Author: Alex Cole

When a celebration turns sour, a new freedom is discovered as jilted lover Leyla (Goknur Danishik) is taken on a journey and finally discovers who she really is.

Brought to you by Turkish director Tofiq Rzayev and Angry Student Films, In a Time for Sleep is a powerful short focusing on the discovery of self and the hard-hitting events that can lead to self-discovery. In a Time for Sleep is well directed feature, delivering gorgeous shots of the Turkish coast and beautiful editing with smooth and effective transitions. There’s no doubt that Rzayev has put his heart and soul into this film and the subject matter is something close to his heart, but, still, this short lacks a sense of oomph and deliverance. It’s hard to distinguish exactly where the short falls down, but it’s quality surprisingly freefalls toward the end and I was left unsure as to what the self-discovery, which clearly happens, actually was. I knew it happened, I saw it happen, but I had no idea what exactly was realised and that left me puzzled. With exciting build up, a mysterious entrant (Elif Barut) In a Time for Sleep had everything going it’s way, but seem to lose it very quickly. I also found it hard to believe anyone could fall in love with the villain of this piece Arda (Mehmet Fatih Guven), credit goes to Guven for creating such a miserable character, but the motivation and interest of two female characters was…hard to imagine.

Perhaps I just didn’t understand thew motivation, and perhaps I can’t, as pampered as I am. Either way Rzayev and his whole production team have created something worthwhile here. In a Time for Sleep for it’s 15 minutes is worth a watch. I’m excited to see the next production from this team and interested in their future growth. I wouldn’t call this the final product, but I’m hopeful of a lot more in the future!

Blood and Grit take centre stage in Watch Over Me as a myserious drifter is given a chance for redemption when he crosses paths with as a woman on the wrong side of gang vengeance.

Watch Over Me at it’s core is nothing more than a formulaic tale of gang violence and a hero who feels responsible for the crimes he couldn’t prevent. Yet, it’s also equally refreshing to see a time honoured 90 min formula played out in 30 minutes. Our unknown protagonists backstory remains hidden until mid-way through and his motivation for appearing in this a crime ridden area of London remains hidden until the very last moments. Details are hard to come by and reveals happen at the perfect moments. What Watch Over Me proves is that this kind of simple violence still has a place in cinema, but only when used sparingly and at the correct moments. By not presenting itself for a full 90 minutes it doesn’t desensitise you to these moments and has no need to rely on the impossible or unbelievable to achieve and ever increasing awe factor to keep the viewer hooked.

Simon Pearce who is credited with direction, writing and editing this film does a fantastic job, with well thought out cuts and transitions. Although some of the choreography and editing could be improved to make some fights seem more realistic, it rarely detracts from the piece. Oliver Park who plays are unknown hero keeps his dialogue to a minimum which in this case is probably a good thing as both he and Adrian Bouchet (Dominic) appear slightly wooden and one-dimensional. Holly Georgia on the other hand who plays Emma shows a lot more emotion and delivers a much better performance than her co-stars.

At 30 minutes this is a highly entertaining and adrenaline filled film that could have dragged, but doesn’t. I fact I found it hard to take my eyes off the screen even for second as hooked as I was. Pearce clearly has a future in action and thrillers and I’m excited to see more from him. Watch Over Me is worth a watch as a short and definitely something I’d recommend if you’re looking for a half hour you won’t regret.

Robert Faquhar’s and Matt Wilde combine to bring us Kicking Off taking us on a journey of obsession as we follow the efforts of two obsessive football fans deal with disappointment in a unique and…ever so slightly, criminal manor as they see fit to kidnap the referee who’s decisions forced their beloved team to suffer humiliating relegation.

As star Alistair Petrie (Anthony Greaves) rightly stated in 2015; Kicking Off is not a football hooligan film. Far from the stereotypical trend of films like Green Street (yet, thoroughly enjoyable) and Football Factory (less enjoyable), Kicking Off is a more about passion, friendship and how far natural and deep set allegiances can go when pushed to their limit.

Winner of Best British Feature at Raindance, Kicking Off is unique in the world of football storytelling in that it’s characters are forced to bear a plethora of emotions rather than just the one. Even more so, this film is far from the usual extremes of sports films, without either a rising natural talent or simplistic violence, Warren Brown (Wigsy) and Greg McHugh (Cliff) are able, through a well-written and thoughtful script, to produce complex characters with complex motivations (though they often can be misconstrued as simple).

Its style is interesting and exciting, with all the tricks thrown in from freeze frames, jump cuts and flashbacks. Although the continual breaking of the forth wall with background story-telling does get tiresome as you progress, I felt that as a whole package it worked. It matched well with the tone of the script and the tone of the presentation, which was tongue in cheek throughout. Well directed and incredibly well edited, albeit only a small cast, Kicking Off is a fun and interesting film. Not 100% sure if it’s Raindance quality, and it’s sure to split opinion, but ultimately Kicking Off is worth a go if you like good old British comedy.

Brought to you from the growing mind of Oliver Park Vicious, is a frightening short that has the ability to truly terrify. Returning home, Lydia (Rachel Winters) suspects she isn’t alone and as night rolls in; the terror begins.

Released a year ago, Vicious was quickly picked up by 6 of the best horror festivals, winning 6 awards, including the Gold Award for ‘Best International Film’ at Toronto After Dark Film Festival. This buzz surrounding this short is not without reason. The camera work is fantastic, creative and creates a true air of suspense that few films manage to replicate. It isn’t a natural scream fest, but instead accurately depicts the confusion and freezing fear that just feels much more realistic than the gore and violent screaming that covers mainstream horror.

Whilst there is very little to be critical of in Vicious, I hate to say it, but the ‘realism’ of the final scene, simply because the make-up looks a little bit like make-up, overall I find it hard to find fault with this film, except for certain attempts to open doors and escape which left me screaming, ‘turn the bloody handle and it might work!’. Rachel Winters, otherwise puts in a mind blowing performance. Her fear seems real, with just a hint of curiosity. She reacts like the ‘everyman’ that she is and isn’t a hero. Too often my nerves are tested tested by the constant presence of a marine or navy seal to save the day, or even just extraordinary and unrealistic fighting skills from your average Joe instead of the flailing arms you’d probably get from me. It’s refreshing to see someone battle a ghost alone and be truly, truly terrified.

This is a truly fantastic example of short horror and receives an enthusiastic endorsement from me, to add to the 5 stars BRWC gave Vicious when it first came out. Well worth checking out again and for those who haven’t seen it, see it!

Vicious can be found HERE!

Directed by Phillipe Mora, 3 Days in Auschwitz is an incredibly personal film detailing Mora’s 3 visits to Auschwitz between 2010 and 2014 as he tries to answer the question…why?

A survivor of the atrocities of Auschwitz by one day, Mora’s mother is the inspiration for this film and the losses his family suffer only compound his curiosity. As we join Mora on his quest we’re taken on a personal journey that begins by mapping out by Mora’s own artistic creations before a series of family interviews transition into him finally reaching Auschwitz.

Displaying Mora’s soul and his art seems to be at the heart of this movie with very little focus on the events or even Auschwitz itself. The physical 3 days he spends in Auschwitz are very short, likely compounded by Mora not receiving permission to film on the site. Nonetheless, ultately I was left wanting for a little more information. It’s very difficult to be negative about such a personal film, but for me it didn’t work as a documentary and I was left a little bemused. Not only did I learn very little about the events that are being discussed, but I didn’t learn much about Mora or his family either. This piece appears to be focused on the confusion, doubt and conflicting emotions that grow from having family that suffered through these atrocities, but I found there to be more of a selfish influence on the film than a personal touch and I didn’t find it overly interesting. The most interesting portion of the film discusses an interview with a convicted Nazi official, but is short and itself doesn’t fit within the scope of the film.

In essence this looked and felt like a home movie. The expertly crafted soundtrack, even with the aid of Eric Clapton couldn’t rescue it for me. I’m sure Mora’s family will be filled with pride when watching this film, but unfortunately it didn’t translate into something that others will enjoy.

Hard to criticise for either its motivation or subject, but overall this isn’t a feature film for me, and although a true portrayal of Mora’s art and soul, its not very interesting to watch.