The inaugural edition of the North West Independent Film Festival in Preston used its second day to focus on the theme of ‘Shifting Grounds: Breaking Cycles, Seeking Truths’, showcasing films which hold a spirit of independence and creative ambition.
The vast range of genres, formats, and techniques was emblematic of the holistic, open-minded approach the curators took when putting together such a program, presenting a diverse array of short-form works, including live-action narrative, animation, student-made films, and documentaries. Thematically, the connective thread seemed to be concerned with layers of awareness and perspective.
The programme began with a simple, dialogue-based drama, CROSSBAR CHALLENGE, directed by James Oliver. We follow two schoolboys as they wander about the local football field and playfully mock one another. Eventually, they compete to see who can hang on to the crossbar the longest – this is when we get some deeper emotional revelations regarding the realities these boys are living in. CROSSBAR CHALLENGE boasts an impeccable screenplay, which effectively conveys a strong level of empathy for the feelings of disillusionment that young people face. When accompanied by the intimate cinematography and elevating music, the style is surprisingly atmospheric and immersive for what could be a simple, realistic drama.
“CROSSBAR CHALLENGE boasts an impeccable screenplay, which effectively conveys a strong level of empathy for the feelings of disillusionment that young people face.”
William Romain’s DANNY’S SONG was one of the more challenging viewings. It tells the story of a young man whose psyche is clouded by his memories of his parents’ abusive arguments. This trauma impacts his present relationship, which sees him almost falling into the same horrific pattern as his uncaring father. The film’s ambition lies in its elegant, time-jumping dual narrative, as well as its use of fluctuating aspect ratios to express a sense of claustrophobia.
The following film, WUSS, directed by Nadine Wilson, is a similarly bleak depiction of childhood trauma, about a little boy looking for his lost cat. Thematically, the abandonment the boy feels during his search is a microcosm of his domestic life, meant to equate to the alienation from his father (who now lives with another woman and is about to have another child). A pointedly tragic narrative, the dour tone of the filmmaking reflects the emotional damage that unfolds.
THE BENCH, by Jenny Tighe, was cleverly positioned within the program: a short and bittersweet film to contrast with the bleaker portions. The audience is shown two people carrying a bench up a hill, surrounded by beautiful scenery, alongside a soundtrack that evokes a sense of tranquillity. The film’s final moments reveal a twist which places the whole piece in a new context; we realise that this poetic journey has been an expression of acceptance.
Praveen Zacharias’ deeply moving A CANCER STORY was the first animated film – and first documentary – in the program. This true story of one person’s experience battling testicular cancer, right as the first COVID lockdown began, is about the isolation that comes with suffering through cancer alone; the anxieties and insecurities that can manifest when fighting the disease. The 2D animation is flawless, but it’s the sentiment of hope present in the often-heartbreaking narration which makes this film an incredible achievement.
“The 2D animation [of A CANCER STORY] is flawless, but it’s the sentiment of hope present in the often-heartbreaking narration which makes this film an incredible achievement.”
Emily Darlington directed the first live-action documentary of the festival, BIET (HOME). The film follows a man called Karam who fled the Syrian civil war and built a life for himself and his family in Liverpool. Darlington’s film is a strongly structured one with a lovely message at its core about the nature of home and what can define it. Like A CANCER STORY, it is also about the strength of one person’s spirit.
The final documentary, FIRE CAT, by William Stogden, had spectators both gasping and gushing, exemplified by its overall win at the festival for Best Student Film. This account of a cat’s horrific burns following a fire, and his long journey to full recovery, was very touching – the editing, music, and voiceover heighten the viewer’s fears for the loss of the firecat, but then allow them to experience the joy of saving him. The nature of the images means that some sequences are difficult to watch, and quite confrontational in their rawness; however, the film never loses its ceaseless optimism.
The program then presented audiences with a series of three horror films. TEETH was a simple but thoroughly entertaining short from director Jamie R Hawkins in which a man is terrorised by a self-aware set of teeth. It’s suspenseful, certainly, yet not without humour; a very amusing genre exercise which showcases some inventive camerawork and editing choices.
“The fantastic comic conceit [of ROCK PAPER SCISSORS DEATH] is also technically well-executed.”
ROCK PAPER SCISSORS DEATH, directed by Dayle Saunders, served as an intelligent comedy-horror hybrid and a smart pastiche of the SAW franchise and its questionable workings. Characters wake up strapped to a chair and are forced to play rock, paper, scissors – whoever loses gets killed. But one man is fed up with winning and wishes to give in to the game, but person after person believes he’s trying to double-bluff them. The fantastic comic conceit is also technically well-executed.
The horrors came to a close with the taut photo-thriller, DISPOSABLE, by James Malcolm. In this film, the protagonist amuses herself with a disposable camera until the pictures reveal a rather terrifying demon lurking in the home. DISPOSABLE is not the first horror film of its kind, yet what sets it apart is the expert lighting and rich tone. The film’s professional aesthetic, unnerving sound design and overall immersive approach make this another strong entry.
Pardeep Sahota’s gorgeously designed OK/NOTOK was the first of two twisty relationship pieces. The entire scenario centres upon one sofa in the centre of a room, and two individuals’ secluded life of play and sensual fun. The first thematic twist of sorts is that this is a science-fiction film about the nature of connection (or a lack of connection). Formally, this film is operating on an outstanding level, with its vibrant mise-en-scène and anamorphic photography providing the static composition a unique sense of refinement.
“Through strong films and tight curation, NWIFF has effectively laid the foundations for a successful future within the festival scene.”
FUDGE SUNDAE, directed by Georgia Redman, brought the festival to a satisfying close. This well-conceived exploration of duplicity follows an idiosyncratic couple, Jack and Kate. Jack is to confess something big to Kate while she feeds him a fudge sundae (which might not exactly be a fudge sundae). Shrewdly, the characters deceive one another in quite the same manner as the film deceives us, the audience. It wraps up with a gross-out shock ending, leaving the festival on a high.
In only its first year of operation, the North West Independent Film Festival had a strong turnout. Handing out packets of popcorn was a unique aspect of the presentation, fostering that sense of classic communal entertainment, even when the films themselves were of potent social importance. With a cosy, welcoming venue and friendly organisers, attendees were not only allowed to connect but were actively encouraged to network; to bond over their shared craft and upcoming productions. Through strong films and tight curation, NWIFF has effectively laid the foundations for a successful future within the festival scene.
Disclosure: James Learoyd directed SCRATCHED NAIL, a film which screened as part of the program covered in this article. We have excluded analysis of this film from coverage of North West Independent Film Festival, and published coverage of the rest of the program on the basis that James was a previously established contributor to TAKE ONE.
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