmmaker which were at play there. I was also watching a lot of Cassavetes when I made Vaudeville, and I think I was also channeling my love of Cassavetes with Passages as well cause I think of it as a form of actors’ cinema, where the camera, and the director, and the story give a lot of space for the actors to do things that are unexpected to themselves. So the script is a blueprint but the performances are a moment. AM. So you talk about giving them the space, and the camera takes quite an observational perspective, there are a lot of mid-shots and wide-shots, and then the close-ups feel false. IS. What do you mean by false? AM. Because of how much time when you spend with intense emotions at a wide, when you move to a close-up you think, “I don’t quite trust this” IS. That’s interesting AM. So you choose to frame quite wide, and you say that is to give the actors space, but there are some very deliberately framed shots that are painterly, and they [the actors] tend to hold in these positions. Did you have any specific inspiration for each type of shot, did you spend a lot of time planning in advance how it was going to look? IS. I’m trying to think of close-ups AM. It’s when he tells Agathe he loves her IS. It’s pretty close to a shot in John Eustache’s The Mother and the Whore. To me, each shot has its own integrity. So there is a sequence of shots which is a collage or a montage, and so they can have very different qualities but lined up against each other they create a rhythm. I spent six or seven weeks, three or four hours a day with my cinematographer figuring out how we would shoot the film, the visual strategy. We would watch a lot of movies, or parts of a lot of movies. We actually look at the specific construction of scenes to arrive at our own language. I storyboard the film when I arrive on set with that material. And then things change, you discover things with the actors. I don’t rehearse before we start shooting, so I don’t have readthroughs, I don’t talk to the actors about motivation. I try to let the script and the costumes, and the atmosphere create an environment that is authentic and real, and then what happens is to a great extent a form of emotional improvisation. The scripts are followed, I would say 92% of the film was scripted, but there is room within that for the unexpected. For example, when Adèle Exarchopoulos is singing that song, she had never sang it to anyone but herself before we had started shooting, so you are really seeing something happen for the first time. AM. I was going to ask about how many times you shot scenes. Because that first dance scene, you can almost feel the pheromones off the screen. How many takes did you do for that? IS. One of the hard things about shooting a club scene is if there is dialogue there is this artificial imposition that happens unless you do it in a very different way because you turn the music down to let the dialogue be heard. So that means they’re actually dancing to silence. Once the dialogue is over then you turn the music back up and suddenly things come alive, but you lose a lot in that process technically that I still question. I shot a lot of dancing and then really what you’re seeing is the impact of editing, cause it is picking the moments that tell the story. The story is told there of seduction, it took a lot of time to figure out the right images, to tell and condense the period, and without dialogue, two people falling into lust with each other. AM. It feels that there is quite a strong colour theory to Passages – it goes from hot to cold, certain characters obviously gravitate towards particular colours, Martin always wears blue, did you plan a lot of that in advance? Was there a big plan with costume design and production design? IS. Yes, but not with any interest in metaphor and meaning. It was just colour, how can colour be impactful? Everyone wears red in the film, nobody doesn’t wear red, so you can’t say anybody owns red. I don’t know if you know the film À Nos Amour, Maurice Pialat, in English it is called To Our Loves? It is this film with this wonderful young actress at that point, Sandrine Bonnaire, she was like a muse to the visual creation of the film [Passages], and every actor, every character is Sandrine in the film, how colour is used on her body in that film. To me colour is memory. It is not meaning, it is not language. AM. Yeah, everything is abstract. IS. The only point I would say that I would use colour to say something would be white for Ben Whishaw AM. Yes, at the end. IS. Why not? And I thought of Fassbinder who uses white in a wonderful, wonderful way. But there is also this aesthetic process of pairing things down, not to have six colours, but to have three. I think that creates resonance for the audience. I think people don’t remember story, they remember image. AM. I was wondering if there was a film that you had in mind, Le Bonheur, the Varda film, did you think of that at all? IS. No, I didn’t think of that film, but I know it. Vagabond, have you ever seen Vagabond? AM. Yeah IS. That’s Sandrine Bonnaire AM. Yes IS. So she was 18 in that film and in À Nos Amours she is 16. I really recommend tracking that movie down. Why do you think of Le Bonheur? AM. There are a lot of parallels about the supposedly happy man finding another woman, the printworks where Martin works kind of reminds me of the factory where the husband works, and because you move into Autumn at the end and that is how Le Bonheur ends as well. But of course, your character receives some sort of comeuppance whereas Le Bonheur has a very different ending. IS. Wow. There is a film called The Innocent, which is the last film of Visconti, you know Passages is a remake of The Innocent. AM. Are you allowed to say that? IS. It is direct. Some of the lines are taken directly. There is a line at the end of the film, “You look ugly now”, is directly from The Innocent, it is what the mistress says to him right before he blows his brains out. So it is an aristocrat with a mistress. I mean this film is also a remake of Loulou by Pialat, it’s also a remake of Dodsworth by William Wyler, I mean they are all triangle films, they are all films about people trying to figure out what kind of life they want, what kind of life they have, that tension between having everything and then wanting something else, they are domestic films. All of my films are remakes, basically. AM. I mean you could call every film a remake. IS. Yes, but some are more explicitly. And I would say I am one of those filmmakers. AM. So you keep your characters active, mostly eating, drinking, dancing, fucking – it keeps the film moving, it is quite a short film at ninety minutes and it has this kinetic energy. Did you think you had to keep your characters active the whole time? IS. Yes, there is one scene where they are not active and it is not in the film, it didn’t make it. AM. Is it for that reason? IS. It didn’t work. It just felt like a different movie, this is a movie of action. Also, there is no past in this film, there is a sense of history but there is no description of it. And that scene was one in which the past was discussed. It just felt like it was from a different film – it was from Jules and Jim! So we were making a film of the present. AM. Do you enjoy taking bits from other films and remaking them in your own image? IS. It’s not that I enjoy, it’s just a process, it is how I work. It is not like I make a reference that I think is interesting to anyone per se. I am trying to share with you the procedure, to be open and transparent about how I work, but I think in a way other films are part of my memory, they are part of my family, they are a part of me. So as much as I think about that have happened in my own life I think of things that have happened to me watching a movie. AM. I was interested because some people say, “You shouldn’t watch anything and go off and make something!”, and others say, “Watch everything and then go off and make something!”. IS. Yeah. You know it is interesting because when I work with my cinematographer I tend not to ask her to watch movies, I tend to show her certain scenes, which is what is significant to me. It is about how is the camera used to convey emotion and tell a story? It is like going to the Louvre and studying what is on the wall. AM. Something I thought was quite interesting about Passages was that you use the verticality of the frame very well. There are scenes where heads are chopped off, and there are dividing lines like in Je Tu Il Elle… IS. What do you mean by dividing line? AM. As in a horizontal line, with someone framed below it, and then nothing above. Is that something you consciously think about? IS. Right, not as you describe it. I think of the image of the film frame as a cube, not as a rectangle. So I want to think about bodies and space, I want you to also feel that outside the cube is the rest of the world. And I think that is something that Pialat does beautifully, it is kind of a decentred frame, you never know where the centre is, and in some ways that involves the world outside the frame. But that is way more intellectual, I don’t really talk in theory in making the film, I talk in instinct. An image either comes alive or it seems dead to me. If I am on set sometimes what I’ll say is, “This looks like TV”, and then we’ll have to figure out what has gone wrong. I mean I have a lot of pictures on my iPhone which look like images from Passages. I’m often interested in the corner of the room because the corner creates a cube, you can see the wall and you can understand that there is height, that there is an angle, and these things create an aesthetic feeling that I respond to. AM. You see when you say that there are images on your phone that look like Passages, are they images that you have taken yourself whilst you are going about, and thought, “Oh that looks interesting”, and then taken it back and used it as a reference? IS. Sometimes I’ll do that, and sometimes I think that the film looks like my eye, it looks like what I see, and what I want to see, and it looks like what turns me on. I mean you exist you are between these walls, and light comes in, and that creates a certain kind of, almost a romance… Light is romance. And I think that is something that I talked to Josée Deshaies, my cinematographer, about. AM. Because you have these kinetic scenes, you choose not to have non-diegetic music. IS. Was that a choice, it didn’t… AM. Did you try music at any point? IS. No. I mean there is a significant cue. AM. Yeah, at the end. But besides that, there is 85-88 minutes without. IS. Yeah, but I saved that one cue, it has great impact, because it has great impact because it comes from a different tradition, right? AM. Yeah. IS. It reminds you that you are watching a movie. These images wouldn’t take score, it just wouldn’t. AM. So you knew that from the start? IS. Yeah, I knew that from the start. I mean, people suggested to me trying things, and I was like, “Sure, I’ll try them” [sarcastically], but I had a feeling that the music would come from the action and from the life.

Filmmaker Interview by Chris Olson Hi Gia, many thanks for speaking with us. Whereabouts in the world do we find you right now? I’m in the USA at the moment working on my new current project, a romantic comedy it’s coming soon! I’m directing again!!! You wrote, directed, and starred in the action thriller The Serpent. For new audiences, how would you describe the film? I invite you to get to know The Serpent. She is definitely someone you want to introduce to your friends and followers. This film is entertaining, well-written and full of exciting turns. The plot synopsis is: Top special agent Lucinda Kavsky works for a secret part of the CIA. She's given a special assignment but then set up by her own agency. The stunts are amazing, the music will keep your heart beating as it lends to Serpent's adventures. Targeted demos for The Serpent include: women and guys of all ages, those who identify as action film watchers, those who like suspense and thrillers, those who support Independent and film festival movies, international movie watchers, those who enjoy female heroines, and international spy/espionage movie lovers. The Serpent is sure to please these viewers of all ages. The Serpent has magnetic appeal with a storyline that can be understood and felt no matter where you are located. It can easily be a cult classic. It's a title you want in your movie catalogue. Meet The Serpent and enjoy! Why did you want to tell this story? I love stories about heroes, about those who fight against wrong and I want the good guys to win and all my stories that I have already created and will create are about this. I want to give hope to all those viewers who will watch my movies that in movies as in life there is justice and you have to believe in yourself and believe that the good guys will win and doing good is much more important, and you can meet good people and you can do good things and be happy! What were the challenges of getting The Serpent made? It was quite an experience, to complete the project from the beginning till the end...I have to say it’s hard work, being both on screen and off the screen as a head of the project, the producer. What has the reaction to The Serpent been like? The reaction to the movie is different but mostly everyone liked it very much, the audience liked very much the hero Lucinda Kavsky - of course, the girl blonde hero saves the world, you can't think of anything better. This was your directorial debut. How did you find it? The Serpent is my directorial debut. I hope my audience will appreciate my debut work, an exciting action sequence sure to please audiences worldwide. With its diverse casting, international setting, and intriguing story, The Serpent is the newest cultural phenomenon. I love the action genre because I am mostly attracted to the stunt work, stunt fighting and stunt driving and I did all the stunts myself in the film. Why do you make movies? Since childhood, I love to tell stories that take the breath away, surprise and delight the viewer and movies gives me the opportunity to show everything in a colourful light. The Serpent is currently available to watch on Freevee.