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Walt Eastfield
- Jan 14, 2019
Wait in Vain [Indigo Bates, USA, 2018] /// Generation [Pamela Woolford, USA, 2018]
A woman agonisingly waits for the phone to ring. She tries to psychically will the phone call into being with thoughts like “if I don’t think about it, maybe the telephone might ring.” “If I could think of something else...” “Maybe if I counted 500 by fives, it might ring by that time” and other unhealthy superstitions. We have all been there at some moment in our lives, waiting for that special person to call, the nerves piling up inside as the head and heart tussle in chaot
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Alison Girault
- Jan 4, 2019
Dripping Depression [Jordan Brandon, USA, 2017] /// Voice for the Voiceless [Bex Kearon-Wiles, UK/Ug
Dripping Depression begins with a young white male – the filmmaker not satisfied in merely casting the character in the mould of a rebellious James Dean type, complete with self-consciously coiffed hair and (fake) cigarette, he is actually called James Dean – loitering in a dark side street. He notices a female jogger stopping to catch her breath, hunching over to rest. The camera leeringly frames and zooms in on the girl’s buttocks as she is bent over. This is how Sara (play
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Michael K. Adler
- Jan 1, 2019
Sarah [Amos Culbreth, USA, 2018] /// Disjunct [Brian Short, USA, 2017]
Sometimes the most heinous crimes are the ones carried out in broad daylight, right under the noses of complacent and none-the-wiser bystanders. The common misconception that the worst criminal activities only happen after dark is, for the most brazen of perpetrators, the perfect cover for their transgressive actions. It is an idea that first-time filmmaker Amos Culbreth deals with here in Sarah with varying results. Listening to music on headphones, a young teenage girl sits
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