A Brixton Tale takes a while to find its stride, but when it does it becomes a relentless and compelling tale of love, racism and class. Outstanding performances from Ola Orebiyi and Craige Middleburg.
A Brixton Tale is about a wealthy youtuber, Leah, who spots Benji in the street and decides to make him the subject of her documentary about Brixton. Whilst hanging out the two of them fall for each other, but Leah’s desire for edgier material leads them down a very dangerous path with irrevocable consequences.
This feature length film is short at 76 mins and it feels as if the first twenty minutes or so are somewhat wasted context setting rather than throwing us into the action. Instead, we, the audience, are given repeated cues of how Leah is wealthy compared to Benji who lives on an estate.
However, once the shift in tone happens, the police harassment because he’s black and Leah arguing because it’s clear she’s never experienced this, the film properly begins. After this point, the tension and tone positively pulsate and the performance of Ola Orebiyi who conveys the discomfort he feels liking this stranger and yet feeling used by her is mesmerising.
Where A Brixton Tale falls short is in the character of Leah (Lily Newmark) which feels one dimensional. We never really understand her motivation for what she is doing, it all feels very superficial. Rich girls trying to be edgy have been shown on screen before, what we needed was more. In actual fact, all the female characters feel thinly drawn and none are given much time of space to develop.
I would have liked more of Craige Middleburg on screen, his performance of the young crack addict who loses it all is definitely a highlight of the film. The two hander scene between him and Ola is heartbreaking as it is riveting to watch. They both convey what they have lost through the way they look at each other. It’s one of the best scenes in the entire film.
It is said that money makes the world go round, and indeed, we do a lot of things for money, ranging from working to playing online slots for money for a shot at jackpot payouts. Moreover, because of our never-ending dreams of living a lavish lifestyle, luxury-themed blockbuster hits have become fan favorites at the box office and home cinemas as they bring our imagination to life. Typically, these beautiful movies remind us of our desire to be filthy rich, and their popularity is stemmed from the fact that they bridge the gap between the life we’re living and the standard of living we hope to achieve in our lifetimes.
The Good Life Incentive is Used Everywhere
Apart from movies, lots of businesses, including the casino sector, also tap into our ambitions to be filthy rich by producing games that feature dazzling jewelry, bags of money, gold and other symbols of affluence to attract more players. Slot games like La Dolce Vita slot, for example, come with wealth-based thematic components within the game design and icons. Thus, by firing up the reels, you can begin living lavishly, even if it’s for a few minutes before snapping back to reality.
In case you don’t get the slot game’s reference, La Dolce Vita, well, it’s an Italian phrase meaning ‘sweet life’ or ‘good life’, modeled after a 1960 comedy-drama movie bearing the same name. The motion picture was directed by Federico Fellini and follows the journey of Marcello Rubini, a journalist who writes for gossip journals, on his escapades through the ‘good life’ of Rome in an unproductive hunt for love happiness.
Isn’t it interesting that even the game in question was inspired by a movie? Let’s take a closer look at some must watch, binge-worthy movies that will keep your dream of making it big alive!
The Devil Wears Prada – 2006
The Devil Wears Prada is an American comedy-drama film about a former journalism student (played by Anne Hathaway) who is employed as an assistant to Miranda Priestly (played by Meryl Streep), the editor-in-chief of the Runway fashion magazine. In the story, Miranda’s reputation in the fashion world is legendary, and she is also well-known for being ruthless and cold-hearted.
Directed by David Frankel and produced by Wendy Finerman, it became a staple for fashion enthusiasts thanks to the stylish and expensive clothes donned by the actors. It is estimated that the overall costs of the clothes worn on a set cost over $1 million!
Monte Carlo – 2011
A seamless combination of romance, witty humor and adventure, Monte Carlo is another movie that screams opulence. Directed by Thomas Bezucha and starring Leighton Meester, Selena Gomez and Katie Cassidy, the movie follows the life of 3 pals who are on holiday to the stunning city of Paris when Grace Bennet (played by Selena Gomez) is confused with the British heiress Cordelia Winthrop-Scott, Grace Bennett’s twin. It’s one of those movies that makes you dream about what-ifs that take your lifestyle from zero to a hundred just by a stroke of luck, even if it’s just for a fleeting moment.
Titanic – 1997
We’ve all watched Titanic. A classic love film directed by James Cameron featuring Leonardo DiCaprio and the beautiful Kate Winslet about the story of the disastrous Titanic ship that ended up sinking. A blue-collar young man falls in love with a white-collar young woman. After that, the romance between the two adds a hopeless romantic’s touch to sink us deeper into the ill-fated event. What is more, the Titanic also gets to catch the American divide, showing how the rich live their lives.
Breakfast at Tiffany’s – 1961
This classic film is based on Truman Capote’s 1958 novelette having a similar name. It is a romantic comedy set in the 1940s New York, telling the story of a struggling writer (played by George Peppard) who falls for Holly Golightly (Audrey Hepburn), a green, whimsical cafe society girl. The film also featured the celebrated American jewelry trademark Tiffany&Co, and it wonderfully encapsulates the essence of an enticing, crazy and free-spirited Holly Golightly living life like a staunch fashionable New Yorker.
Aisha – 2010
Speaking of living a lavish lifestyle, we couldn’t forget about the Bollywood romantic comedy Aisha. The film which was directed by Rajshree Ojha, Aisha is an adaptation of Jane Austen’s 1815 novel Emma. Sonam Kapoor, who stars as Aisha in the movie, feels that she possesses a natural knack for match-making, particularly among her elite pals. The film appropriately describes the lifestyles of uptown South-Delhi citizens together with their polo matches, art shows, weekend retreats and spending binges.
These beautiful movies never get old for dreamers as they remind us of how life could change for the better. If you’re planning a movie night with friends, family or your better half, these are timeless picks that will guarantee you some melting moments!
Raya and the Last DragonSynopsis: Long ago, in the fantasy world of Kumandra, humans and dragons lived together in harmony. However, when sinister monsters known as the Druun threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, those same monsters have returned, and it’s up to a lone warrior (Kelly Marie Tran) to track down the last dragon (Awkwafina) and stop the Druun for good.
Disney’s animated empire boasts an affectionately timeless resonance, with the House of Mouse crafting generations of family-friendly entries to inspire the masses (putting aside Disney’s disastrous stretch in the mid-2000s). Now approaching a whopping 59th film, the studio’s latest project Rayaand the Last Dragon connects to their tried and true narrative traditions inside a lushly-drawn fantasy landscape. While Raya doesn’t reach any revelatory heights, the film does extenuate the allures of Disney’s enduring sense of magic and creativity.
As 3D animation evolves into an intricate and astonishingly humanistic artform, each new project revels in a viscerally-inventive feast for the eyes. Raya is no exception, with directors Don Hall and Carlos López Estrada skillfully immersing audiences in Kumandra’s lively range of locals. Each setpiece sings with vivid detail and free-flowing framing, energetically zipping audiences along while establishing an assured sense of place.
For better and sometimes worse, Raya and the Last Dragon bears no pretensions in becoming significantly grander than its straightforward adventure pretenses. Under Estrada and Hall’s tutelage, the film maintains a sense of engagement through the lingering familiarity. A relentless pace keeps a wave of charismatic comedic characters and well-choreographed action setpieces flying at the screen with mostly winning results. I seriously can’t speak highly enough about tense combative frames, as each swashbuckling sequence holds precision akin to live-action features.
I also credit Raya and the Last Dragon’s dynamic cast for keeping the material above water. Kelly Marie Tran and Awkwafina are a delightfully playful pair as a well-matched odd couple. Tran’s gravitas morphs Raya’s quest into a personal odyssey for recovery, while Awkwafina’s bubbly comedic pop elevates even the most simplistic of gags. It helps that the two are surrounded by an equally-personable supporting cast, with Benedict Wong, Daniel Dae Kim, and Gemma Chan enhancing their worthy roles.
Even with my enjoyment, it’s a letdown to see Raya’s narrative settle for relatively slight goals. The film never stretches towards any meaningful thematic dynamics, settling on earnest yet thinly-veiled ruminations about trust and empathy’s essential connective powers. Emotionally, Raya’s sturdy arc rarely receives proper moments of reflection. This film desperately lacks the kind of soaring, iconically open-hearted sequences that made revered classics like The Lion Kingand Mulan stand the test of time.
Still, Raya and the Last Dragon mostly shines throughout its agreeable runtime. Disney fans are sure to be delighted by this film’s deft mixture of humor and adventurous frames.
Raya and the Last Dragon premiers in theaters and Disney+ Premier Access on March 5th.
Candis Nergaard Interview – Ahead of the UK Digital release of THE HEIRESS on March 15, 2021, actress Candis Nergaard talks about the harrowing research for her lead role, causing a stir on Newsnight, her Romany roots and coping with lockdown.
You star in a new British supernatural horror film, THE HEIRESS. Tell us how you got the part and what is was about the script that appealed to you.
I was contacted early on the process by the director Chris Bell who’d had me in mind as an option for Claire. I read an early draft of the script and absolutely loved the part, it’s rare for me to be scared by horror but the script alone conjured such vivid imagery that I was haunted by it, I knew it would work. When The Heiress was ready to go, I was offered the role of Claire, I couldn’t wait to get my teeth into it. I’ve played the lead role in TV, Radio and Theatre but this was my first for feature film.
What did you find most demanding about playing Clare?
It was the research I did for the role, it was harrowing. Claire is epileptic. That element, was the single most important thing to me to try to get right about her, especially the ‘grand mal seizure, and so I researched a lot. The director Chris’s dad is severely epileptic, and so Chris was able to guide me through. There are videos available made by people with epilepsy, who wish to bring more awareness to the public about how the fits can affect them. I would gear up to watch one of the videos and then have to put a lot of distance between watching it, as it affected me so much.
Candis Nergaard as Clare in THE HEIRESS
You’re known to genre fans for playing Anya in WHITE CHAMBER which premiered at FrightFest. Does the horror genre appeal you to?
I love the horror genre, it’s just so fun from an acting point of view. White Chamber was a dream in that regard, and so was working with amazing cult scream queen legend Shauna Macdonald. Beforehand, I’d never really given much thought to acting in horror films, I’d done a lot of kitchen sink realism, and my idols were directors like Ken Loach, Andrea Arnold and Gary Oldman. The unique thing about The Heiress is that it seems to fuse a very realistic Loach-esq landscape with some really artful proper scares.
Horror expanded my mind with potential possibilities; I love to escape into the shadowlands exploring the supernatural or a parallel universe.
You’ve said you were introduced to horror films at a small child by your dad. What was the first film you remember watching?
I think it was Alien….. it was so long ago. I remember sitting on my dad’s lap, and vague memories of eating tinned ravioli… probably not ideal food considering…
Although you don’t have a family background in the arts, you decided to do an acting course at The Miskin Theatre College, where you were taught by actors such as Neil Maskell and Dominic Power. That must have been a great experience…
It changed the trajectory of my life. I feel incredibly lucky to have being taught by two exceptionally talented actors. Neil and Dom were very passionate about teaching, and because they had such conviction we really listened. It helped me develop an iron discipline for the craft.
It was super intense method acting training though. It was all a bit of a shock at age 16 and coming from my background. I went from being naughty in class to paying attention, reading the news, listening to radio drama. It expanded my world view.
https://www.youtube.com/watch?v=6TryvoSEMXw
You first came to prominence playing opposite Tom Hardy in the gritty drama STUART, A LIFE BACKWARDS. Your role involved controversial scenes of nudity and violence, which ended being discussed on Newsnight. Was it a difficult choice to accept the role?
Well, the script was incredible and based on a true story, so I was so pleased to audition. When I was offered the role, it dawned on me shortly afterwards that I’d have to be naked. I was so body conscious that I’d never even wear a bikini at the time…. However, I’d been working with a great acting coach, Giles Foremen, and the integrity of the work had become way more important than my fears, so I went for it. Tom was also lovely, and allayed my fears a bit by telling me about his nude scenes. I won’t forget Germaine Greer’s face on Newsnight.
You starred in the BBC radio drama series ATCHIN TAN and went on to write several episodes of the series. What was it about the show that appealed to you and Is writing something you want to continue doing?
It was great to have authentic Gypsy voices and the Romany language on BBC radio. A lot of the Travellers had never acted before so it was exciting. I remember, one day we got stopped on location by police… We were recording in a caravan in a remote field in Cambridgeshire, and a squad car turned up, so we got our BBC passes out and showed them to the guy. He said “Oh that’s fine then, I thought you were Gypsies!” We laughed our asses off afterwards.
I’m writing a lot at the moment. I wrote and performed a one woman play for the Gorki Theatre in Berlin a couple of years ago, I’ve just finished writing my first feature film, and I’m co-writing another film with an award winning Irish director called Keith Farrell. It keeps my mind busy between acting jobs, and in lockdown!
You’ve also worked on PEAKY BLINDERS as their Romani language and cultural advisor since series 3. That must be an interesting role. Tell us more!
Tommy Shelby has got to be one of the coolest characters ever, constantly outwitting everyone. So, translating and recording lines in the Romany language for Cillian Murphy was so much fun. It’s amazing to hear him nail it. Script security is super tight so I’m normally dealing with isolated lines or sometimes scenes that are selected.
How have you coped with lockdown?
It’s been a mixed bag. I’m well aware of what I’m grateful for and it brings everything into focus. Being estranged from my family is really hard, especially in times of grief and bereavement, and continues to be so. I like a lot of alone time, pre-covid I’d normally flit between being really sociable and then really quiet, so lockdown has given me a lot of time to regroup.
I also badly miss the gym and my Krav Maga training, it keeps my mind sane especially under stress, but I’ve created a routine which helps. I keep up my strength training five times a week, walks in nature, cold water immersion, reading/ films, and meditation.
Finally, what’s next for you?
I have just finished filming a female led grit flick with a unique take on the criminal underworld called Gone to Ground, so I’m really looking forward to seeing that. I’m also hoping to get my own film made, and continue with the other writing projects that I’ve got on the go.
Acting-wise, I’m slightly superstitious about talking about things that haven’t happened yet. One thing that the pandemic has done is take the pressure off myself to keep achieving, if I feel strong and healthy, I’m onto a winner.
THE HEIRESS will be available to download from all major platforms including iTunes, Amazon & SKY Box Office, from Monday 15th March, 2021.
Kyle Rankin: RUN HIDE FIGHT Interview – Ahead of FrightFest’s UK premiere of RUN HIDE FIGHT at the Glasgow Film Festival, director Kyle Rankin talks about the personal tragedy that inspired the film, the influence of 70s cinema and the huge importance of film festivals.
RUN HIDE FIGHT was inspired by a tragic incident in your own past so did that make it a harder script to write?
In 1999, my best friend and fellow filmmaker, Shayne Worcester, was gunned down during a mugging in San Francisco. It came to light years later that the event was a gang initiation — meaning guys who wanted to be part of a gang were tasked with going out and killing a random civilian that night. He was only 29.
I think about him all the time, so I wouldn’t say that writing RUN HIDE FIGHT was harder…it was instead maybe cathartic.
Add to that the fact that my producer, Dallas Sonnier, lost both of his parents to separate gun incidents. You’d think these events would make us shy away from violent films, and I think we both would if they were empty and pointless… but RUN HIDE FIGHT was made with thoughtfulness and sincerity, so it honours those memories.
At the core of the story are the truly scary, primal aspects of human nature – that mankind is still the most dangerous predator of all?
We’re certainly the most flawed, and we’re the one animal we have true insight into: since we’re all human. I packed RUN HIDE FIGHT with a lot of things I believe in, like bravery in the face of evil… and selflessness, but I was also aware nobody would want to see the thing unless it was entertaining, too. Filmmaking can’t just be ‘here, eat your broccoli.’ Movies should be fun AND have a reason to exist.
Isabel May is terrific as heroine Zoe. FrightFest saw her in LET’S SCARE JULIE at our August event last year. Did you audition many actors, why was she the best choice?
She’s fantastic. I saw many actresses, some incredibly good… but for me, casting has a spiritual element to it. Firstly, I should clarify that I had a very talented casting director named David Gugliemo, who brought in top notch people. But there’s this saying I like: ‘good friends aren’t made, they’re recognized’… and I feel that way about casting, too. When Isabel walked into the room I recognized her as Zoe, and the same thing happened with Cyrus Arnold as Kip, and Eli Brown as Tristan… right on down the line. I go with the people who give me a certain spiritual shiver, if that makes any sense.
The other casting choices are standout too – Thomas Jane, Radha Mitchell, Treat Williams, Barbara Crampton. Did you worry you wouldn’t attract such a top calibre cast because of the controversial nature of the material?
I worried about everything! That’s an unfortunate aspect of a director’s job. In the end, however, I was SO excited about the cast. The people you mention here all have one thing in common: a lack of fear. They weren’t worried about being ‘cancelled,’ and, in the end, that’s what saves fortifies you.
You filmed in secret at an abandoned school in Red Oak, Texas, why was that?
My producers Dallas Sonnier and Amanda Presmyk were based in Dallas at the time, and all the crew they’d been hiring on their previous movies lived there, too, so… staying in the area made financial sense. Red Oak was a 30 minute drive for me every morning and night (I’d always travel with my fabulous DP, Darin Moran, so we could talk about the day’s work). I spoke of the spiritual/fated element when casting, and I gotta say that certain aspects of this deserted school gave me shivers, too. EVERY structural element I had written into my script — some very specific — was present at this location that Amanda had found. It was meant to be.
Which description of the film do you feel nails the social issue/action content? ‘DIE HARD in a High School’ or ‘ELEPHANT meets THE HUNGER GAMES’. Or do you prefer another?
I don’t think that’s for me to say. I know DOG DAY AFTERNOON was a big influence on me this time around. I tend to always get an idea and then watch a bunch of movies from the 1970s — it’s my favourite era of filmmaking for its courage and style and themes.
https://www.youtube.com/watch?v=iM-Q34ZJhCQ
Some of the reviews from the Venice Film Festival – where it played ‘Out of Competition’ – seemed to have their own politically correct agenda. Did that surprise you because FrightFest chose RUN HIDE FIGHT for their Glasgow strand because it was at heart a cracking thriller, full of super twists and seat-edged suspense?
Yeah, I thought that was pretty lame… but what can I do?! Actually, the one thing I can do is stay away, meaning: I haven’t read a single thing that’s been written about my movie, and I’m much happier! From what I’ve heard: it sounds like reviewers were reviewing the very IDEA of the movie, rather than the movie itself… so I’m so pleased that FrightFest can see RHF for what it truly is.
FrightFest has always had great faith in your unique work. We showcased both INFESTATION and NIGHT OF THE LIVING DEB and released the latter on our FrightFest Presents label. It is definitely your best directed film, do you agree?
Yes, without a doubt. RUN HIDE FIGHT is my best directed film – and best written too. It’s weird, but this time around I felt as though the scales fell from my eyes — in a good way. I finally can clearly see what good direction actually IS. I think a lot of that is being a husband and father now — having kids has made me a better filmmaker.
How important are festivals like FrightFest in platforming your and other fantasy filmmakers movies? Do you think they will be more so in the post-Coved-19 future?
Film Festivals like FrightFest are EVERYTHING to independent filmmakers. Your gang gave me the confidence to keep going and keep trying stuff when nobody else did. I think you do that for more people than you even realize. Post Covid-19, especially if traditional cinemas go away (which I pray they don’t), your role will become even MORE important. Please keep it up!
What are you working on next? Any exclusive details?
I’m halfway through a new script that I’m very excited about. I wish I could tell you more, but I’ve already sold the idea so… I have other people’s interests to protect, too. I can say that it’s gonna be another action-packed thriller with a strong social element. And I can’t wait to share it with you.
RUN HIDE FIGHT is showing on demand between Friday 5th & Monday 8thof March, as part of the Arrow Video FrightFest Glasgow 2021 Digital event.
The film is geo-locked to the UK and limited to 500 tickets, Tickets are priced £9.99. For more information: www.glasgowfilm.org/festival
