31st RAINDANCE FILM FESTIVAL PREVIEW – ACTORS-TURNED-DIRECTORS!
As the Office Manager for the Raindance Film School, it is always exciting when the Raindance Film Festival is about to start. This year it runs from Wednesday 25 October 2023 to Saturday 4th November 2023 in Central London. All the amazing details can be found here: https://raindance.org/festival/
There are so many brilliant films to choose from, so it can be an impossibly difficult decision to narrow down one’s choice. If you have the time I recommend you buy a Festival Pass and go and watch everything. If you’re not fortunate enough to be able to do this you could thematically link your cinema choices.
I am always interested in following the careers of actors who become directors. The well-respected director, Dan Attias once said that, “. . . the best training he had for directing was being an actor.” Indeed, there are many great actors who have become fine film directors, including: Clint Eastwood, Jordan Peele, Jodie Foster, George Clooney, Greta Gerwig, Denzel Washington and Ben Affleck. So, here are four brilliant actors-turned-directors who have films screening at the 31st Raindance Film Festival.
DAY OF THE FIGHT (2023)
The opening gala film is written directed by Jack Huston and promises to be an incendiary drama of power and redemption.
Okay, the ultra-talented Adam Ethan Crow was not specifically an actor. Yet, he was certainly a prominent presence on the stand-up comedy scene, before turning his abundant skills to filmmaking. His latest film, Warhol, is a multi-stranded drama that connects various characters to powerful effect.
Paul Laight is a screenwriter, filmmaker, and blogger. In 2005, he formed Fix Films and has written and produced many shorts and other promos. Many of his films have been screened all over the world at various film festivals. Paul is currently working on feature and short film scripts for future productions. His work can be found here:
Raindance Film Festival is the largest independent film festival in the UK. Holding the 30th festival in 2022, Raindance is based in the heart of London’s buzzing West End film district.
Raindance Film Festival is officially recognised by the Academy of Motion Picture Arts and Sciences USA, the British Academy of Film and Television Arts and the British Independent Film Awards. Selected shorts will qualify for Oscar® and BAFTA considerations.
Festival Sections: – World-renowned programme of the best UK and international independent films. – House of Raindance – talks and panels at Genesis Cinema – Raindance VRX programme for virtual reality and new media Networking events – Attracting 16,000 visitors including 500 industry professionals into London.
The 30th Raindance took place between October 26 – November 5 2022 in Central and East London. I attended many of the amazing events.
Opening Night Gala and Film – Corner Office (2022)
The opening night Gala at the Waldorf Hotel, was a fantastic event and Jonathan Pryce and Vanessa Redgrave deservedly received Raindance icon awards.
The opening gala was preceded by the opening film. Starring the cast-against-type, Jon Hamm,Corner Office (2022) is a fine surreal comedy. He portrays an office worker who finds a room in the office which no other worker can see. Is he crazy or the sanest person in the company? Joachim Back directs a stylish and offbeat indie cinema treat!
House of Raindance at Genesis Cinema
At the wonderful Genesis Cinema, near Stepney Green in East London, the Raindance Film Festival created the House of Raindance and Backyard cinema marquee full of fantastic industry events and screening. These included: panels with industry professionals from TooFar Media, Paus TV, and Celtx; masterclasses with filmmaking experts and retrospective screenings of classics such as Pulp Fiction (1994), Memento (2000) andOld Boy (2003).
Closing Party and Film – Pinball: The Man Who Saved the Game (2022)
After watching over 15,000 feature and short film submissions, the Raindance programmers delivered an array of amazing cinematic works. Films screened from all over the world included: Erin’s Guide to Kissing Girls (2022), Iguana (2022), Pantafa (2022), Karaoke (2022), Little Axel (2022), Swallow (2022), Razorlight: Fall to Pieces (2022); and many shorts programmes including Raindance Film School Student Showcase, Queer, Horror, Radical Agendas and Transient Venture strands.
Having opened with a brilliant film, Raindance 30th Film Festival closed with another entertaining one too. It was the romantic, heroic and comedic 1970s period film, Pinball: The Man Who Saved the Game (2022). It’s the story of Roger Sharpe, the young midwesterner who overturned New York City’s 35 year-old ban on pinball machines. Influenced stylistically by Martin Scorsese, it is a niche but fascinating and bumping slice of American legal historia. Safe to say to the closing party at Genesis Cinema was flipping marvellous too.
See you next year at the 31st Raindance Film Festival!
I just thought I’d share some good news that both of the Star Trek fan films, I was involved in writing, have recently won some new awards in the first annual “Showrunner” Awards, an international festival for Star Trek fan films.
CHANCE ENCOUNTER (2017)
Chance Encounter has recently won some new awards in the first annual “Showrunner” Awards! An international festival for Star Trek fan films. The film was entered into various categories, each of which had a 1st, 2nd and 3rd place available. The short film picked up the following:
Best Actress: Ayvianna Snow – 1st Place Best Actor: Hayward Morse – 2nd Place Best Direction: 3rd Place Best Fan Film: 3rd Place
Congratulations to Ayvianna and Hayward! You can read about the awards here! And see the film here:
THE HOLY CORE (2019)
The second fan film was entered into various categories, each of which had a 1st, 2nd and 3rd place available. The Holy Core picked up the following:
Best Direction: 1st place Best Fan Film: 1st Place Best Writing: 2nd Place Best Editing: 2nd Place Best Sound Design: 2nd Place Best Costuming: 3rd Place
You can read about the awards here! And see the film here:
STAR TREK and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other “Star Trek” franchise, and is a non-commercial fan-made film intended for recreational use. No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.
THANKS TO UNRESTRICTED VIEW HORROR FILM FESTIVAL 2020!
Just a quick post to say thank you to the Unrestricted View Horror Film Festival for screening my short film You Have A New Follower (2020). They screened it online as part of their Little Terrors programme on Tuesday 27th October 2020. Loads of great shorts and features were screened in an amazing programme. Further, in this period of COVID-19, it is a testament to their talents and enthusiasm they continue to support independent filmmakers.
If you didn’t know, Unrestricted View was set up in 1997 by Felicity & James Wren in order to produce exciting and innovative new theatre, comedy & film. In 1999 UV became the resident company at The Hen & Chickens Theatre and remains so to this day. UV was also resident company at Lowdown at The Albany on Great Portland Street 2003-2011 and The Vandella in Shepherds Bush in 2012. Subsequently, they continue to run the Unrestricted View Film Festival and a separate Horror Festival too. This year’s event ran online from 26-10-20 to 1st November 2020. Check out their website here.
Here is the brochure for the festival at this link.
You Have a New Follower (2020) is a psychological thriller/horror. The story concerns Astrid Nilsson, whose life begins to unravel when she is stalked by a mysterious hooded figure. It combines mystery, suspense and science fiction genres, while exploring themes of paranoia, anxiety and identity.
My latest short film You Have A New Follower (2020) was screened earlier this week at the wonderful CineShots film night. The venue was the Streatham Space Project and a great night was had by all.
CineShots aims to give up-and-coming London filmmakers a chance to screen their films, get the feedback from a live audience, engage in Q&A and network with like-minded people for potential collaborations or just to talk film.
The only criteria the film has to fulfil is that the filmmakers are London-based, the film hasn’t been finished more than 12 months before submission and is not longer than 15 minutes. Please check out their website here and the cool trailer of the event.
All six films were received with fine appreciation by a decent crowd of filmmakers, actors and audience members. It was so good to get a premiere for You Have A New Follower (2020) too and watch it with many of the crew members. Overall, I would certainly recommend CineShots to anyone interested in attending a positive film screening night.
I look forward and hope that I can get more screenings of my film at festivals in the UK and worldwide. I am very proud of the film as it has powerful suspense, plus memorable themes relating to identity and anxiety in an urban setting. You can watch the short film trailer here:
HORROR-ON-SEA FILM FESTIVAL is an amazing gathering in Southend-on-Sea, Essex. Every year horror filmmakers and fans flock to the Essex coastal town to satisfy their lust for all things horror.
The festival screens, over two weekends in January, some of the most gruesome, scariest, funniest and entertaining independent horror films you’ll ever find. For more information please check out their Facebook page here. And the website here.
I would personally like to thank Horror-on-Sea for screening my short psychological thriller, TOLERANCE (2019). It was a great crowd who seemed to enjoy the film last Sunday night. You can see the film by clicking on link below. Also, please subscribe to the YouTube channel by clicking here.
Lastly, a big shout out to Paul Cotgrove and his army of assistants who make the festival such a success. Also, congratulations to all the filmmakers who commit to making their horror films so bloody entertaining. Many of these films are self-funded and produced so well done to them.
This was my third visit to Horror-on-Sea Film Festival and this year I stayed for two nights. That enabled me to watch even more short and feature horror films. Here is a list of films I watched with promotional links (where possible). They were all really entertaining with horror, comedy, fear, sex and gore all combining to wonderful effect. There were many, many more films shown too so I recommend you go next year as it’s back in 2021!
HORROR-ON-SEA 2020 – FILMS WATCHED
The Dead Ones (Short) – Director: Stefan Georgiou – Link
The Front Door (Short) – Director: Andrew Rutter – Link
TOLERANCE (2019) – MY SHORT FILM WINS FESTIVAL AWARD
Just a quick post to say that my short film Tolerance (2019) won best short film at the 2019 UK Offline Webfest. It’s a great independent film festival with the awards held at the Etcetera Theatre in London. As a low budget filmmaker it’s great to get screenings for my films, and while I am not a massive fan of competitions or awards, it was also fantastic to be acknowledged. If you haven’t seen the film you can watch it at the link below.
TOLERANCE (2019)
“What’s your poison?”
Tolerance is a story of obsession, addiction, revenge and murder. It concerns a dinner “date” which takes a twisted turn. Inspired by narratives like those of Hitchcock, Tales of the Unexpected and Inside No. 9, it explores the damage toxic relationships can cause. It is both a thriller and a very dark comedy.
CAST & CREW
Written and directed by Paul Laight Starring: Georgia Kerr and Patrick Tolan Sound: Marina Fusella Camera: Edward Lomas Lighting: Kato Murphy Make-up: Camille Nava Music: James Wedlock Editor: Jodie Williams Set Designer: Melissa Zajk
Written by: Stephen Zaillian – based on the book I Heard You Paint Houses by Charles Brandt
Produced by: Martin Scorsese, Robert De Niro, Jane Rosenthal, Gaston Pavlovich, Randall Emmett, Emma Tillinger Koskoff, Gerald Chamales, Irwin Winkler
Cast: Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Anna Paquin, Bobby Cannevale, Stephen Graham, Kathrine Narducci, Jesse Plemons, Jack Huston, Ray Romano, Stephanie Kurtzuba and many more.
Cinematography: Rodrigo Prieto
Distribution: Netflix
******MAY CONTAIN SPOILERS ******
“I heard you paint houses…”
As well as watching new films that have yet to be released, one of the pleasures of film festivals can be when the filmmakers, writers, crew and actors themselves attend and introduce their work. Having said that, I’m not usually one for big and lengthy introductions and back-slapping celebration. I’m also not one for star-gazing and celebrity-spotting hysteria. They are just human beings; let them get about their business in peace.
But, when the cinematic geniuses that are: Martin Scorsese, Robert DeNiro, Al Pacino and Harvey Keitel took to the stage for the premiere ofTHE IRISHMAN (2019), even I was star struck! Add the brilliant actors Stephen Graham, Anna Paquin and Jack Huston to the mix and I can confirm I was in the presence of all-round film greatness.
Scorsese is the best genre filmmaker still living today. But what of THE IRISHMAN (2019)? Is it yet another cinematic masterpiece to add to an incredible list of classics that Scorsese has directed? On first watch I would say both yes and no. I sit on a fence because the film is SO long, detailed and intense, I need another sitting to really nail an absolute opinion. It’s very, very good – BUT is it a great? I remember first watchingGoodfellas (1990) and feeling dazed by the end of it. It is now one of my favourite films of all time.
First impressions are that, once again, Scorsese has delivered yet another impeccable film in the gangster movie genre. Film is a collaborative endeavour though and he has surrounded himself with an army of major talents in the production and acting departments.Robert De Niro, who himself, optioned the book on which the film is based, takes the lead as Frank Sheeran. In support are the aforementioned Al Pacino, Harvey Keitel, Stephen Graham, Anna Paquin, Jack Huston and the out-of-retirement Joe Pesci. All work from a superlative screenplay adaptation from uber-writer Steven Zaillian
The story is structured, in many ways, like another gangster classic, Once Upon a Time in America (1984). An elderly character looks back on key aspects on their life; the highs, the lows, the deals, the crimes, the relationships and the bloody carnage. Frank Sheeran, as delivered by De Niro and Scorsese, is another complex presentation of masculinity. He was a trained soldier who did his duty in World War II against the Nazis. Then, on return to America, he found himself driving trucks. With a family to support he finds he cannot turn down the chance to “paint houses” and carry out important work for the mob family run by Russell Bufalino (Joe Pesci). I must say that Pesci is a revelation as the quiet shot caller, in the shadows, giving orders out of the spotlight. His mob boss is the total opposite from the psychopaths he’s played before.
Talking of great performances, Al Pacino as Jimmy Hoffa steals the whole film. It is incredible to think this is the first Scorsese film he has been in. It was definitely worth the wait. De Niro himself is also impressive. His role as narrator and story conduit guides us through many exhilarating scenes involving gangland deals, explosive action and violent hits. Moreover, we are also compellingly embroiled in Hoffa’s Teamster Union business conflicts, as well as, some of the most iconic historical moments from U.S. politics and history.
Scorsese’s approach to style is less frenetic when compared to his other gangster films or the rapid velocity of say, The Wolf of Wall Street (2013). There are fireworks and gunfights of course, plus explosive arguments between the angry and powerful men which inhabited this era. The heated debates between Hoffa (Pacino) and Tony Provenzano (Stephen Graham) are especially memorable. Plus, I liked that Hoffa’s character had very specific demands in regard to time-keeping and punctuality. It’s beautifully filmed but the pace is not as say, rock and roll, as his other films. In one long tense sequence toward the end of the film, Scorsese uses silence rather than trademark rock music to enhance the visuals.
Overall, themes of death, murder, loyalty, friendship, politics and regret dominate the story narrative. From the nursing home where Frank Sheeran begins his epic tale, to the multitude of hits and shootouts we experience, the Grim Reaper follows these characters like a constant shadow. I wasn’t sure how I was meant to feel about Frank Sheeran by the end. He is a complex character who, as a trained killer, is difficult to empathise with. But his, the bosses and Hoffa’s stories are compelling nonetheless. However, the last part of the film raises a lot of emotionally painful questions with equally difficult answers.
Lastly, certain things about the film, such as the “de-aging” CGI and lengthy running time, detracted from my initial enjoyment. However, Netflix have an absolute monster of a gangster film here, with Scorsese once again delivering a very special cinematic offering. The irony is that it will only have a limited theatre release. THE IRISHMAN (2019), therefore, deserves to be painted and seen on the biggest screen you can find.
Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Christopher Plummer, Jaeden Martell etc.
Cinematography: Steve Yedlin
****** SPOILER FREE ******
“What is this, CSI: KFC?”
Rian Johnson seems to have been writing and directing for years, but interestingly, KNIVES OUT (2019), is only his fifth release since his debut film, Brick (2005). His last film Star Wars: The Last Jedi (2017) was, of course, a massive hit across the galaxy. However, having watched it again recently, I felt it was racked with inconsistencies in tone and suffered weak storytelling.
Indeed, I was shocked that such a meta-filmmaker as Rian Johnson, with such a unique approach to genre, was given the Star Wars gig. To me, his filmmaking talent was too offbeat and so it proved. Because, while The Last Jedi (2019) had some memorable moments, (mostly Adam Driver), it did not work as a Star Wars story.
With his latest film, a murder-mystery-comedy-thriller, Johnson is on more solid ground. His penchant for quirky characterisation, irreverent jokes and wicked twists is more than suited to an Agatha Christie pastiche. Especially because this one has more tricks up its sleeve than the Magic Circle. I personally love the detective genre and Johnson successfully pays homage and deconstructs the murder-mystery tropes with a brilliantly funny script. Aiding Johnson is a star-studded cast, all of whom run with the joke superbly.
The plot begins in a traditional fashion; with a heinous “crime.” The story then spins into a complicated and devious web of lies and double-crosses. It concerns famed author, Harlan Thrombey (Christopher Plummer), and his family of sons, daughters and grandchildren. A multi-millionaire writer and owner of a publishing empire, he has managed to upset every one of his family members. So, you can guess what happens to him on his 85th birthday celebration.
Following Harlan’s apparent suicide, Lakeith Stanfield’s police detective investigates, with the assistance of famed sleuth Benoit Blanc (Daniel Craig). With a ridiculous Southern accent, Craig, seems more parodic than the other actors. But, he gives a fine comic performance nonetheless. Michael Shannon, Don Johnson, Toni Collette and Christopher Plummer are also on great form. But, a playing-against-type Chris Evans, arguably steals the show as the overgrown, spoilt rich kid.
Overall, this is film is a so much fun. It should be viewed firstly as a comedy, although the murder mystery plot itself is full of ingenious plot reversals. With everyone a suspect, the fun derives from trying to work out who did it and seeing if there are any holes in the plot. All kinds of satirical, political, sight-gags and murder-mystery in-jokes are brilliantly delivered by a committed set of A-list movie actors too. Moreover, from the big mansion setting, to the costumes and the meticulous set design, it was a lovely film to look at too.
To conclude, Johnson is back on the form he showed with the incredible sci-fi film Looper (2012). Because, Knives Out (2019) definitely has the force with it, working brilliantly as a fast-paced, witty and intricate work of, admittedly style-over-substance, entertainment.
Written by: Sergio Casci, Veronika Franz, Severin Fiala
Produced by: Simon Oakes, Aliza James, Aaron Ryder
Cast: Riley Keough, Jaeden Martell, Lia McHugh, Alicia Silverstone, Richard Armitage
Music by: Danny Bensi, Saunder Jurriaans
******* SPOILER FREE *******
If you haven’t seen the Austrian horror filmGoodnight Mommy (2014), then I urge you to do so. It is genuinely one of the most startling and creepy films of recent years. It psychologically gets under the skin with the story of a mother and her two children, isolated, as she recovers from reconstructive surgery. The directors, Veronika Franz and Severin Fiala, proved themselves adept at creating memorable imagery, tense dread and a shocking ending up there with the horror classics.
With their latest film The Lodge (2019), they have once again ventured into the horror genre. Working with a fascinating screenplay from Silvio Casci, the film is full of intriguing themes relating to religious cults, grief, isolation, post-traumatic stress and family dysfunction. However, despite stellar work from the cast and compelling direction, the film never quite filled me with fear, nor shocked me enough to satisfy my horror needs. It works well as a slow turning of the screw type story, but at times it was too slow for me.
In essence the narrative is similar to Goodnight Mommy (2019); two kids and a maternal character are trapped together in one location and things get weird. Richard Armitage portrays Richard, a father to Aidan (Jaden Martell) and Mia (Lia McHugh), who is desperate for them to connect with his new girlfriend, Grace (Riley Keough). To precipitate this they spend Christmas at their remote holiday lodge, as you do. When Richard is called back to the city for work, Grace and the kids’ relationship begins to get cold. Thus, amidst the isolation and snowy landscape, a frozen atmosphere exists inside and outside the cabin.
Overall, the film is worth watching for Riley Keough’s committed performance as Grace; a victim of childhood trauma trying to be part of a caring family. Her character is striving for sanity, however, she gets something else altogether. The directors also do sterling work and create a compelling image system, notably around dolls, snow and religious iconography. The lodge itself is rendered creepy with sharp angles, overhead shots, skin-crawling music and darkness all used to sinister effect. But, despite the quality of the production, the central premise, slow pace and confusing plot developments drained any fear I felt by the end. Nonetheless, fans of The Shining (1980), The Thing (1982) and any number of cabin-in-the woods-horror films will find something to chill them here.
The Cinema Fix presents 