Audrey

 

Only your family can truly get under your skin, harvest deep resentment, and bring out our worst qualities, which is why comedies about families and their dynamics can produce the darkest humour. Mother-daughter power struggles, sibling rivalries and even conflicting parenting styles are all spread bear in this ridiculously funny, dark comedy from director Natalie Bailey. Audrey really will make you scoff at the absurdity and laugh when it really is not appropriate.

Ronnie prides herself on being a fantastic mother, believing she gave up her acting career so her daughter Audrey could have one instead. But when Audrey accidentally falls off the roof and into a coma, Ronnie sees that she has no choice by to live her daughter’s life so that Audrey can still keep her dreams alive. All while her other daughter Norah makes choices she regrets and her husband Cormack is free to lie about the whole series of events in his grief group.

Full review over at Filmhounds. 

Anora - London Film Festival

 

After his previous critically acclaimed films, director Sean Baker has created a very different kind of story. Still exploring and highlighting the lives of sex workers, Baker chooses to go big, really big, this time round, not only in scope but with his characters. Ani, the eponymous Anora, is the definition of a larger-than-life personality. Her energy and enthusiasm is matched by Vanya and the two of them actually make an adorable, if naïve, couple for a short magical time. But faced with problems that seem out of their control, their lust for life turns bitter. The whirlwind romance, the comedic tone all but disappears swiftly becoming something darker, still sometimes amusing, but eventually a slap in the face. The condensed ‘happy’ period in both Ani and Vanya’s lives feels like a literal dream as reality sets in. Baker managed to cram several turning points (and genres) into the story that don’t feel overcrowded, but instead feel oddly realistic as the story flows easily and steadily towards a very depressing end. 

There are many things to take away from Anora, but the glaring obvious is the disparity of privilege. The disappointment hits differently for Ani and Vanya. The latter, a spoilt overgrown child who saw the whole experience as just that, with no remorse or care for anyone else who was involved. Vanya got what he wanted and though he tried desperately to hold on to his freedom, as he sees it, ultimately it breaks and gives up. Ani, however, a genuine person from start to finish, who seems to have very little, was given a new life, a love and all was taken away within minutes. Her world was turned upside down and dis-guarded as soon as she was no longer needed, or desired. 

Anora, as a film, is a force of nature. From dramedy to romance to dark comedy to harsh realism, the story takes you on journey and doesn’t miss an opportunity to gut you, whether you’re laughing and staring, with an empty feeling at the screen. Mikey Madison has been rightly praised for her performance as Ani, which really rides the wave of emotions. There will be surprises if Anora is picked up as a real contender during awards, this film has caught people’s attention and should hopefully hold the spotlight throughout the season.

Marmalade

 

On the surface, Marmalade could be just another love story, just another Bonnie & Clyde-esque scenario but something more complex lurks below the surface. 

Finding himself captured and thrown in prison, naïve Baron strikes up a tentative deal with his cell mate Otis who has bragged about being able to escape. As they formulate a plan, Baron recounts his life story and most importantly how he met the love of his life, the enigmatic Marmalade. He tells Otis of how they robbed a bank in order help his sick mother and have enough to start their new lives together. But all is not quite what it seems in the prison or in Baron’s story.

Full review over at Filmhounds.

Relax, I'm From the Future - Fantasia Film Festival

 

Every time travel film ever has always struggled with the laws and logic of the actual science. Sometimes to the point where you lose sight of the story being told and end up confused and disappointed. Time travel does come with its own issues and if it not the main focus, can ruin a great film. Relax, I’m From the Future quickly dispels the annoying and distracting elements that come with this subject and we are left to enjoy the comedic characters and excellent stylings of Rhys Darby who very easily steals the film. It really doesn’t matter whether the filmmakers have got time travel ‘right’, what’s more important is that we have a good time watching it play out. 

Full review over at Filmhounds HERE.

Sissy - Fantasia Film Festival

There have been a stream of films and TV shows about the darker side of social media and influencers. Treading lightly on certain issues and how trying to keep up appearances burns people out and questioning their honesty. This has taken form in various genres and on the surface, Sissy could easily be lumped in with the rest of the horror and dark comedy blends out there. Luckily, Sissy offers an off kilter and simpler approach to ‘the other side of influencers’ and puts a spotlight on a fractured character that has never healed from childhood bullying trauma. It’s twisted and fantastically executed, with the ray of deadly sunshine that is Aisha Dee, our Cecilia aka ‘Sissy’. 

 

Cecilia is a self-proclaimed mental health advocate, in other words, an influencer. One day she bumps into her old childhood best friend Emma who has she hasn’t seen in years. After a drunken night and wanting to reconnect, Emma invites Cecilia to her intimate hen do. But has also invited Alex, Cecilia’s bully. Old wounds are reopened and Alex, jealous of Cecilia’s success and unwilling to forgive her for past events, the weekend takes a surprisingly deadly turn as Cecilia’s already fractured facade begins to break.

Full review at Filmhounds HERE.

Into the Night

 

What does an insomniac, Iranian gangsters, an Elvis enthusiast and a thief have in common? The answer, aside from John Landis’ Into the Night, is emeralds. This very bizarre black comedy plays out more like a misguided thriller. Questioning where are the laughs only to be assaulted by something on screen to realise that was the joke. But despite the off kilter tone of the film, the story definitely keeps you on your toes and unlike Jeff Goldblum’s character, you won’t be needing sleep.

When insomniac Ed decides to go for a late-night drive to try and take his mind of his sorrowful situation, he ends up getting caught up with Diana and a group of Iranian gangsters. Having smuggled priceless emeralds into the country, Diana ends up being chased all over town, with Ed somewhat reluctantly in tow. Along their journey to find safety they meet a host of weird and unfriendly characters.

Getting its Blu-ray debut from 101 Films, Into the Night literally screeches in from the past. Not a well known or much talked about from 1985 and in all honesty, it's no surprise why. While there are merits to this story, the film really doesn’t know what direction or tone it wants to be. Ever shifting from gangster crime thriller to impossible romance with a twist. Taking place over two nights, a hell of a lot happens to our partners in literal crime Ed and Diana. They are naturally closer by the chaos and trauma but you wouldn’t believe it from Jeff Goldblum’s deadpan acting. He is a delight as always playing the character that drags us into the action while Michelle Pfeiffer’s Diana, named after Princess Diana she tells us, is the damsel in distress even though she is the one who put herself in that distress. Though the jokes are dark as the night Ed and Diana step into, there are some random unexplained moments such as Diana’s brother’s apartment which is covered floor to ceiling in Elvis memorabilia. Just the expression on Ed’s face is brilliant enough.

There are so many cameos in the film but the stand is the most bizarre, John Landis himself playing of the Iranian gangsters on the trail of the emeralds. Their role becomes more clearer towards the end when the plot ties together, yet still feel overly complicated. David Bowie, always a delight, plays a rather sadistic hitman for another interested party in the jewels and even had rather bloody fight scene. But as I mentioned, its always a delight to see Bowie on screen. 

A very odd and randomly structured story that covers the city of LA in two nights, someone how the film works but don’t go expecting cult status here.

When the Screaming Starts

 

Mockumentary styled comedies, when done right, can use the fourth wall to great effect but other films use this handheld camera motion as just a way to dive deeper into what a character is thinking, sharing emotions and thoughts that wouldn’t be shared normally. As a dark comedy, When the Screaming Starts, excels with comedy found in looks and matter of fact-ness dialogue. But the mockumentary style muddies the blood-soaked waters and even becomes difficult to track in the final third of the film.

 

When the Screaming Starts follows Louis Theroux wannabe Norman Graysmith who has been invited to document the journey of aspiring serial killer Aidan Mendle as he sets out on his ‘career’. Going from bad to worse, Aidan decides to start a Charles Manson like ‘family’ cult of killers. But on the night of the family’s first kill, things don’t quite go according to plan for Aiden or Norman, who thinks he’s found the story that make his career.

 

The twist in events can be seen a mile off and some of the supporting characters don’t quite hit the mark in terms of comedy, coming off as genre beats in horror comedies. Then there are even scenes that are just uncomfortable and hard to watch, such as Mickey who auditions to join the family because he was brought up in care. Moments such as these are very jarring next the scenes where the family practice their killing skills. Switching back and forth between makes the film lose focus and ultimately confuse the audience. However, the film does have some merit in the form of the bloodiest and actually quite terrifying scenes in the film; the dinner party massacre and post massacre party where the ‘family’ celebrates. These are the stand out scenes most likely as there is nearly no forced comedic moments. The final scenes of the film try and replicate this atmosphere but, again, don’t quite work.

 

There is a lot of potential within the story and even the characters who are quite one dimensional, whether that is on purpose or not it’s unclear. But the film feels very much feels like a debut effort with a much more polished and well-rounded film to follow. Maybe be worth watching out for what the creative team does next.

Fantasia Film Festival - Shorts Selection

 

Often short films can capture the strange and bizarre far better than a feature can. In those few minutes we can enter a universe, a home, a being and feel completely warped by what we’ve witnessed. Fantasia Film Festival always has a selection of delightfully and sometimes downright disturbing to offer in their short programme. Highlighting a selection here that really do leave you wanting more.

 

The Lovers (Dir. Avra Fox-Learner, USA)

A woman with an over dependant roommate feels as if her relationship might hinder her new found romance. Sharing her thoughts, neither knows where this afternoon will lead them.

Whenever a tarot deck appears in a film, there is a sense that we’re not actually meant to know what the reading really means. Here, it is a teaser as one card lays unturned until the gruesome end, taunting us with what it means to the two women. The rather cute set up and sweet hand holding in the park, lulls us into a false sense of security and how we think this story will go. But the third act is so nonchalant, its perfect.

Puss (Dir. Leah Shore, USA)

Stuck in her apartment during the pandemic, Samantha, lonely and horny as hell, tries to find ways get to laid before she goes crazy.

As we are living through this pandemic and having suffered lockdown, some of us still in this situation, we all know how frustrating it is to not do the things you would do with no restrictions. Samantha’s relatable struggles will hit home to many people and find the absolute true humour in her behaviour and her avenues to try to get laid. When the story takes a turn for the very weird indeed, its almost a shock when it turns out its not all a vivid dream she’s having. Although slightly off key, this fantastical element that appears near the end is entertaining enough to pull off.

The Last Word (Dir. Lucas Warin, France)

A writer struggles to write when he discovers he has a certain power.

The classic, writer sits alone in a café trying to write something but keeps crossing out all their idea, or in short, the struggling writer keeps failing, isn’t new but if a writer is the focus, there is a million things that could be created. In this case, the writer’s ability to conjure in front of him what he writes is a fun little story. But this is very much like a certain Ruby Sparks but in a much smaller scale. Thankfully the cruel playful twist at the end makes up for this slightly unoriginal story.

Sexy Furby (Dir. Nicole Daddona, USA)

After the death of her beloved father, a reclusive girl living in the picturesque countryside decides to take her own life, only to have her life changed suddenly by an encounter with a man sized Furby.

This story is as bizarre as it sounds. In such a short time frame, so much is layered between the scenes, you want to try and take every little detail in because you want to make sure you actually saw what is happening. Told near completely through voiceover except for a few spoken lines at the end, this story about a girl who tries to kill herself but is distracted by the presence of a man sized Furby is nothing but entertaining. Played out like a melodrama complete with dramatic close ups and Vaseline on the lens, as well a conversion to Jesus and with a sinister pizza cutter ritual, Sexy Furby is a rare beast of a film, beast intended. A mixture of horror, dark comedy and the weirdest of the weird fantasy, this makes you excited to see what else director Nicole Daddona has in store next.

 

Fantasia Film Festival - Paul Dood's Deadly Lunch Break

  

Paul Dood’s Deadly Lunch Break is that latest fresh view on the desire to be famous but with a humorous British twist. There will be dancing, there will be blood and there will be glitter, at all costs.

Full review over at Filmhounds HERE. 

Zola

 

Adaptations can be hit and miss no matter the genre, even if they have a good story at the heart. True stories can be manipulated and changed to have a more cinematic edge. But Zola is a whole other hybrid. This is where adaptations and true stories collide in a brightly coloured neon mess and it’s a thrill ride that doesn’t include a mass load of action sequences. Just like Zola herself says, it is kind of long but full of suspense. 

 

Full review over at Filmhounds HERE.

Bad Hair

Set in 1989, Anna is trying to catch a break in the fast-paced world of television. Having worked 4 years as an assistant at a television station featuring African-American music artists, she almost gets her chance to shine when she impresses the new head of programming, Zora. But Zora wants to change the image that the channel projects gently enforcing that Anna get a weave, hiding her natural hair. At first Anna’s new hair makes an impact in her work and life until her hair starts drinking blood and taking over her body. But she’s not the only one experiencing these terrifying changes.

 

Full review over at Filmhounds HERE.

Freaky

We’ve all seen many a body swap film, whether its family members swapping, different genders swapping, younger selves returning, random strangers but we actually haven’t seen a sweet mild mannered teenage girl swap bodies with a serial killer played by Vince Vaughn, that’s new.

 

When Maddie, shy quiet teenager and sport team mascot is chased down and stabbed by the town’s notorious serial killer, the Blissfield Butcher, things take a horrific and dramatic turn. Waking up in each other’s bodies, the Butcher has murder and mayhem on his mind, while Maddie and her friends desperately try to track him down in order to reverse the curse, with a lot of blood and death along the way.

 

Paying homage to the horror films of the dark comedy variety that came before it, Freaky doesn’t shy away from its very obvious influences, which makes for familiar story beats but also expectant of the bloody gore to come. The opening scenes play out exactly how you’d expect from this genre when a group of teens in a big house are brutally and inventively killed off. No final girl here. This is also where the ‘MacGuffin’ of the story is conveniently introduced, an ancient knife called La Dola, in one of the victim’s parents’ collection. This is the knife that has the ability to switch two people’s bodies but apart from the Aztec alter appearing when the knife is in play, there isn’t much else about the magical knife. I found this fascinating but this is not the film to go antique investigating.

 

Of course, the film goes for the blood, chaos, the terrible attitudes of some of the teenagers but seeing the two actors swap and be completely different was highly entertaining. Vince Vaughn, although playing his teen girl to the campest he can, was still very funny, taking every opportunity to exaggerate his character. Baby faced Kathryn Newton was also very impressive as switched into 50-year-old man killer mode. Playing heavily on Friday 13^th vibes and Freaky Friday twists, there is a feeling that Freaky could have pushed things further but overall, it is a ridiculous fun distraction and strangely alternative Summer escape.

Dinner in America

 

A mixed bag of drugs, arson and awkward family dinners, all wrapped up in punk attitude and music, its one hell of a slice of Americana. Though it doesn’t feel guaranteed from the beginning, there is an unusually sweet romance that blossoms through the screams and punches, as well as fantastic song that you’ll have in your end long after the credits roll. 

 

Full review over at Filmhounds HERE.

Slaxx

 

Anytime someone says there’s an inanimate object that comes to life and creates chaos and goes on a murdering rampage is usually a ‘must see’. These sort of films, as there are more than you’d like are usually accompanied by a vague story or a group of characters that are equally as weird as the premise of the story, aside from all of this, you are meant to be guaranteed something entertaining and hopefully funny. However, Slaxx, decides to do something completely different but doesn’t quite pull it off.

 

New employee Libby is excited to be part of this trendy clothing brand, a clothing company that claims to make everything in an ethical way and is fair trade. On the eve of a huge launch of a new line of jeans that adapt to any body type, things don’t quite go according to plan. A pair of jeans comes to life and begins to pick off employees one by one, but there is something more sinister going on behind closed doors in terms of how ethical the company actually is. 

 

Inanimate objects coming to life or being possessed in this case screams horror or comedy or both and to be fair the first act of the film, there is plenty to enjoy. An uptight manager who refers to areas of the store as ecosystems, a surely long-time employee who you just know will be the key to things later on, upbeat naïve character who is our guide into this story and dodgy idealistic company and the mean girls who don’t last long in the story, it’s all there. There are plenty of digs at companies who claim to pay above living wage, no sweat shops and all ethically resourced blah blah blah but really, they’re lying about how they conduct business. There is also space to make fun of influencers and how these big companies reward them with free swag, just for the likes and views. Most importantly the character of Libby, who is the wide-eyed girl starting a job at her dream company because of what it stands for and how great it is for the environment, is played off as the biggest stereotype and it works perfectly. The film is filled with stereotypical characters and genre cliches that are amusing and disgusting at the same time but the film tries to subvert these horror trends but trying to be, serious.

 

The jeans are undoubtedly the star of the film and are given ample screen time and even character development (at a push). They are lethal and supernatural, as they are actually possessed rather than come to life. The jeans are given a backstory at which we are given an insight and the predictable reveal that this ‘cool’ clothing company is not as ethical as it pretends to be. This is where the film loses its edge and heads down the ‘too serious for this genre’ path. Trying to become a warning about what could happen if we as consumers continue our terrible ways, the film also tries to use Libby as a beacon of hope. But she is quickly called out, thankfully, for her real reason for the joining the store, discount on the clothes. Essentially, no one comes off as particularly amazing, not even the jeans who are in fact wreaking revenge for what happened to them. With a bleak ending, to match its bleak third act, the silly fun of the slasher jeans film is long gone. If the film has started as a serious film, this would have been very different.

 

 

Lucky Grandma

 

Crime stories can feel like a dime a dozen so when a new inventive story comes along, it’s easy to sit up and notice, especially if the protagonist is a chain-smoking no-nonsense Grandma from Chinatown who gets mixed up with gangsters, the mob, and her grandson’s TikTok videos. 

 

Full review is over at Filmhounds HERE.

The Ladykillers - 65th Anniversary

Its been 65 years since we were delighted by the dark comedy escapades of the Professor, Mr Harvey, the Major, One-Round, Mr Robinson and of course, Mrs Lopsided. One of Ealing Studios greatest comedies and one of the best British films of all time. With such a devious violent streak, the film plays out like Film Noir and ends up being a classic farce with a murderous side. The Ladykillers is finally getting its time in the 'limited edition' sun and getting released on 4K. It's a great day for all of us film fans!

My full review can be read HERE over at Filmhounds.

Birds of Prey (and the ridiculous judgement of female led films)

 When it was announced that there would be a sequel to Suicide Squad, most were deterred as this possiblely meant that we'd have to sit through a 2 hour film where Jared Leto method acts again but luckily that was squashed. A film about Harley Quin on the other hand would be new, fresh and a rare things amoungst the male dominated superhero genre. With only 'Wonder Woman' to date carrying the would be DC comic franchise, holding the torch for female fronted films of this nature, DC really needed to step up. Especially as all they had to offer was a sequel. Suicide Squad could boast three female heroines/villains in their line up; (not including Amanda Waller) Enchantress (killed off), Katana (deserved better, maybe more screen time?) and Harley Quinn (dressed in very overly sexual outfits throughout). So, it was time for something extra and something more than what was offered.

Enter Margo Robbie, not just as Quinn, but as one of the producers of 'Birds of Prey', also enter Cathy Yan, director. Although not as seasoned as previous choices for previous films, she's has a smart wit and hell, she was ready for a challenge, so it seemed. BUT seeing Birds of Prey as a 'challenge' just meant that, male directors either weren't interested or weren't approached. I hoping it was the latter. Yan is fantastic. She's created a superhero genre film that not only fits into the greater universe in big and small ways but it also extends past the stereotypical genre expectations. There are plenty of jokes about the 80s cop dramas but that's really what it is. Its a crime drama with a superhero comicbook flare that works so darn well, its immensely pleasing to see such a great blend. Not only does it sound and look amazing but the fact that there are five characters' stories woven into the story and doesn't become convoluted, or confuse or infuriate, it is a smooth and ridiculously fun ride from start to finish. I honestly cannot point out anything that is not needed or doesn't feel right and I'm not Robbie's biggest fan. But she is fantastic in this. The title does only make sense by the end (but who cares, plenty of other films do the same) and the rest of the title, that is played out to perfection, again, without being overbearing in anyway. Screen time is even shared out equally between characters. This brings me to my confusion as to why the film is hated by some audiences. And sorry but the evidence is damning, it is mostly guys.

From what I've read, women either don't care enough to get into a fight about this or they LOVE the film. But the guys, they hate it, not with passion, but with pathetic generalisations. From the tweets saying Huntress doesn't look hot enough, from the box office reporting that this is worst DC has had ever (really? want to check the BOR for Suicide Squad? or Green Lantern? No?) Other films that were actually terrible such as.... well any other DC film apart from Wonder Woman were panned by everyone, not just critics, yet more films were still made. It seems the bar was set ever so much higher for a female led film. This ridiculous behaviour was happening in 2016 and its just getting worse. There's actually a moment in the film where Quinn is trying to guess why she has annoyed Black Mask and one of the guesses is just because she has a vagina. I think with that she knew why guys didn't or wouldn't like the film.

With the film now getting a crap name change because the great title is not good enough and people are too dumb to recognise actors, feels like another nail in the coffin that is equality. BOR rule the cinemas, but the fact that the film made a big profit doesn't seem to enter anyone's minds. If it didn't hit the highest bar there is, its no good. Female led films are not a niche element to a film, its just part of it. Hell, I even still have to tag my posts if there are female filmmakers attached. I really don't understand why guys don't like watching films with female leads, especally when they aren't dressed in a hideous male gaze wanting outfit, I really don't get the guys who say female fronted films are just bad when they aren't. The worst films made in history were made by men, but no one wants to talk about that. Women have to work twice as hard that men for recognition, not an opinion, that's an actual fact.

Its only February and Birds of Prey is definitely going to be one of the best films of the year by the end but some male dominated crud will come out and 'top' it, but won't in fact top it. If you haven't seen it yet, go watch it, see for yourself what a film made by a brilliant director, starring five fantastic actors with a story that is both thrilling and satisfying really looks like.

Why Jojo Rabbit should win Best Picture

Part of Zavvi's blog leading up to the Oscars, each film critic backs one of the nominees and the horse that ran out of the gate was 'Jojo Rabbit' by a mile, in my opinion. Its a black comedy war film where director Taika Waititi also plays Hitler, that's all you really need to be a winner. But if you want to know more about why I think this film deserves the 'top prize', head over to HERE.

Not Just About Strippers Robbing Rich Guys...

 I’ve been quite preoccupied lately but I did manage to see a film that was talked about, praised and of course then over looked by most. I now completely understand the hype and delight surrounding ‘Hustlers’.

Looking back, I think I just over looked the film as all I saw was a poster of strippers. No context, just well-known faces playing strippers and the colours were all neon pink and purple. The buzz started on Twitter, as most things do, then it elevated to high praise quite quickly. This wasn’t just ‘some run of the mill stripper film’. This was based on a true story about how a group of strippers had fleeced quite a few wealthy disgusting men after the financial meltdown of 2008. But the film was even more than that, it was about friendship and close bonds forged and shattered. It was about finding your tribe and surviving through the worst times together as well as celebrating the best of times. It was NOT just any film.

Based on an article that was published in 2015 written by Jessica Pressler about a group of strippers who had drugged men and stolen their money. Of course, any true story that begins this way is going to grab people’s attention. It’s a fantastic story but the film has been given another edge, it’s about friendship. I avoided saying ‘female’ friendship as gender doesn’t need to be stated. Given the Robin Hood angle as these women were stealing from wealthy men, mostly disgusting men, drugging them so they wouldn’t remember and taking what they believed they were owed or rather earned. The women are given space in the story to talk and aren’t just pretty objects to be admired. They talk about the job, making a living, surviving. They have dreams, modest even, but the best part of the story isn’t the crimes their committed, is the central characters relationship between Destiny and Ramona. Key players in the article that caught the attention of many.

Without going in to great detail as this film should be watched with fresh eyes if you haven’t seen it, the film is a mix of black comedy, crime drama and female empowerment. This, much like the drug the women cook up, is a dangerous concoction that could easily be written off as weak crime thriller fodder but in the right hands, director/writer Lorene Scafaria to be exact, the film is effortless, brilliantly acted and doesn’t turn down a dark hole of hate. The love and respect between Ramon and Destiny, even til the end, is genuine. Why aren’t there more films like this?

BFI London Film Festival Picks 2019

 This has been an odd year in terms of festivals, overall, I think. My picks from the festival this year are very different from each other and there wasn't really a running theme that I found throughout the festival for me. But if I had to pick, religion and faith did come up quite a few times in film in different capcities.

I obviously have to mention the two 'big' films I was excited to see and they are again, of course part of my picks, Knives Out and Jojo Rabbit. But I have praised them enough in their own reviews/posts. Instead I wanted to focus on other films which may or may not be getting as much attention.

I'm usually quicker off the bat with my top picks but after breaking my record and watching 24 films, you'll excuse the delay. With still a few more reviews to be posted and at least 4 from Zavvi to be released too and one that is actually being posted in November by Vulturehound, this year has been all over the place. Anyway, these are my top picks:

Deerskin

An unexpected film by all accounts, this French dark as night comedy about a man so obsessed with his 100% deerskin jacket disappears into the countryside, pretends to be a filmmaker and plans on making his jacket the only one in the world.  Its bizarre and brilliant at the same time but will it get a release? Only time will tell. If there is cinema justice, it will.

Our Ladies

Another unexpected delight for me at the festival, about a group of friends who decend upon Edinnurgh one afternoon before a school choir competition. Its funny, irreverent and just an all round 90s set delight.

You Don't Nomi

Each year I manage to see one documentary and as this is a celebration as well as an exploration into the cult of 'Showgirls' of course I'd pick this one.

Arab Blues 

Beautifully understated dramady about a woman returning home to set up her practice as a Psychoanalysist but as her family doesn't believe in her or the need for her as well as the local police stepping in and adding to the disruption, she proves to herself and the doubters and even some of her clients that she is indeed needed and wanted. 
 
Review for this coming soon!