sci-fi – scaredsheepless

Glasgow Film Festival 2023: The Artifice Girl

A rich sci-fi focused on the ethics of AI feels timely and relevant but also manages to centre an impactful, more individual narrative.

Synopsis: When an internet vigilante develops a revolutionary new computer program to combat online predators, its rapid advancement leads to serious questions of autonomy, oppression, and what it really means to be human.

Franklin Ritch introduces the characters in his film in the tensest situation imaginable, with Gareth (played by Ritch) being interrogated by Deena (Sinda Nichols) and Amos (David Girard) about images on his computer. As the pair continue to question him, he reveals a shocking truth about the alleged child abuse imagery: the girl is not real, but an AI construction that Gareth has built to trap predators. Cherry (Tatum Matthews) has assisted Gareth in gathering evidence against would-be abusers, but growing disillusionment with the police response has led to him furthering the design and working more independently. Already, there is a sense that Cherry’s development as being a surprise even to him, describing her evolution as “pushing a wheel down a hill”. That first act sets the scene for the ethical questions that frame the film as the second and third chapters use jumps in time to explore the fallout from those early decisions.

It would be easy to look at the film’s initial concept and write it off as a provocative thought experiment, but this is a far more sedate and thoughtful film than that suggests. Outside of establishing the situation, it isn’t interested in probing that vigilantism, but shifts focus to the escalating discomfort around the technology. Throughout, there is an emphasis on what humans bring to technology with discussions of consent and autonomy made all the more uncomfortable by the presence of Cherry and the way she is spoken of and to. This shifts it from potentially exploitative subject matter into a more explorative space, although, there are still references to child abuse that people may wish to avoid.

As each chapter mostly sees two or more characters confined to one room, it could easily lose a sense of cinematic spectacle. Ritch meets this challenge with a roaming camera and swift cuts, adding an energy, enforcing the tension and tapping into those heightened emotions. In quieter moments where the camera is allowed to rest on a character, it does so almost too closely, still adding that tension while also allowing the performer to take centre stage. All of this makes moments where the camera is allowed to step back and indulge in open space and more fluid, less tense movement all the more impactful.

The dialogue-heavy nature places a huge amount of pressure on the performers – again, a challenge they are able to meet. Tatum Matthews is extraordinary as Cherry, having to perform as an AI functioning as a real girl, peppering uncanny moments and movements within a performance that shifts considerably in each section. To hold her own against the ever-reliable Lance Henriksen is so impressive and their interactions lend the film a real power. David Girard’s quieter processing of the initial situation too, is memorable, his pause providing a reprieve from the otherwise wordy scenes. As a viewer, that pause with him allows you the space to pause too, collecting your own thoughts on the ethics under discussion.

This is far from an action-packed thriller – it is more insidious, more memorable than that. Clever writing neatly weaves references from the first act into the third without needing to signpost it. This is a film that makes you want to lean into the discussion, to consider your own position and that of human interaction with technology. However, the dedicated performances also allow you to become absorbed in the more personal story within that much meatier discussion.

The Artifice Girl is weighty, engrossing work, showcasing exactly what sci-fi has to offer in terms of thinking about the world around us.

4 out of 5 stars

The Artifice Girl will screen at Glasgow Film Festival 2023 on March 6th and 7th. You can find out more about the screenings at the Glasgow Film Festival webpage.

Favourite Feature Films of 2020

For last year’s favourites I chose 25 films as I’m terrible at choosing favourites and thanks to a variety of festivals had seen so many that a top 10 felt too narrow to celebrate all the films I wanted to. Despite the circumstances of 2020, particularly on cinema releases and physical festivals, there have still been a huge number of films worth celebrating. Plus, with all of the things we’ve all been denied this year for our safety and the safety of others, why not celebrate a few more. So instead of a top 10, here’s another top 25 of my favourites for 2020. Due to the way festival releases work, there’ll be some films on my 2019 list that were on wider release this year so any glaring omissions could be down to that. Other glaring omissions will be either a matter of personal taste or a genuine memory failure – I’ve yet to stop tutting at myself for forgetting Jennifer Kent’s The Nightingale last year. Where I’ve previously reviewed a film, the title will link to my review.

On the subject of honourable mentions, I’ll throw in Eurovision, The Stylist, Relic, The Dark and The Wicked, The Lodge, Come True and the incredibly difficult to watch but important Welcome to Chechnya.

25. Nail in the Coffin: The Fall and Rise of Vampiro

The first of the documentaries on my list, Nail in the Coffin followed the evolving life of wrestler Vampiro as he negotiated injury, parenting and his work in front of and behind the camera. An incredibly human documentary, both thoughtful and thoroughly engaging.

24. Small Axe: Mangrove

There may be debate around if the five films that make up Small Axe should be considered in the running for television or film lists. To be honest, I’m less concerned with any of that and more concerned with the overall quality of film-making from Steve McQueen. Mangrove hit hardest for me with its sense of urgent, breathlessness in the fight against unfair persecution.

23. The Invisible Man

Genuinely one of the most stressful experiences I’ve had while watching a film and I watched at home (having missed the cinema screenings prior to the first lockdown), so I can’t imagine the panic I’d have felt in a cinema. Elizabeth Moss excels and Leigh Whannell’s use of negative space is unmatched.

22. Disappearance at Clifton Hill

A film that embraces the dark side of magicians, ramps up the unreliable narrator tension and invites a host of strange characters and settings to create an absorbing thriller that unfoots the viewer as often as it puts them back on track.

21. Host

Horror films have always picked up on the status quo, societal concerns and have also embraced technology as a medium for providing further scares. Lockdown Brit-horror Host ticks all the boxes, situating its naturalistic characters on a Zoom séance that allows them to play with filters to excellent effect. All this contributes to a film that I jumped at regularly and had a very fun time with.

20. Feels Good, Man

At first glance a documentary about Pepe the Frog hardly sounds like the most engaging topic, but the journey that Matt Furie’s creation has taken is truly a modern cautionary tale about artists losing control of their creation. An alarming snapshot of the worst side of the internet and how that bleeds into very real movements, you’ll be struck by Furie’s gentle nature and how unthinkable that so much meaning can be drawn from one frog.

19. Benny Loves You

A definite hit at FrightFest’s October online edition, Benny Loves You is a completely joyful, lovingly crafted story about giving up childish things and the chaos that follows when they refuse to go quietly. I only hope that we get a full screening of this one day as it would be even more joyful to watch along with an appreciative crowd.

18. The Swerve

Placing The Swerve next to Benny Loves You seems absurd, given how totally tonally opposed they are, but this speaks to the variety of films that can be included under the horror banner. The Swerve includes a heart-breaking, shattering performance from Azura Skye as a put-upon mother who begins to crack under the sheer weight of being so underappreciated. An absolute gut-punch.

17. Kriya

A rattling critique of traditional gender roles set against a subversion of death rituals, Kriya stands apart with an incredible soundscape and feels genuinely subversive in the best kind of way.

16. His House

Launching on Netflix on Halloween, it feels like His House has been somewhat forgotten, which is a shame because as a study of trauma and guilt it is exceptional. Director Remi Weekes punctuates the challenges of two refugees arriving in the UK with flair, including dreamlike and startling sequences that pack a punch.

15. La Llorona

La Llorona, like His House perfectly utilises horror as a metaphor for social injustice, focusing on the trial and aftermath of a dictator accused of genocide. The film expertly crafts traditional scares but the scariest thing of all is the rest of the family coming to terms with the sins of their patriarch.

14. Parasite

I could hardly believe that Parasite was released this year when I looked back, but this dark comic class drama was definitely deserving of all the hype it received. Even more wonderful was watching Bong Joon-Ho thoroughly enjoy his time at award ceremonies as the film was continuously celebrated.

13. Rose: A Love Story

So many of 2020’s films seemed to focus on isolation and frosty relationship drama Rose was a particularly well realised take. Rose’s curious medical condition, her husband’s need to protect her and the toll it takes on their relationship makes for a slow-burn, melancholic horror that draws you in at every moment.

12. The Other Lamb

Frequently uncomfortable but totally mesmerising, The Other Lamb‘s study of a woman on a path of self discovery in spite of her position in a cult with an intense male leader. Raffey Cassidy and Michael Huisman both turn in superb performances that constantly feel on the cusp of something explosive. Stunning.

11. The Long Walk

Meditative, beautiful with an eye for small details this time-travel, serial killer film is immensely moving and packs a punch without needing to telegraph or over-explain anything. An excellent performance by a very young Por Silatsa is a particular highlight.

10. Swallow

Stylish, retro domesticity gives way to something far more empowering in Swallow, featuring a powerhouse performance from Haley Bennett as a woman who starts to swallow dangerous objects as a means of taking back control of her life. An incredibly brave film that follows through on the convictions it lays out.

9. Death Drop Gorgeous

This slasher gem set in the world of drag has plenty of sharp objects, but none as sharp as the barbs the performers throw at one another. Throwing in hagsploitation and a truly killer segment full of style this is definitely one to watch.

8. Make Up

Caravan park chills abound in this film of queer awakenings as Ruth (Molly Windsor) goes in search of the owner of a mysterious red hair in her boyfriend’s bedroom. I have never experienced a film that so expertly recreates the experience of realising you may not be straight and director Claire Oakley deftly weaves an intimate search for identity.

7. She Dies Tomorrow

While a film about a pandemic spread by anxiety may not sound like ideal viewing in an actual pandemic, Amy Seimetz’s exploration of coming to terms with death has a darkly comic streak and an incredible, standout performance from Jane Adams that makes it feel poignant for those who have suffered with anxiety and the various other emotions it sparks.

6. Synchronic (Director’s Cut)

Look, I’d have Synchronic on my list every year if I could, especially as it was number one on last year’s list, but it definitely isn’t cheating as Glasgow’s FrightFest event brought a new, director’s cut of the film to my very weepy eyes. The new cut improves upon the original version without losing any of the heart or impact of the initial one. The film is finally released in the UK by Signature Entertainment early in 2021.

5. You Cannot Kill David Arquette

A heart-warming, exhilarating documentary about David Arquette that speaks to his amazing resilience, incredible spirit while being almost woundingly open about his failings. An ultimately joyful film that celebrates those who work hard, have a good heart and wear their feelings on their sleeves that will ultimately result in an equal amount of laughs, awe and tears.

4. Lucky

One of few films I was grateful to see at home, rather than in a public cinema because this one really made me sob. Natasha Kermani’s piercing satire of how women negotiate day-to-day life felt like a rallying cry to anyone who has ever sat and wondered why they have to justify any of their choices. Packed with power, style and horror woman of the year Brea Grant, this was an excellent way to cap off the October edition of FrightFest.

3. Possessor

Brandon Cronenberg’s hypnotic exploration of autonomy, free will and surveillance contains a sex scene that I’ve been totally unable to remove from my mind since. The mental and physical metamorphosis undertaken in this film is totally incredible. Yes, the violence is blistering, but I keep returning to think about Christopher Abbott and Andrea Riseborough’s performances more than that aspect. Sophisticated, stylised and confident.

2. 12 Hour Shift

Funny and sardonic, born of 1990’s urban legends, shot with some of the best fluid camera work and even managing to pack in a breath-taking musical number. Chloe Farnworth, Angela Bettis and Nikea Gamby-Turner all turn in accomplished performances that push forward this dark farce into increasingly fun, but no less heartfelt territory. Brea Grant’s writing and directorial talents really shine.

Saint Maud

Yes, perhaps no surprise that a film I managed to see in the cinema takes the top spot. An incredible study of decline into mental illness with a religious edge. Morfydd Clark is totally stunning, delicate but unhinged. As a debut feature, Rose Glass has come out swinging and I cannot wait to see what is in store for her next.

Fantasia 2020 Picks

Fantasia Festival has gone online for the 2020 edition (August 20th to September 2nd and geolocked to Canada) but there is definitely no cutting back on the line up. Two waves of titles have already been announced, with the full schedule due on August 6th. I am absolutely thrilled to be able to cover this festival and will be bringing as many reviews as I’m able to. Until then, here are a few of my picks from the first two waves of announcements which will likely be updated again after the final schedule is up.

THE CURSE OF AUDREY EARNSHAW

Also known as The Ballad of Audrey Earnshaw, my main excitement for this one comes from the brilliant Catherine Walker in the cast as Agatha Earnshaw . Her performance in A Dark Song was incredible and I can’t wait to see more of her work. Starring Jessica Reynolds as the titular Audrey, The Curse concerns a mother and daughter accused of witchcraft by their rural community. With comparisons to Hereditary, I’m already on board.

KRIYA

Promising hallucinatory imagery and subversive rituals, Indian film Kriya has potential to be an impactful experience as a young DJ (Noble Luke) is approached by Sitara (Navjot Randhawa), a beautiful woman who needs his help to fulfil her duties to her father. Rituals offer an exciting opportunity to unleash fantastic imagery onto the screen and I’m excited to see what unfolds.

COME TRUE

The exploration of nightmares and the kind of imagery that can provide is undoubtedly one of my favourite things in the horror genre. Come True features Sarah (Julia Sarah Stone) entering a University sleep study to try and gain control over her nightmares. With big names like Vincenzo Natali involved in producing and whispers of ‘elevated genre’ (I know, I know) being thrown around, we could be hearing a lot about this one.

SPECIAL ACTORS

After the huge success of One Cut of the Dead Shin’ichirô Ueda’s next film was always going to be one to watch. Focused on a young actor who faints at the first sign of stress who joins an agency for stand-ins at important events. Soon he is called to infiltrate a cult and things spiral from there. Hopefully, Ueda brings the same playful tone and meta production of One Cut to this new story.

LUCKY

The first Brea Grant-involved entry on this list, I feel like I’ve been waiting to see Lucky for years. With Grant taking on writing and acting duties and Natasha Kermani directing, this female-focused film about a woman who takes matters into her own hands when she is stalked is one of my most anticipated films. Early publicity shots featuring Grant, a lot of blood and a roll of packaging tape hint at a suitably grisly affair.

12 HOUR SHIFT

Another of my eagerly anticipated films is 12 Hour Shift. Brea Grant takes on writing and directing duties in a story of organ-harvesting at a hospital. Starring indie-genre favourite Angela Bettis, accompanied by performers like David Arquette and Mick Foley this dark comedy is definitely one to take to heart, before it takes yours.

A MERMAID IN PARIS

Based on a book written by director and writer Mathias Malzieu, A Mermaid in Paris is one of my softer picks. The imagery looks rich and certainly fantastic around a central romance between a man and a mermaid. To be honest, a mermaid-based musical needs attention, even if it doesn’t appear to be one of the darker entries to the festival.

DETENTION

Films adapted from video games are a mixed bag, but this Taiwanese film set in 1962 surrounding the limits placed on free speech and banned books sounds like a fascinating exploration of a regime that enforces restrictions. A feature debut for director John Hsu, this feels like an important film.

THE COLUMNIST

A dark comedy, The Columnist features a columnist (Katja Herbers), who is bombarded with death threats and other unpleasant messages through social media. Finally, having hit her limit, she starts to move from behind the keyboard to face her tormentors. Another film with early publicity shots featuring the protagonist covered in (presumably) someone else’s blood, that has caught my attention.

These are just a handful of the fantastic lineup being offered by Fantasia this year. Check out their website for more information: https://fantasiafestival.com/en/festival-2020

Synchronic

This review has been compiled from the earlier review from BFI London Film Festival 2019 and the later, Director’s Cut. The second cut is the one available via Signature Entertainment.

Synchronic is a beautiful, human-led science fiction tale that uses its concept and characters to create an impactful, emotional and incredibly interesting piece of work.

Synopsis: Two New Orleans paramedics’ lives are ripped apart after they encounter a series of horrific deaths linked to a designer drug with bizarre, otherworldly effects.

I’ve often found it difficult to truly connect with a lot of sci-fi and much of that is down to having experienced many films within the genre that try too hard to impose increasingly complex rules, which inevitably distract me from the central story. Happily, Synchronic sets up its rules in a way that is both simple to understand as well as entertaining and then continues with the story. The actual mechanics of how a synthetic drug results in what happens within the film feels unimportant because the surrounding package is just so engaging.

Instilled with a refreshing rejection of nostalgia and a huge amount of affection for living in the moment and the importance of life itself, Synchronic is deeply emotional, but doesn’t forget a sense of humour and adds some genuinely chilling moments throughout. Directors Justin Benson (also taking on writing duties) and Aaron Moorhead have never been short of ambition in their films despite relatively low budgets and so it is wonderful to see them given more money to express themselves. Hallucinogenic sequences are beautifully realised and some have a really magical quality before the reality behind them is realised, revealing a skill for injecting jolting moments of horror. Early scenes where paramedics Steve (Anthony Mackie) and Dennis (Jamie Dornan) are sent on jobs have a chaotic quality but they also have a soft-focus, almost hazy presentation which is very effective.

Anthony Mackie and Jamie Dornan have excellent chemistry. Anyone familiar with Benson and Moorhead’s previous work will immediately resonate with the representation of genuine male friendship that is punctuated by sparky, often comic dialogue. Mackie is given more of a journey throughout the film and he is a compelling and likeable screen presence. Dornan is secondary but plays his role with a necessary vulnerability and the interactions between the men work incredibly well. Outside of the many stunning sequences and set pieces, Synchronic is ultimately a film which cares about life and the people within it so it is really important that the pair have such a believable connection.

Synchronic is a fantastic, beautiful and affecting piece of work which produces a thought-provoking and moving experience about life, sacrifice and the way we think about time. It provides a host of emotional beats alongside striking narrative moments showcasing Benson and Moorhead’s talents for creating big, thoughtful genre pieces.

The opportunity rarely presents itself to see a film multiple times within a festival setting before the release of the film so I count myself incredibly lucky to have seen the original cut of Synchronic three times. Initially, the idea of a new cut concerned me – my original review highlights just how much I loved it, but the latest version furthers numerous themes within the film and adds to its power. As a result, this review will focus more on the details that have caught my attention through further viewings. There are no spoilers, but there are details that some may prefer to avoid if they have yet to see the film.

At the Glasgow FrightFest Q&A following the screening, director/writer pair Aaron Moorhead and Justin Benson revealed that they had paid for recutting the film – an incredible statement of intent which shows how important it is for them to tell their stories in exactly the way they wish to. It would be excellent to see both versions on an eventual physical release, especially as the film’s visuals lend themselves to glossy artwork and is likely to inspire numerous essays on both the way the film came to be and the themes within the film.

The way that time travel is used within Synchronic is excellent in how simply, but effectively the concept is conveyed. A moment where a vinyl record is held up, displaying that all possible tracks are already present waiting to be selected by the needle says all it needs to say about the film’s view of time. Time is contradictory within Synchronic, permanent, always there, yet with flexibility, that means nothing is static. This is sci-fi with a lot of thought behind it, including name-checking numerous big thinkers and concepts without needing to lord those facts over the audience and turning it into a reading list, although the information is there should anyone want to pursue the influences.

However, Synchronic is more about how humans use and think about time, history and their past. A scene in which Steve (Anthony Mackie) and Dennis (Jamie Dornan) speak to one another, highlighting the importance of time together even when drinking sub-standard beer is at once achingly beautiful and empowering about life within a moment, rather than a celebration of nostalgia. There are other nods to the ways that people use history to create new art and movements, based on innovators from the past. A conversation in a strip club (notably without many strippers in view, constructing it as a space for male conversation and connection rather than anything sexual) references Redman’s Syrinx sampling Claude Debussy’s flute composition of the same name. Debussy’s Syrinx plays in another scene, furthering the idea that we are constantly involved in a process of discovering and reappropriating art and ideas to suit our modern world. Nothing is ever truly gone: it has its own life and then the life that other people also give to it.

The director’s cut makes much more of the unique setting of Louisiana in terms of invoking its history and more recent past to display the changes the area has gone through. With American history considered relatively young, the variety of cultural, religious, legal and geographical influences that have impacted upon Louisiana lend it further meaning. In choosing Steve as the character to explore more about the phenomenon related to the drug, racial elements are also brought to the fore in a way that highlights both past prejudice and continuing struggles for African Americans. Aaron Moorhead’s cinematography stunningly packages the environment, resulting in an immersive experience, even when some of the events might make some want to look away.

With all these deep themes it would be easy for Synchronic to become an intellectual pursuit, but the core cast and the continuous emphasis on humanity at the centre of it all makes the film a highly emotional and deeply thoughtful work. The cast deserves praise for this, as does the scripting, creating interactions between characters that feel real, thanks to an emphasis on naturalistic, frequently witty conversations that convey their intimacy.

There is a joy in seeing a film that is a more complete version of what the film-makers want to show you. The director’s cut of Synchronic is certainly that – expanding its world, themes and character motivations without losing any of the heart that makes it such compelling and emotional viewing.

Signature Entertainment presents Synchronic on Digital Platforms 29th March and Blu-Ray & DVD 5th April.

Synchronic (2019) Review

Since this review was written, a director’s cut of Synchronic has been released and text from this review added to that longer piece – please see this review.

Synchronic is a beautiful, human-led science fiction tale that uses its concept and characters to create an impactful, emotional and incredibly interesting piece of work.

Synopsis: Two New Orleans paramedics’ lives are ripped apart after encountering a series of horrific deaths linked to a designer drug with bizarre, otherworldly effects.

Dark Encounter (2019) Review

Dark Encounter uses the lens of a personal tragedy to create a film which at first seems simplistic and all too familiar, but soon morphs into something far more interesting.

Synopsis: A year after the mysterious disappearance of an 8 year-old girl, we meet her grieving family as they return home from her memorial service in their small town. Later that evening, strange lights appear in the nearby forest and the family is exposed to an inexplicably strange phenomenon that rattles them to the core. The origin of the lights appear to be visitors from another world that seemingly terrorise the family.

If, like me, you can largely take or leave sci-fi elements in your horror a decent stretch of Dark Encounter might feel like a bit of a trial. However, even for those who feel that way, I would recommend sticking with this one. Without veering too far into spoiler territory, this is a film which very much plays with viewer expectations and knows its genre (and subgenres) well enough to be able to pull off a change that would seem too severe if done clumsily. Happily, Dark Encounter manages this change with ease and it is easy to be swept along.

The element that most impressed me within the film was the use of light. Torch light, car headlights and other sources of illumination are confrontational – placed full focus on the screen and the effect of this as a viewer is that you are frequently dazzled by the intensity of them. This dazzling puts you in the same position as the family and it genuinely feels like you too, are caught in the experience.

Some of the later stylistic choices too are very impressive and evoke this sense of closeness to the central family. This is furthered by a emotionally-heavy performance by Laura Fraser as Olivia – the grieving mother at the centre of the tale. The film also boasts a rare non-comedic performance by Alice Lowe. This is a UK film and so the decision to set the action outside of Britain and have the whole cast take on accents seems like a strange decision, but the performances work well enough.

The word that keeps returning to me about this film is graceful. It handles it’s initial direction in a kind of by-the-numbers way but the journey it takes, despite being a departure feels very smooth. It very carefully weaves its narrative so that the louder, more energetic start gradually slows to something more quiet and subdued. In fact, the film boasts some very impressive scenes that are almost entirely silent which really offer the film a great deal in terms of atmosphere.

For anyone looking for a film that shows how powerful playing with genre conventions can be, Dark Encounter is definitely worthy of your time.

My rating: 4/5 stars – ****/*****

Signature Entertainment releases Dark Encounter on DVD & Digital HD 21st October 2019 with Frightfest Presents.

SCI-FI-LONDON Preview

The Sci-Fi-London Film Festival kicks off tomorrow for eight days of exciting sci-fi film and related experiences (May 15th-22nd). The event promises a range of films, filmmaker networking sessions, VR experiences and even a dog cosplay event!

The event is showcasing a range of films, including shorts, documentaries as well as several Sci-Fi films with a horror or experimental edge, so there is bound to be something for everyone.

The festival opens with the UK premiere of Perfect, promising some outstanding and shocking scenes.

Synopsis: A film that sends us tripping into a Science fiction world like no other. It is unclear if the young man (Garrett Wareing) has committed the horrible crime, but his mother (Abbie Cornish) sends him to a luxurious retreat full of beautiful hedonistic people for therapy. He will receive an experimental treatment to cure his ills and discover his true self. His mother has been there, but does she want to help him become ‘perfect’?

The closing film on May 22nd is the World Premiere of The Rizen: Possession, featuring a number of actors who might normally be associated with comedy (namely Sally Phillips and Adrian Edmonson) taking a more sinister turn, although not leaving their wit behind entirely. The sequel to The Rizen looks to be a suitably crowd-pleasing festival finish.

Synopsis: In 1955, NATO and the Allied Forces conducted secret, occult experiments in a bid to win the Arms Race. They succeeded, but what they unleashed almost tore our world apart and sent a human through a portal to somewhere very alien. This was the story of THE RIZEN, our closing night premiere in 2017. Come forward to now, and a group of urban explorers is exploring the abandoned bunker. But will they and a private military unit sent in after them, become the final pieces in a 60-year plan to reopen a door that should have stayed closed.

If watching films isn’t for you, then definitely check out Hackstock. While it is a free event, you’ll need to register in advance to receive your entry password. The organisers are promising that attendees will be “tripping out on mixed reality, holograms, mind control and more…”

The standout attraction for me has to be SCI-FIDO – a cosplay competition for dogs, hosted by the wonderful Bunny Galore in aid of charity All Dogs Matter. Owners will have their dog photographed for free by Dogstar Photo with the winning entry getting to take home a goodie bag and the professional photo of their dog. I so wish I could make it to this!

Stay tuned for Scared Sheepless reviews of:

After the Lethargy on 17th May after it shows on 16th May at 6.20pm at the Prince Charles Cinema

and

Shed of the Dead on 17th May before it premieres on 18th May at 9pm at the Stratford Picturehouse (with a Q&A)

Find out more about Sci-Fi-London at their website where you can still buy tickets to join the fun to see some new, emerging Sci-Fi and take part in some excellent extra events too.