Glick's Last Tour — This was a minor masterpiece devised, written and directed by John Henry Owen. If you watch nothing else, watch this.
Psychiatrist in The Patient — directed by Mark Gill of The Chase Films, this perfect little story was one of three "Short Shorts" sponsored by the stovemaker, Esse, and based on real life anecdotes. Attention to period detail from all the team, sharply captured by Fernando Ruiz, DoP.
Maksym Osa - quick trailer — An intriguing tale based on the Graphic Novel of the same name by Igor Baranko, Ukraine's answer to Neil Gaiman.
Conceived as an independent feature, it brought together Ukraine's top art department, costumiers, special fx, horse wranglers, stuntmen, fight directors, pyrotechnic experts and cinematographer with Ukraine's ballsiest director, Ivan Sautkin, at a time when several crew — indeed, the lead, Sasha Pozharsky — were exiled from home by strife in Donbas.
I Remember April — Rob Hurtt is an uncompromising, visionary film maker with a uniquely surreal outlook. This film resolves exquisitely if you have the patience to wait for the Dali quote right at the end of the credits. Worth it. Society of Imaginary Friends is an immensely talented group of classical musicians who play uncompromisingly unique urban folk.
Story Museum: Beowulf, Arthur, and those hobbits — For its opening in 2020, Ben and Elaine Adam-Harris of Broken Antler created a series of films to introduce children to Oxfordshire's best known storytellers. I was two of our oldest — and the voice of JRR Tolkein.
Treasure — From Niall Trask and Mike Merrit at The Kill Shop, with gritty shots from Andy Little, a delinquent thriller with a stirring twist…
AT&T - The Interview — “A’ight Jane, we've got your back.” A supremely confident little commercial from Ben Kent.
Rock and a Hard Place — Andy Williams wrote and directed this for Andrew Kozman, of London Film Entrepreneurs.
The Renata Road (dir Ed Greenberg, Beyond the Bar) just won Best Feature at Believe Film Festival. This was a teaser for my character, Percival.
The Gates of Vanity — Suj Ahmed (Future Focus Films) authors this terse psychological drama: a claustrophobic, darkly comic, examination of the vanity and delusions that drive men to extremes; with vivid cinematography by Amarjeet Singh.
Pussy Cat — Simon Wharf and Ollie Caine's black comedy about immigration, isolation, sex, and a cat, won the IMDB script competition — which is how it came to be so lovingly made, one September, by the immensely talented crew at BROD Productions.
How to Dress for the Apocalypse — an oddly uplifting web-pilot about life after the big one: Govind Chandran & Jamie Laxton turn their gentle humour onto that "New Normal," exploring its impact on society, community — and, well, dress sense.
The Feeling… — of all the nutty films I've stumbled into, this work of blue-period impressionism, by Rhiannon Jones and Ben Watson last year, must be the strangest. I'm minded of the ballet sequence in Big Lebowski and — er — struggle for words (ummm — a tesseractic Picasso drawing Buster Keaton to silent Withnailian revelation, "Man delights not me … no, nor woman neither"?). But I suppose the purest of feeling would tend to transcend rationale.
Foxfinder (pswd: "eric") — a very interesting play by Dawn King, with shades of Kafka and Miller. This adaptation, by Tom Oxenham and Master of None, sold out at Edinburgh 2015 with five star reviews and ratings. I featured only as a video training film, by which foxfinders (C21st witchfinders) could learn to identify their quarry.
To play: click on the link and enter the password, "eric"
A little Shakespeare — You'll have to guess whose soliloquy this once was — reimagined as an early C20th Tyrolean peasant (audition for a period Italian horror). Shakily filmed by me with a laptop camera. Production values all very Dogma.
Andys — In tribute to Philip K. Dick, this little futurist short from Alec Hopkins. Made with no money, maximum commitment, and much goodwill.
The Host — A simple tale of possession, conceived in an afternoon by producer Simon Melhuish and the graphic artist and polymath Max von Vier, who directed. Stirringly shot by Sam Pearce, with a delicate score by Hilgrove Kenrick, it premiered at the Solothurn Film Festival in 2012.
Broken — a grim psychological thriller from way back in 2006, directed by Adam Mason — my third feature, preserved grainily, for years, in Facebook's postage stamp format. Sooner or later, I'll track down a charity shop DVD and do Erik Wilson's top cinematography full justice. I gather it did well in sales; garnering a tiny cult who still occasionally contact me from all over the world. Nadja, who produced and starred, had a horrible time shivering in the thinnest clothing in November; it dredged up childhood anxieties for which I think she could never bring herself to forgive (nor to pay my 'deferred' share of proceeds). But we're all still justly proud of this low budget shocker.
|PEM (Perdekamp Emotional Method)|