Martin Richard’s science fiction effort 'The Bomb' imagines a violent post-Brexit where a leather clad maverick bomb disposal expert takes freelance diffusing gigs until he comes up against new challenge. The film’s main concept is an AI bomb defence system that preys on your emotional weakness by taking the form of someone you’ve lost. It’s an interesting thought experiment, although the script relies on the viewer to do too much of the work filling blanks. The final effect is a little flat and lacks narrative clarity, but the idea has merit and the effects are nicely done for an indie film.

The standout offering of the block is 'The Critic', written, directed by and starring Stella Velon. It delves into the psyche of an actor and questions the role of critics; their value and the casual cruelty of those paid to judge, rather than do. Velon’s actress faces down a shadowy interviewer who belittles her and tries to trap her in cunningly worded questions until you’re willing her to cut him down to size. Although the mechanism of the narrative isn’t novel, it is immaculately executed and as the only visible face on screen Velon ably carries the film. Her wealth of expressions do far more work than any dialogue could, admirable for anyone directing themselves. Understanding the form and purpose of a short story is just as important as screencraft and 'The Critic' succeeds on all fronts.

'Ghost Dance' by Emilia Izquierdo may have gone over my head. On the surface it is a bewildering animation which felt wildly out of place in the programme and offered little more than diverting shapes. Several minutes of wiggling colours and swirling figures may well have been a triumph of animated technique but within the context of a series of clear narratives, and especially following such a strong contender, there is little to remark on.

Saam Farahmand’s 'A Portrait of the Artist Angus Fairhurst', an homage to the least-known of the Young British Artists of the late 80s, is a little worthy, an art student kind of film in every sense. That said, the cast do well with the convincing dialogue, and the intercut snippets of Fairhurst’s underrated work is well-managed and thoroughly entertaining. Likewise, the shaggy dog story that the eponymous artist tells to his enfant terrible contemporaries works as a neat metaphor for the whole era of thoroughly commercial art. The sumptuous black and white film cements the effect, and the affect.
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Luke Bradford’s 'Risk' shows its cards early and what we expect to be the big twist is signposted a mile off, making the wait for the reveal a little tiresome. The true twist however comes in the closing credits when a few words reframe everything that has just passed. More of a PSA than an entertainment film it is nonetheless fully effective in its mission to shock and challenge. Confident direction shines through and the film easily stands up to much higher budget rivals. Perhaps a less obvious (and more contentious) consequence of the film’s proselytising is how it raises the question of how much right, and how much responsibility, others bear when a woman’s choices for her own body are potentially causing untold harm to another.

The titular pun aptly sums up the diverting subject matter of this affectionate documentary. Filmmaker Lloyd Ross takes a look at the sociopolitical landscape of post-apartheid South Africa framed in the unconventional (and uniquely South African) context of contemporary Nando’s advertising. Known for their daring and singular voice, they became one of the country’s best-loved and most archetypal brands. Made with the co-operation of the restaurant chain and talking heads from representatives of the marketing companies they worked with over the years, Ross’s film celebrates the moral stance and distinctive character of the little chicken shop that could.

The film’s narrative hangs on the television advertising campaigns for the company in the 1980s and 90s; Virtually unknown outside of South Africa, and entirely emblematic of the era, they were risky, of the moment and always a talking point. It is a fascinating insight into a company that has largely played it safe elsewhere in the world. Although Nando’s has a reputation for being “cheeky”; only in South Africa is it seen as defiant, a voice for the people, a chain with a strong social conscience. The film effectively illustrates the significance of the Nando’s rise to popularity and captures a lot of the spirit and energy now fondly remembered by South Africans who came of age in the era.

Ross’s film is a loving and informative slice of life inside the early years of the New South Africa and paints a rosy picture of a company that didn’t always get it right but had heart and was willing to make a stand. Perhaps too easily uncritical of the choices made by the commercial arm of the chain, it is nonetheless a charming and edifying watch that gives voice to the ordinary people and striving business owners of a country beset by assumptions and stereotypes from Britain, especially.

Guaranteed to raise a smile, and a few eyebrows, though it could have stood to dig a little deeper and present more substance alongside the confection. 'Pluck' is a pleasing watch and a worthwhile potted history of a distinct time and place.

'Blood Runs Down' delivers memorable miasmic aestheticism within its Louisiana setting and monochrome design. Candlelight spills from every surface and Jesse Ray Guillory’s production design guiles us into a tapered tapestry of white linens and gentle luminescence. While a southern storm rages outside, psychological possessions are padded with whispers and piano chords inside, creating a delightful undercurrent of distress. The atmosphere is brilliantly set thanks to Sultana Isham’s soundtrack and Zac Manuel’s cinematography but sadly Zandashé Brown’s screenplay falters in its progression of a compelling storyline.
The image of a small girl in a white dress wielding a baseball bat is a wonderful reclamation of girlhood as something other than delicate candlelit delights and the overall attempt at addressing intergenerational trauma and the long lasting effects of loss is a poignant one but the film fails to arrest its audience with anything other than scintillating visuals. 'Goodnight', directed by Diane Michelle, features an exploration of psychosexual nightmares and gender in the family unit. Its jump scares and picture perfect family place it firmly in the realm of Hollywood horror, yet the disturbing direction the piece takes in exploiting childhood fears and twisting them into a thing with carnivorous connotations shows there’s more to 'Goodnight' than meets the eye.y

'Luna's Revenge' is a tense story of heartbreak and discovery. Luna’s family are murdered in cold blood during their holiday in the mountains and the killers will stop at nothing the take her out too. As she runs for her life Luna uncovers the truth about her family and her father’s secret life as a Russian spy, but instead of leaving the country and heading for safety she decides that she wants revenge instead.

Lisa Vicari is fantastic as Luna and draws you in with her performance as you go on her journey of grief and fear with her. The film is tense and while it doesn’t do anything greatly surprising with the story, what it does do it does effectively and with great cinematic style. Based on a true story it is a brilliant portrayal of the subtleties of real life espionage.

While there are action scenes, this is not you typical action packed spy movie. It is much more personal than that and is very much about Luna and how the events change her, and also how they don't. As she discovers that her whole life has been a lie we see the childlike innocence stripped away as she becomes a determined young woman with resolve. 'Luna's Revenge' questions where the line is between duty and morals. It also makes a very strong political comment about Russian spies in Germany.

The only downside to this film is that it is essentially straightforward. The story is very well executed but it doesn't do anything surprising or clever, which is the one missing piece of the puzzle that would make it exceptional and a lot more memorable. But otherwise it is a great story and a great film.

Eight teenage friends play games of discovery to alleviate the boredom during a hot summer in a Belgian-Dutch border village. 'We' (original name 'Wij') is a striking and very graphic story about a group of young people who lose their innocence while discovering, exploring, and then exploiting their sexuality in the quest for fun and money. They push the boundaries and challenge themselves and each other, but pretty soon their sexual curiosity begins to blur the lines between right and wrong.

The story is told in chapters through the eyes of different members of the group and we find out what happened while awaiting the outcome of a trial. ‘We’ is a great example of how things can quickly escalate and spiral out of control and the film is very well shot and directed. The chapter based style of storytelling works very well and ensures that things are revealed at the right moments to progress and build the narrative.

The acting was great all round and Aimé Claeys was particularly memorable as Thomas in the way that he showed so many different sides of the character throughout the film. He is definitely the most representative of the teenagers becoming predatory through games and sexual exploitation, and the conclusion to his story is one that will hang in the air once the film ends. What was most interesting was the motivations and reasons why the members of the group do the things that they do, and they all have different reasons.

The film questions responsibility, remorse and accountability and is both a great and somewhat shocking watch.