The movie is directed by Zackary Drucker, a trans storyteller and prominent documentarist, whose background enables her to see both women through the lens of someone who has endured similar issues and has felt similar happy moments in personal life and career, thus making ‘Enigma’ feel more grounded and natural.
Ashley talks about her childhood during World War II in Britain, growing up in a blue-collar family, having a Royal Navy sailor as her father, and sharing the household with 9 siblings. Ashley’s narrative shows how difficult it was to navigate her blossoming identity during those days. The Black-and-White photos, alongside the editing and narration, reinforce how grim such a childhood could be. Ashley’s upbringing feels like a queer Charles Dickens tale.

The film transitions to the Le Carrousel de Paris cabaret in 1950s France, a club featuring crossdressers and later transwomen performing in shows. For years, Le Carrousel was one of the most disputed spaces in Parisian nightlife, visited by the likes of Josephine Baker, Edith Piaf, Salvador Dalí, and Elvis Presley. It was there that Ashley found solace and a “home” after being discharged from the British Merchant Navy. It was also the place and time when she became acquainted with Peki d’Oslo, a male-born art student who started performing at the club, and Ashley took them under her wing.

The ‘Enigma’ circles the claim that Peki d’Oslo was Amanda Lear’s previous identity, a claim Lear denies. However, Ashley exposed it in her memoir and in the interviews featured in this documentary. The vivacious Lear is evasive when talking about her past before modelling in the UK and enjoying a successful musical career that started in 70s France, during the high days of Disco Music.

On the other hand, post-Le Carrousel, Ashley had a renowned career as a Vogue model until being outed in 1961, an event that unravelled through a public and embattled divorce with her husband in 1970, infused with societal shaming and the judge declaring her sex as “male,” thus setting the standard to defining trans people’s sex in the UK after their birth sex. Ashley would take part in many public interviews to clarify about her case and identity, and became one of the country’s trans rights beacons.

Ashley had a life of glass ceilings and roadblocks; still, she became part of London’s gastronomy circuit with a successful restaurant, and the legal precedent started with her divorce case was overturned decades later by the UK’s Gender Recognition Act of 2004, allowing trans people to change their sex on their birth certificate. On the cusp of her 70th birthday, Ashley was able to change her legal gender.

Zackary Drucker conducts interviews with Ashley and Lear. Meanwhile, Canadian London-based trans historian and activist Morgan M. Page interviews two of Ashley’s colleagues from the Le Carrousel de Paris, Bambi (Marie-Pierre Pruvot) and Dolly Van Doll (Carla Follis), as well as burlesque artist and advocate Allanah Star, a protégé of Bambi. The veterans also tell their own stories of struggle and victories; they also attest that Lear was part of the roster of performers. Still, Lear rebukes such claims with conviction, but remains elusive about her background and connections. Throughout her career, she gave different answers when talking about her past, which makes her a compelling character.

The identities behind the names and trans walks of life

The alleged trans identity of Lear is considered an open secret within the LGBTQIA+ community and Parisian society, which is not a progressive safe haven for trans people. Still, it is less conservative than other European nations and the US. It is hard to imagine a trans singer achieving the success Lear had if they came out to the public.

Lear enjoyed a bustling life, having connected with the likes of surrealist painter Salvador Dalí and musicians David Bowie and Rolling Stones guitarist Brian Jones, not to mention that Lear was a successful Paco Rabanne model. Those from Le Carrousel attest that Peki d’Oslo was her stage name, while Amanda Tap was how she identified in daily life. Through a marriage with a British architect in the 60s, she became Lear.
To this day, Lear denies knowing Ashley, let alone being close friends. Drucker sees in Lear’s stance a survival strategy employed by many from the trans community. Nevertheless, Lear’s songs may allude to her real identity. Her 1980 song “Fabulous (Lover, Love Me)” has the subjective lyrics: “Surgeon built me so well nobody could tell that I once was somebody else.”

It is interesting to see in ‘Enigma’ the relation between birth, current, and artistic names that all those involved in this documentary have, and how this translates into how rich and complex each of their personalities is.
Nonetheless, the documentary shows how journalists can be vultures in their attempt to sensationalise trans lives while not regarding the societal and psychological trauma they are inflicting on interviewees and other trans people. After their “work” is done, they will move out to the next story, while others have to swallow the harrowing aftermath. But when Ashley approaches such identity, it feels more like showing other members of the community and outsiders how bright they can shine.

Drucker brings a respectful yet down-to-earth eye to Ashley and Lear. While Ashley is the archetype of a serious activist for trans rights, Lear is the charismatic star with an interesting juggle between identity and public presentation. Page’s interviewees add by further showing how difficult it is to thrive in society, in a time when trans women would change towns or even countries and present themselves as a cisgender born woman to live a peaceful life, thus neglecting their identity, as is told by Pruvot.

It is through Drucker’s eyes that these parallel life stories are told, and Drucker brings gravitas to the film while not falling into the condescending traps that ooze through the cracks or into out-and-loud advocacy. We see these situations when such characters are approached by those who aren’t from the community and lack common sense.

Though I believe some outsiders can bring a humane, crafted look to a specific community, and they should be encouraged to do so, a significant example is the late Brazilian documentarist, Eduardo Coutinho. Still, Drucker’s sensitive approach is part of what makes this story unique. Drucker has directed before the competent ‘The Lady and the Dale’ about trans-American automobile executive Geraldine Elizabeth Carmichael and her dark entrepreneurial story. Drucker can show light-hearted moments and others that are heavy; therefore, she never paints the queer community as one-dimensional characters nor makes propaganda. Drucker is a committed professional, and ‘Enigma’ is a fascinating portrait of transgender life and the times of Ashley, Lear, and others like them.

The post HBO’s ‘Enigma’ is a Layered Look at Defiance and Identity Among The Trans Women Community appeared first on Big Picture Film Club.

Following our 2025 collaborations with partners including Citibank, Clyde & Co and Covington, we are continuing to work with major UK companies on an internal screening programme designed to support DEI, wellbeing and awareness-led conversations in the workplace. These events pair films with educational discussion, often including live or virtual Q&As, to help organisations engage staff in a more meaningful way.

We are now inviting filmmakers to submit films for consideration.

We are primarily looking for educational short films, ideally 15–30 minutes in length, although we will consider longer works if they can be edited into a shorter version. We are especially keen to hear from UK-based filmmakers who have films that align with key UK awareness themes, including Mental Health, Disability & Accessibility, Neurodiversity, Women & Gender Equity, LGBTQ+ Inclusion, Race & Ethnicity, Workplace Inclusion, Environment & Climate, and Community & Belonging.

Films can be in post-production or currently on the festival circuit. Private Vimeo or YouTube links are welcome, though we are generally not seeking films already freely available to the public. If filmmakers or cast members are available to take part in in-person or virtual Q&As, that is a major plus.

To submit, simply complete the form below. If your film is a fit for one of our partners, we will be in touch. Rights holders will be paid for any screenings, and filmmakers will retain full ownership and control of their work. We are not acquiring films for distribution — we are creating new opportunities for them to be seen.

The post Short Film Submissions Open for Big Picture Film Club’s New Corporate Screening Programme appeared first on Big Picture Film Club.

Created by Big Picture Film Club with matchmaking service Introducing Two, Film & Flirt mixes speed-friending, themed games and casual conversation with an independent rom-com screening. The first event takes place at Genesis Cinema on Tuesday 14th April, with more dates planned through the summer.

The series is aimed at singles feeling the effects of “swipe fatigue.” Research cited by the organisers says 78% of dating app users feel burned out, but keep swiping because they don’t know where else to meet people.

“Many dating apps have left people exhausted and disconnected,” said Urvisha Patel, creator of Film & Flirt and co-founder of Big Picture Film Club. “We’re creating a space where you can meet someone face-to-face, over drinks, with no algorithms involved.”

The film screening for the first event will be the British romantic comedy Due Dating, a 90-minute feature that follows Cherry, a young woman determined not to let pregnancy derail her dating life, and Cole, a blogger trying to better understand modern relationships. With the tagline “Young, free…and pregnant,” the film explores love, timing and the unpredictable ways people connect.

By pairing social matchmaking with independent cinema, Film & Flirt aims to create a space where conversation and connection come first — while also introducing audiences to new films.

The post Film & Flirt: The IRL Dating Event Ditching Apps for Rom-Coms appeared first on Big Picture Film Club.

HBO’s miniseries ‘Task’ is one of the best TV shows from 2025. It was created and written by Brad Ingelsby, who made the acclaimed ‘Mare of Easttown.’ The series has shades of Michael Mann’s crime drama classic ‘Heat’ (1995) in how it depicts Robbie and his crew on equal footing with Tom and his agents, making both main characters troubled men with honourable and likeable traits, and showing how their crafts can be similar to each other.

‘Task’ gives Tom Pelphrey the role of a lifetime, who gives humanity to Robbie, a man who can be at the same time vengeful and endearing, showing many layers according to his plans and interactions. Ruffalo is one of the finest actors working today, and ‘Task’ is another opportunity to confirm his position among his peers. Brandis is a middle-aged man who has a body beaten up by years of desk work and stress, who finds some “solace” in alcohol, and is still haunted by his time as a man of faith. Both actors and characters show different sides of being a father, male vulnerability, and the need to rely on friendship.

The show also presents how the dangerous lives of cops and criminals can take a psychological toll, as happens when a group of law enforcement agents enters a suspect’s house. One of them freezes in the middle of the action, leading to questioning of their own calling to serve and protect, displaying the human side behind the badge. ‘Task’ also portrays how unforgiving and nihilistic the underworld can be to criminals and to the innocent, as there is no safety net for the characters or the guarantee that they will make it to the end of the story.

‘Task’ is a physically demanding narrative, too. Before being an actor, Mark Ruffalo was a wrestler in his teenage years, and this art of combat comes to the screen in a visceral and dynamic scene. Thuso Mbedu (The Woman King) shines in her action scenes as she plays a no-nonsense cop. In training sessions that she goes under personal trainer Gabriela Mclain, the same one who trains Viola Davis, helps to bring gravitas to her body language and movement, showing how important trainers and stunt coordinators are for this industry. Mbedu’s characters in ‘The Woman King’ and ‘Task’ have very action-oriented scenes, but they are very different personality-wise, showing that Mbedu is a very talented drama actress who we can expect to see in other major productions.

The series also features a cast of high-level professionals who help humanize and tell the story, which makes the viewer care for them and their motives, or loathe them. The cinematography stands out by showing rural environments and green landscapes that distance ‘Task’ from the clichéd nighttime modernist and art-deco buildings in noir stories. The miniseries is the proper format to tell this layered story that would have to be cut if made into a movie or would drag and have narratives and characters that didn’t need extra time if turned into a regular series with endless spin-offs; therefore, the experience we gained is more enjoyable.

The post The “Task” of Telling A Great Crime Story appeared first on Big Picture Film Club.

Boxing movies love a comeback story, but Unlicensed aims its punches somewhere more specific than the usual underdog arc. Written, directed by and starring Mark Hampton, the British indie drama follows disgraced city broker Danny Goode, a man who’s fallen a very long way in a very short time. After serving time for insider trading, Danny walks out of prison to find the City has moved on without him. The money’s gone, the status is gone and his relationships with his estranged wife and young son are hanging by a thread.

Short of cash and hiding a growing gambling addiction, Danny spots a fast way out: an unlicensed boxing match with a hefty cash prize. It’s a terrible idea – which, of course, is exactly why a man on the edge takes it.

Gambling as the Real Opponent

Hampton has said he wanted to “do a different take on the traditional boxing movie,” swapping the rags-to-riches fantasy for a story about what happens when a man whose life is built on risk suddenly runs out of safety nets. Having worked in the City himself, he channels that world’s high-stakes, win-lose mentality into Danny’s secret habit.

“Danny’s an addict. That’s the real battle he’s fighting,” Hampton explains. “Like so many addicts, he hides his addiction even from himself – it’s only when he starts to open up about it that his journey towards redemption can really begin. Danny’s biggest fight isn’t in the ring.”

The timing feels pointed. Recent UK figures suggest tens of thousands of young people are already experiencing gambling harms, with knock-on effects at home, at school and on mental health. Unlicensed folds that reality into its character study, asking what happens when a culture of “just one more bet” collides with family responsibility.

One Shot at Redemption

Visually, the film leans into sweat-slicked gyms, cramped locker rooms and the almost claustrophobic intimacy of the ring. Behind-the-scenes shots show Hampton taking a real pounding as both performer and director, surrounded by a small, focused crew. The boxing itself is brutal but grounded, a physical extension of Danny’s internal spiral – every round another attempt to punch his way out of the corner he’s backed himself into.

Underneath the bruises, this is a story about priorities. Hampton, a father himself, frames Danny’s arc as a shift from material success to emotional accountability: learning that the real win isn’t the purse, it’s whether he can show up for his son.

A British Indie With Something to Say

Based in Cambridge, Hampton is no stranger to the screen – with recent appearances in Heads of State (Amazon Studios), Lift (Netflix) and One More Shot (Sky Cinema) – and has picked up awards on the festival circuit for both acting and directing. Unlicensed extends that run into feature territory, premiering at the London Independent Film Festival, with packed screenings in Cambridge, Soho and at London’s Genesis Cinema.

“LIFF has been a champion of independent cinema for many years and gives emerging filmmakers a fantastic platform,” Hampton says, crediting the festival and the Genesis team for backing a film that tries to do more than just stage a good scrap.

Where to Watch

Unlicensed is available now on VOD, including iTunes, Google Play, Amazon Prime Video and Rakuten, with the trailer streaming via Britflicks. For fans of character-driven boxing films like The Fighter or Bleed for This – and anyone interested in how gambling culture seeps from trading floors into living rooms – this British indie might be worth going a few rounds with.

The post Unlicensed: The British Boxing Drama Punching Back at Gambling Culture appeared first on Big Picture Film Club.

Indrani Pal-Chaudhuri’s short film ‘Reunited’ (2023) doesn’t hold back and gets out of the gates with a powerful start, stating its message against domestic violence and abuse perpetuated against women and children who immigrate to other countries to flee from abusive husbands and fathers. The story shows how flawed the Hague Convention is, which is a series of treaties and conventions that should protect those under abusive paternal figures.

‘Reunited’ is produced by White Ribbon USA nonprofit, with the Hague Domestic Violence Project at Berkley, and makes a strong point contesting the Hague Convention on the Protection of Children and Co-operation in Respect of Intercountry adoptions. The Hague Convention should operate to safeguard women and children who have lived traumatic experiences and are fleeing their abuses, still it is still flawed and allows them to return to the place they are trying to leave.

The White Ribbon USA-supported film states in an onscreen message that: “Under the Hague Convention, women and children refugees from domestic violence are being sent back to the dangerous men from whom they fled. This film presents a 2014 case: California Courts sent a Ukrainian refugee’s 3-year-old son back to an abusive father, despite acknowledging child and mother faced a ‘grave risk.’” These words make ‘Reunited’ even more chilling to absorb as they show what life is like for these broken families.

The short film features outstanding acting from Helena Howard, a ranged actress who was praised for having one of the best performances of the last decade by IndieWire and The New Yorker. Howard, who conveys pain and desperation as the mother trying to make ends meet in Los Angeles while barely speaking English, while also trying to hide her stress with sweetness from her son, Andriy Volesky, played with eagerness by child actor Jaden Joyner, who is convincing in the role.

The talented Reeve Carney plays the violent father, and director Indrani brings the best out of him to conceive a villain that hides his darkness under politeness and angelical looks, which makes him even more terrifying and someone who would fit in the world of David Cronenberg’s ‘Eastern Promises’ (2007). Other members of the cast also have sparkling turns by dancer-turned-actress Carlene Britch playing Arina’s roommate and main supporter, Maria Lopez, and ‘Superman’s (2025) Edi Gathegi as Arina’s lawyer Matthew McConnell, who gives her a stern but realistic scenario of her changes of avoiding her former husband.

Indrani, before becoming a film director, was an acclaimed photographer who moved up the ranks and directed videos for David Bowie, Beyoncé, among others. Indrani’s accurate eyesight comes into cinematography as she uses the environment to tell the tale in an intriguing way that deepens the story and the feelings those characters are dealing with or trying to convey to others. While Lopez’s house may be a humble residence, it conveys a sense of safety; on the other corner, Volesky’s mansion is a symbol of dominance and oppression, and the public buildings can feel more like dungeons than places that hold institutions to help those in need. Indrani also knows how to subtly incorporate the subjects of race, nationality, and gender in ways that are missed in modern cinema.

‘Reunited’ was released in 2023, but it resounds even more today, considering the push back on women’s rights and the anger towards immigrants that we are seeing around the globe, making it a recommended material for Law Schools, Human Rights organisations, activist groups against child and women abuse, and so on. ‘Reunited’ also has the characteristics of becoming a major live-action feature film or prestige TV series.

The post The powerful story of ‘Reunited’ stands against an international law that shields abusive husbands and fathers appeared first on Big Picture Film Club.

‘The Vile’ takes a different turn on the troupe of the third person that inserts themselves into a structured marriage, as seen before in the figures of the babysitter, the seductress coworker, or the stepmother. The picture depicts a local culture that allows a man to marry more than one woman, enabling this mysterious figure to enter the household of the father, mother, and their daughter, all with the excuse that the patriarch wants a male heir. In fact, everything is balanced, and they had a happy life, but papa is a greedy rolling stone.

Amani (Bdoor Mohammad) sees her status being ripped as her husband Khalid (Jasem Alkharraz) brings the second wife Zahra (Sarah Taibah), who is younger, good-looking, and a vixen oozing sex appeal. The newcomer to the household also affects the life of the couple’s teenage daughter, Noor (Iman Tarik), who feels her position as the sole daughter being disturbed by the announcement that Zahra is expecting a baby boy, the promised son that Amani wasn’t able to bear for Khalid.

Their family might be well-off, but it doesn’t save them from psychological strife, and ‘The Vile’, by using horror movie techniques, shows how harrowing it can be to live in an abusive household and the suffocation it causes to those who can’t just simply pick themselves up and leave without looking back. In many real-life stories, leaving abusive relationships is one of the most struggling acts to the victims.
‘The Vile’ is courageous to show that although protected by law and an ancient tradition, polygamy can lead to a hazardous, competitive and abusive environment to the wives and their children and that even though it is part of a rich culture, it has points that can be argued, and that this idea of polygamy is way different than the fetishization that goes through Westerner ideas by displaying how questionable it can be considering gender inequality and consensual relationships.

Al Ansari is a student of the game and an admirer of ‘Fatal Attraction’ and ‘What Ever Happened to Baby Jane?’, but there are also elements of classics like ‘The Hand that Rocks the Cradle’ and ‘Rosemary’s Baby’ that come into play. Nevertheless, ‘The Vile’ shines by portraying how horror can have peculiar nuances when translated to the dry lands of the United Arab Emirates, away from Western cultures and well-known cities like Los Angeles, New York, and London.

The picture focuses on female relations and how they are subjugated to patriarchal choices. Although Khalil is not much into the scene, his decisions affect the main characters, and the narrative follows the downward spiral of Amani and the dark coming-of-age story of Noor.

The cinematography is a strong asset, as it makes the United Arab Emirates feel otherworldly, giving it a distinct personality. This is particularly evident in the desert scenes, which feel more like a different world than a dry part of the ecosystem we live in, thus affirming how far from reality their ordeal is. The spacious house architecture, which sets it apart from other localizations, highlights how isolated and vulnerable Amani and Noor are, and how they must rely on each other to understand what is unfolding under their roof. ‘The Vile’ effectively illustrates how different cultures portray horror while also holding a critical lens towards society and the hardships of being a woman.

The post Review: ‘The Vile’ and the everyday evil against women [BFI Film Festival] appeared first on Big Picture Film Club.

At the heart of the film—and the parliamentary conversation—is Chris McEwen, founder of Great Britain Disability Boxing (GBDB), whose work in Pembrokeshire has demonstrated how accessible boxing programmes change lives. “I want to thank Henry Tufnell MP and Meg Richards for their support in bringing Fighters to Parliament,” McEwen said. “This screening is an incredible opportunity to highlight the progress being made in building a more inclusive community.”

The post-screening discussion featured Baroness Tanni Grey-Thompson (Chair of Sport Wales, Paralympic legend) and Kim Leadbeater MP (representing the Department for Sport), focusing on recognition pathways, safeguarding, funding frameworks and how grassroots clubs can be embedded in local health and inclusion strategies. Following the film’s June theatrical release, this parliamentary moment marks a new phase for Fighters—moving from awareness to policy influence. (A Welsh Parliament/Senedd screening is also confirmed for the coming months.)

Directed and produced by Michael Grimmett and Jack Tompkins, Fighters follows Matt Edwards, a lower-limb amputee boxer fighting to secure his amateur license—and, in doing so, confronting the systemic barriers disabled people face every day. Alongside McEwen, the film includes contributions from Baroness Grey-Thompson, Jodie Ounsley (Gladiators), Peter Hull MBE, Isaac Harvey MBE and others—showcasing a coalition of athletes and advocates pushing for change.

For Big Picture Film Club, Fighters embodies our mission: to connect films with audiences and turn conversation into action. As the film continues screenings and stakeholder engagements, we’ll share updates on measurable outcomes—club referrals, policy commitments and funding wins—stemming from the dialogue it has sparked.

The post ‘Fighters’ Screens in UK Parliament: Disability Boxing Doc Pushes Inclusion Onto the Policy Agenda appeared first on Big Picture Film Club.

Addressing these risks ahead of time is critical to maintaining a safe environment. Without proper planning, things could go wrong fast, and everyone’s safety could be at risk. 

From crowd control to medical support, there are many factors to consider. In this article, we’ll discuss the key safety aspects that need attention for a smooth, secure festival experience.

Crowd Control and Site Layout

Poor crowd management at music festivals can turn deadly when safety measures are ignored.

BBC notes that in 2021, a Houston festival saw ten deaths and hundreds of injuries after a crowd surge. Security staff had warned about the risks, but organizers failed to take proper action. Despite signs of distress, performers continued their sets, highlighting serious failures in event safety planning. 

To avoid such tragedies, event planners must enforce strict crowd control measures and emergency response protocols. 

Effective crowd control begins with a well-thought-out site layout. Paths between stages, vendors, and restrooms should be clearly defined. Designated emergency exits must be easily accessible to all attendees. 

Barriers should be used to guide crowd movement and prevent overcrowding. Regular monitoring of crowd density helps spot potential hazards before they escalate. Trained staff should be stationed in strategic locations to assist attendees. 

Marked signage is essential to direct people to important areas like first aid stations. With proper planning and crowd management, festivals can run smoothly and safely.

How do seating arrangements affect crowd control?

Seating arrangements influence how crowds move and gather within the festival area. Well-placed seating sections can reduce congestion, prevent crowd surges, and create natural flow paths. Offering designated seating areas for different ticket tiers also improves accessibility while keeping pathways clear for emergency responders if needed.

Vendor and Food Safety

Food safety plays a vital role in creating a positive festival experience. Vendors must follow strict food handling and hygiene standards to prevent health risks. 

Key measures to maintain food safety include:

• Ensuring all food preparation areas have proper sanitation facilities.
• Training staff to handle food safely and recognize signs of contamination.
• Implementing protocols for responding to foodborne illness issues.

A well-monitored food safety plan helps protect festivalgoers and keeps the event running smoothly.

WHO notes that foodborne illnesses come from bacteria, viruses, parasites, or chemicals that contaminate food. Chemical contamination can cause immediate poisoning or long-term health issues like cancer. 

Many foodborne diseases lead to severe complications, long-term disabilities, or even death. Common food hazards include harmful bacteria, toxic chemicals, and parasites that pose serious health risks.

Clear labeling of allergens in food offerings can help prevent allergic reactions among festivalgoers. Adequate food storage is essential to prevent contamination and spoilage. 

How do festivals ensure water quality for food vendors?

Clean water is essential for food preparation and sanitation. Organizers must provide reliable water sources, conduct regular testing for contamination, and ensure vendors follow strict handwashing protocols. Having backup water supplies and filtration systems can prevent disruptions in case of unexpected shortages or contamination issues.

Fire Safety and Emergency Response Plans

Fire safety must be a top priority at any music festival. Identify areas where fire risks are high, such as near food vendors and stages. Ensure fire extinguishers are placed throughout the venue and staff know how to use them. Avoid using toxic firefighting foams like aqueous film-forming foam (AFFF). 

According to TorHoerman Law, these foams contain harmful chemicals that pollute the environment and endanger human health. AFFF contains PFAS, which has been linked to various health problems and environmental damage. Manufacturers of AFFF are even facing legal action due to their harmful effects on people and water supplies.

The average AFFF foam lawsuit settlement amounts vary, depending on the case, with significant legal consequences for those involved. These lawsuits have led to financial and reputational impacts for AFFF manufacturers.

A comprehensive emergency plan should always be in place to protect attendees and staff. Designate clear emergency exits and train staff in evacuation procedures. Regular drills ensure the team is prepared for any emergency. Having medical staff on-site also ensures quick response times for health-related incidents. 

Why should festivals have dedicated fire safety marshals?

Fire safety marshals oversee risk assessments, inspect vendor setups, and enforce safety regulations. Their presence ensures quick intervention in case of fire-related incidents. Trained personnel can spot potential hazards before they escalate, minimizing risks for attendees and staff.

Medical Support and First Aid Services

Having medical support on-site is essential for any festival. First aid stations should be placed in visible, easily accessible locations. Staff should be trained to handle common injuries and medical emergencies. 

NIH mentions that event plans should be reviewed and approved at least 30 days before the gathering starts. A detailed post-event review helps identify strengths and areas needing improvement for future events. Analyzing data from past gatherings ensures better safety measures and smoother operations next time.

Communication with local hospitals and emergency services is crucial for quick response times. Medical teams should be prepared for issues such as allergies, asthma attacks, and dehydration. 

Offering hydration and cooling stations helps prevent heat-related illnesses. Designated areas for those with special needs can enhance overall safety. Clear signage and well-stocked medical stations will keep attendees safe during the event.

Why should medical teams collaborate with local hospitals?

Close coordination with hospitals ensures faster response times for severe cases. Pre-established transport routes, designated treatment zones, and real-time communication with medical teams streamline emergency care. This collaboration prevents delays and improves survival outcomes for critically ill or injured attendees.

Security and Surveillance

Security staff should be stationed at key entry points for crowd control. Metal detectors and bag checks should be mandatory at the gates. Surveillance cameras around the venue help monitor the crowd and detect potential issues. 

Security Journal Americas mentions that modern surveillance technology goes beyond recording video by using advanced analytics to detect security threats. AI-powered features like facial recognition, object detection, and behavioral analysis help identify risks in real-time. 

Systems can flag unattended bags or match individuals to known threats, sending instant alerts. Machine learning algorithms refine these capabilities over time, improving accuracy and adapting to evolving security challenges.

Additionally, communication between security teams and local law enforcement is essential for quick responses. Security staff must be easily identifiable and approachable to attendees. A reporting system for suspicious activity should be in place. 

How is nighttime security different from daytime security?

Nighttime presents unique risks, including reduced visibility, increased intoxication-related incidents, and higher chances of theft. Security teams should use enhanced lighting, infrared cameras, and specialized night patrols to maintain safety. Adjusting strategies for different times of the day improves overall event security.

Hosting a safe music festival requires careful planning and attention to potential risks. Strong crowd management, vendor supervision, and emergency response strategies are essential for a secure event. Creating a culture of awareness and preparedness helps keep attendees safe in unpredictable situations. 

Using advanced surveillance technology enhances security and allows for quick threat detection. Coordinating with local authorities ensures a faster response to emergencies and better crisis management. Safety measures should be as important as the entertainment itself. A festival’s success is measured not only by great performances but also by its dedication to protecting every guest.

The post Key Safety Considerations for Hosting a Successful Music Festival appeared first on Big Picture Film Club.

What to Expect

• Insider Voices: “I’d never felt the bass hit me like that—pure freedom,” recalls one dancer, setting the tone for more than thirty interviews. You’ll hear DJs describe midnight tape-trading networks between Leicester and Birmingham, while club-goers conjure “sweat-soaked floors and makeshift light rigs” that transformed industrial spaces into euphoric havens.
• Rare Visuals: Digitised flyers, hand-painted posters and grainy camcorder clips are woven together to illustrate the DIY ethos of the era. From back-garden raves to one-off “free parties,” every frame underscores how creativity thrived under the radar.
• Scene Evolution: As jungle techno splintered into drum & bass, interviewees reflect on moments of loss and reinvention: “When the breaks spawned new subgenres, I felt both excited and nostalgic for the unity we once had.”

Why You Should Watch

Produced entirely from public donations and a sold-out proof-of-concept screening at Phoenix Cinema, Hold Tight Raver is grassroots at its core. Unlike mainstream music histories, “Hold Tight Raver” centres the voices of everyday participants—from bedroom DJs with dusty reel-to-reel decks to club-regular dancers whose careers took flight on breakbeats. You’ll discover how those “splintered genres” mirrored broader social shifts—and how nostalgia keeps that spirit alive today.

Watch “Hold Tight Raver” now on YouTube and become part of the party: experience how a Midlands subculture shaped lives, sounds and memories that still reverberate across UK dance floors.

The post Crowdfunded Doc “Hold Tight Raver” Delves into Leicester’s Breakbeat Hardcore Legacy appeared first on Big Picture Film Club.

The account above comes from many of the student-athletes and regular students from Ohio State University, where serial abuser Dr. Richard Strauss worked from 1978 to 1998 and was exposed in 2018 when Adam DiSabato and other men who wrestled for Ohio State University in the late 80s and early 1990s brought their ordeal to the public and opening up about the abuse they were under the deceased Dr. Strauss after seeing the fall from grace by USA gymnastics team physician Dr. Larry Nassar who abused female athletes and was condemned for his crimes.

Ohio State University students and members are known for their nickname, “Buckeye,” and the HBO documentary “Surviving Ohio State” (2025) by Eva Orner shows how this troublesome ordeal shocks the “Buckeye Nation.”

Ohio State University has one of the richest university sports departments but was also the hunting grounds of Dr. Strauss, and his crimes linger on the adult lives of his victims even after decades as they cope with trauma, revictimization, shame, stigma, bullying, low self-esteem, depression, anxiety, isolation, PTSD, neglect, and other maladies.

These complex subjects can be felt in the voices and expressions of the interviewees, which makes ‘Surviving Ohio State’ a singular document on abuse as there are many pieces of non-fictional and fictional media portraying sexual abuse against women, still when it happens to men it comes with a taboo, and even worse when those preyed upon are perceived as tough guys.

‘Surviving Ohio State’ is sensitive and respectful, allowing the viewer and even the interviewees themselves to understand and process the exploitation they’ve been put through. The actions of Dr. Strauss were an “open secret” at Ohio State University, and very few did anything to stop it. On the other hand, many worried more about Ohio State University’s image and its rich sports program, even if it meant discrediting the victims.
Although Dr. Strauss’s crimes were uncovered through Ohio State University’s wrestlers, his predatory gaze was not limited only to the mat, as he also served as a team physician for men’s lacrosse, swimming, diving, gymnastics, and fencing. Dr. Strauss also treated students from the hockey, volleyball, cheerleading, track, soccer, golf, baseball, tennis, water polo, and football teams. The health professional also perceived mature men as fair game, as opened by the disturbing testimonial by a male adult wrestling referee.

Dr. Strauss’ behaviour happened before talks on harassment or the advancement of sex education; the latter explains to youngsters how boundaries operate and how to identify malicious intent. The documentary highlights these period differences with accuracy. Although the students would discuss Dr. Strauss’s habits with their coaches, only Charlotte Remenyik, the female coach of the male fencing team, took a stance and, after ten years, was able to remove Strauss from her squad, a show that it took female eyes to feel empathy towards the athletes’ plight. However, Dr. Strauss was in charge of other teams and was later promoted to the Ohio State University hospital and started to have access to ordinary students. The piece briefly touches that he prescribed steroids for athletes, a subject also deserving of further focus.

According to the victims, Olympian and Ohio State University’s wrestling coach Russ Hellickson and his assistant coach Jim Jordan knew about the situation but turned a blind eye. Hellickson withdrew his support for the denouncing wrestlers after all came to light, while Jordan, who was the assistant coach from 1987 to 1995 and is now a US representative, denies knowing about Dr. Strauss’ pattern of abusive conduct.
The traumatised men rely on the camera, which they told Jordan that something was wrong, including the referee, who was harassed at the shower. He recalls Jordan telling him that that behaviour was expected from Dr. Strauss and not to make a fuss about it. ‘Surviving Ohio State’ presents a journalistic investigation that questions Congressman Jordan’s stance regarding his wrestlers’ lingering pain, although the a public servant.

A pain that lingers and the need to show empathy

A private investigation conducted by Ohio State University after the denounces showed that at least 177 young men were victimized by Dr. Strauss, and at least 48 of them were raped. In one instance, he drugged a student in his office and offered to drive him home, and the next morning, the patient woke up and noticed that he was raped by the professional that should be responsible for his wellbeing; this testimonial is one of the key factors in ‘Surviving Ohio State’ to understand who perverted and deceiving Dr. Strauss was. It is believed that the victim numbers go way past what the investigation found out.

As a wrestler who comes from a difficult upbringing while dealing with the aftermath caused by it, I understand how society can push wrestlers, fighters, martial artists, and other contact sports athletes to hide their feelings, the fear of exposing their pain and being targeted with homophobic attacks which aren’t aimed only at homosexuals because haters try to strip the masculinity of men who are courageous enough to open their vulnerabilities.

Detractors of wrestling have always used homophobia to dismiss it since it is a grappling form of combat where practitioners wear singlets, a behaviour seen in the recent picture ‘Unstoppable’ (2024) through the words from Anthony Robles’ stepfather. In my life, even with people knowing that I’m straight, I had to endure homophobic attacks due to my wrestling training, and for men who endure sexual abuse, it is even worse. And I leave here a reminder: it doesn’t matter the sexual orientation, harassment is harassment and abuse is abuse.
These conflicts are keenly captured by Academy and Emmy Award-winning director Eva Orner, who is used to dealing with men who have confronted toxic masculinity to bring to light wrongdoings while being bashed by the public. Orner won her Oscar for producing Alex Gibney’s ‘Taxi to the Dark Side’ (2007), which touches on the harrowing details of the USA’s torture and interrogation methods implemented during the War in Afghanistan. It is with this look that Orner further humanises the Ohio State University’s male students.

Orner is capable of portraying how these athletes breathe in the intersectionality of poverty and being naïve, hailing from rural areas and having few to no previous sexual experiences, making them the “ideal” target for Dr. Strauss’ grooming. The scales between the victims and Dr. Strauss get even more unbalanced when it is added that some were non-white or foreigners.

These profiles help to understand their fear of losing their scholarship, being robbed of their future as athletes, and others questioning their sexual identity. Orner also goes against the tide by avoiding clichés and identitarianism and showing that hard men can also be victimised.

The documentary reveals that Dr. Strauss’ perverted ways were an open secret, thereby helping the viewer to understand how predators operate, as they are shielded by enablers who fear the downfall would cause image and economic damages to the institutions to which they belong. This equation is seen in the disgraced producer Harvey Weinstein, the silver screen Caligula, and in male film talents who didn’t mind that their female colleagues and friends were abused while their careers were moving forward, winning awards at festivals and ceremonies. Ohio State University failed these men back then, and it is still failing them just like Hollywood fails Weinstein’s victims.

In the classic ‘On the Waterfront’ (1952), Marlon Brando plays the washed-up boxer Terry Malloy and gives one of his most famous lines: “I coulda been a contender, I coulda been somebody.” The lingering pain in ‘Surviving Ohio State’s middle-aged and senior citizens can be felt in their voices, and they show how trauma can hinder professional and relationship futures, and how it can affect work and sports performances. Their reality hits crueller than Malloy’s iconic and tragic line.

‘Surviving Ohio State’ is a necessary documentary, not only for survivors of abuse, but because stories like this have to be told and retold to curb other predators that are out there. The sincerity and selflessness of these men deserve to be translated into a prestige drama feature and memoirs.

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About Dilli Dark:

“Michael Okeke, a Nigerian student living in New Delhi wants to get his MBA and settle in India – but his part-time job gives him a dubious double life in a city notoriously difficult for outsiders.”

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If you represent a school or community centre, feel free to email us directly.

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“I created CFFL as a response to the ongoing challenges facing the UK film and TV industry—from the impact of COVID and the strikes to the continued lack of representation across the sector,” says Festival Director Anthony Vander. “Our mission is to bridge the gap between emerging and established filmmakers. In five years, I’d love to see our first-time filmmakers establish themselves with new shorts or their first feature, maintaining a strong network and community.”

A project of the Collective Arts Community Trust, a UK-registered charity, CFFL advances arts education for underrepresented young people. Its wider mission includes organising accessible public screenings and workshops, and offering mentorship and skills development to nurture long-term careers.

Festival highlights include the UK premiere of Big Picture Film Club’s environmental dive documentary 50 Hours Underwater, chronicling Maldivian diver Shaff Naeem’s record-setting 50-hour descent to raise awareness of ocean plastic pollution. Alongside screenings, CFFL features hands-on workshops in iPhone filmmaking, budgeting, and scriptwriting, led by industry experts.

With ambitions to become a BAFTA-qualifying festival, CFFL not only showcases exceptional talent but also fosters the networks and skills that can disrupt the industry for the better. Watch the launch video below and secure your tickets to CFFL 2025.

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A Punch for Mental Health

Founded in 2017, The Frank Bruno Foundation provides a safe, supportive space for anyone aged 13 and up facing anxiety, depression, bipolar disorder, or other challenges. Its flagship Round by Round programme pairs eight weeks of non-contact boxing training with tailored wrap-around support—boosting confidence, self-esteem, and discipline in every participant.

From Youth to Workforce

Originally focused on young people, the foundation expanded in 2020 to serve older adults juggling work and mental health. Referrals—by professionals, friends, or self-referral—begin with an early assessment, ensuring interventions match individual needs. Programs are open to residents of England, Wales, and Northern Ireland, with bespoke support for those as young as ten.

Frank’s Vision & Advocacy

Boxing legend and Mental Health Ambassador Frank Bruno MBE founded the charity to give back to his community. His candid discussions of bipolar disorder—and how exercise helped him cope—have shattered taboos in the public eye. Through his autobiography and media appearances, Frank’s honesty empowers others to seek help and speak out.

Campaigns That Deliver Knockouts to Stigma

#LetsClearTheCloud invites people to share personal journeys, helping early recognition of symptoms and showing no one faces mental ill-health alone.

#KnockoutStigma tackles judgment head-on: nearly half of respondents fear speaking up about mental health. This campaign offers a safe platform for testimony, sparking conversations that save lives.

Building Community, One Jab at a Time

Participants describe Round by Round as life-changing: learning footwork in the gym translates into agility in daily challenges. The charity also partners with local mental health services, ensuring participants have access to counselling, peer support, and employment advice.

Fighters will be screened UK-wide at select Odeon Cinema sites on Monday 23rd June and will be available on general release from Friday 27th June. Find your local screening.

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Impact by the Numbers

Last year, AFK supported 725 young people with disabilities or neurodiverse conditions to achieve their goals. Of those, 155 gained crucial employment skills through tailored placements and workshops, while 178 accessed mobility equipment—like powered wheelchairs and adaptive sports gear—that opens up new opportunities for sport, study, and social life.

Innovative Programmes Driving Change

AFK’s Impact and Innovation programme combines long-standing services with new offerings designed to boost independence and life skills:

• Employer Visits & Work Placements | In partnership with the National Theatre, The Old Vic, Arriva, Fireshine Games and more, these visits and four-week accredited placements (e.g., at Bikes For Good Causes) let participants explore careers hands-on.
• Employment Workshops & Masterclasses | Led by AFK staff and corporate partners (Vodafone, Accenture, Netflix, Metropolitan Police), sessions cover professional communication, personal branding, interview success, and sector overviews.
• Leadership Programme | For ages 11–25, plus alumni, this co-creative series empowers emerging leaders to advocate for accessibility and shape inclusive solutions.
• Independent Travel Training | Tailored one-to-one coaching helps young people safely navigate public transit for school, work, and social life.
• Self-Employment Support | From business planning to mentorship with corporate sponsors, AFK’s programme gives aspiring entrepreneurs the tools to launch and sustain their own ventures.

From Humble Beginnings to Lasting Vision

Founded in 1992 by Sally Bishop after she raised funds for a child’s powered wheelchair, AFK has grown from a grassroots charity into a national force for empowerment. Today, AFK’s mission—to remove barriers and unlock potential—is guided by its social model of disability, which holds that society must change to include everyone, rather than asking individuals to conform.

Fighters is released in UK cinemas from Monday 23rd June.

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Most of the time, Jane is dressed in the monkey costume, and she explains the differences between Jane and the Monkey as they form two separate entities. The Monkey is a long-time character of the talented ventriloquist Nina Conti, who plays the role of Jane/Monkey, directs and is the co-writer of ‘Sunlight’ alongside Shenoah Allen, who plays the troubled Roy.

‘Sunlight’ doesn’t shy away from difficult subjects such as mental health and trauma, creating a new persona to cope with pain, child abuse, sexual abuse, codependency relationships, depression, anxiety, and the disappointments brought when middle age arrives and life goals are not achieved. The allegory of “The Monkey” as a means of coping with psychological distress is very effective. The film’s writing shares similarities with Lenny Abrahamson’s ‘Frank’ (2014) and Taika Waititi’s ‘Hunt for the Wilderpeople’ (2016). Still, ‘Sunlight’ stands in a peculiar corner of indie cinema.

The sharp dialogue writing of Conti and Allen is fluid and vivid in the banters between the leads or their interactions with supporting characters. Jane and Roy are down-and-out losers, which makes their connection understandable from the get-go. The Monkey might be wearing a mask, but it is this plastic and fabric face that transmits the emotional state of such a hurt personality that it has to find a shield in a childish and iconoclastic persona to hide away from the burden much like Roy tried to find solace in a rope tied to the ceiling of a dilapidated pastel soaked room with tacky bed sheets and ornaments. Conti’s ventriloquism skills shine as they form the emotional core of The Monkey and its conflicts.

Allen’s Roy shares great chemistry with The Monkey and Jane, and their humanity is relatable even if they are too eccentric for the outside world and its ordinary people. Their sense of humor makes the dark subjects easier to digest while they still pack a punch for those who watch them, showing that there are different ways to tackle such harsh issues and relationships without resorting to trauma porn.

James Kwan effectively utilises his cinematographic knowledge by shooting the desert, which helps compose the story of a couple lost and isolated in their own minds, furthering the feeling that those who don’t fit in societal paradigms are pushed away but can also flow more naturally according to their own personalities. The soundtrack composed by Christoph Bauschinger helps set the scene and evokes a haunting Saturday morning cartoon theme, which complements The Monkey, the other characters, and the environment.

‘Sunlight’ is also a demonstration of the need to support and invest in indie cinema, as it tells the story of a neurodivergent middle-aged couple meeting at their lowest point. In contrast, the story where one who spends most of their time in a costume wouldn’t be viable in a major studio, and if so, they would have cast two A-listers, the moment’s pop act for the theme, still It would be forgotten as “the weird project” that those at the helm opted to take on to sound “cool” to young and diverse communities of viewers.

‘Sunlight’ also benefits from being an actual indie film, as it is allowed to employ a more experimental language, which makes it feel even more like Conti and Allen’s film, not just content. The Monkey brings fresh ideas in an era where even indie films are stale and safe. The scene has become just the minor leagues that young talents start to “play” while waiting for an invitation from a bigger studio or manager, while older and kidult names try to relive the glory of yesteryear festivals with endless “indie” sequels. This scene is a sign that the art of cinema is growing similar to competitive sports each day.

With its quirkiness and sincerity, ‘Sunlight’ has climbed its own spot on the tree of the art that is cinema, thus deserving to be talked about because it doesn’t lose its sense of what ‘Sunlight’ actually is, a good and quirky film with happy and sad moments and others where both emotions come into play.

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In a three-day event taking place from June 3-5, the London College of Fashion (LCF), part of the University of the Arts London (UAL), presents the UAL Future Fashion Film Festival, highlighting emerging talents in film and fashion. The festival showcases diverse and innovative voices from today by spotlighting work from students, staff, and alumni. The event will be held in at London College of Fashion’s new home on the Queen Elizabeth Olympic Park and will also feature workshops and talks with members ranging from BAFTA Albert to the Stanley Kubrick Archive, as well as special guests such as designer Maximilian Raynor, actor and activist Victoria Emslie (The Theory of Everything), and AI filmmaker Omar Karim. The judging panel will comprise recognized professionals, including the team behind NOWNESS. By showcasing the new crop of talent in fashion and filmmaking in the UK and connecting these talents with those who make the decisions, UAL will point towards the endless possibilities in the symbiosis between film and fashion.

Fashion plays essential roles in pictures like ‘Breakfast at Tiffany’s’ (1961), ‘American Psycho’ (2000), and ‘Miami Vice’ (2006), and there are those that portray its industry as ‘The Devil Wears Prada’ (2006), ‘Neon Demon’ (2016) and ‘House of Gucci’ (2021) or major players like the Angelina Jolie’s TV movie ‘Gia’ (1998), to name a few. In real life, fashion designers have collaborative friendships with cinema auteurs such Yohji Yamamoto and his collaborative friendship with Wim Wenders and Takeshi Kitano, not to forget that Tom Ford is both a fashion designer and a filmmaker.  These examples and the names brought to the event are just a glimpse into how important the upcoming UAL Future Fashion Film is.

In an interview with the Big Picture Film Club, award winning filmmaker and artist Vicky Mather, who is also a Senior Lecturer and Course Leader for London College of Fashion’s MA Fashion, Film and Digital Production course and Co-Director of UAL Future Fashion Film Festival, talks about the intersection between fashion and film, the relevance of UAL Future Fashion Film for young and veteran talents, and how art is part of film and fashion.

Gabriel Leão: What is the London College of Fashion’s aim in hosting UAL Future Fashion Film? What do you expect to come out of the event? 

Vicky Mather: The aim of the festival is to go beyond the idea that fashion film is simply fashion advertising or clothing in motion. We want to explore what expanded conversations we can have through fashion and film, and to foster collaborative relationships between fashion designers and filmmakers. 

GL: Can you tell us about the logistics and demands of setting up a large-scale three-day film festival? 

VM: Setting up a three-day festival, much like a film production, needs a core team of people with complementary skills, a shared vision, trust and a commitment of time outside of the daily grind. There are three of us making this happen, Lindsay Pentelow Head of Cultural programming whose goals are in getting this lovely building on East Bank buzzing as this area of London transforms, Mirren Kessling, Events Producer, who is carefully curating the events and thinking about how people might receive the festival in a person-centred way. I’ve been lucky enough as a Senior Lecturer on MA Fashion, Film and Digital Production to bring in my industry network of filmmakers in all sorts of roles to share their skills and inspiration expansively in a fashion context. It’s a dream team, and we all have curly hair. 

GL: How are filmmakers incorporating fashion into their work? Are there any innovative technologies being used? 

VM: In this building (London College of Fashion’s new East London HQ), we’re lucky to be able to just walk upstairs and meet the new generation of fashion designers and costume makers. Many students are using Clo3D and Marvellous Designer for designing clothing and Fashion Film students might be using Unreal Engine to generate digital environments. They might use AI in conjunction with more traditional film techniques or our state-of-the-art cinema-standard photogrammetry suite where students are scanning themselves into incredible 3D garments. Some of the best projects are where students have engaged with multiple tools to complement their storytelling. We’re working with a great company called CUBE Studio who will be donating the use of their enormous virtual production screen for our grand prize, along with mentorship from Park Village Studios who will represent our winning director for commercials, fashion and music video. WHAT A PRIZE! 

GL: What does the festival offer to fashion students and attendees in terms of contact with renowned names from cinema and the fashion world (through workshops, seminars, and meetings)? 

VM: We’ve got a collaboration with the HI-FI initiative who are investing in and championing new fashion designers who may have access issues when it comes to launching a collection in the first iteration of their careers. Their creative agency, Hidden, are holding a live brief competition for UAL FFFF selected filmmakers to learn about a new fashion designer and to pitch their film ideas to contribute to the launch of their collection. The winner will receive a development period with Hidden Agency as well as a shoot sponsored by Panavision, Panalux and Island Studios, and when you zoom out, this prize would cost upwards of 50K in industry.  

So, providing unique opportunities like this, with industry practitioners that have a vested interest in new talent for example; NOWNESS are on the Jury and looking for a film to showcase on their platform, this kind of exposure is so important for filmmakers early on their careers to be noticed by wider industry.  

We’re lucky enough to have the Stanley Kubrick Archive at UAL and having them transport items from 2001: A Space Odyssey and The Shining is so inspirational. There is a bit of a Kubrick throughline this year with a screening of ‘Who is the Painter?’ a film about a collaboration between Christiane Kubrick (Stanley Kubrick’s wife), and JW Anderson. The filmmaker, Jack Hobbs, is joining us to discuss his experience of capturing this collaboration between artist and fashion designer.  

GL: UAL is the highest-ranking arts university in the People & Planet’s University League. How important is it for fashion and film to care about environmental issues as part of their world-building, storytelling and production practices? 

VM: We must rethink the way fashion is produced and address waste in film production. This starts with education, where we can embed these values through the projects and the industry we choose to engage with, to shape the future. We’re so pleased to be hosting the Albert Scheme – the sustainable arm of BAFTA to host a costume hair and make-up workshop as well as Greenpeace who will be talking about social media in an environmental context.  

GL: What would you say to people who don’t consider fashion to be a form of art? Where do you believe this prejudice comes from and does fashion film help to change that perspective? 

VM: Fashion is a form of art, but it’s also commerce – it sits in that intersection. Fashion is whatever you want it to be, sometimes it’s art, sometimes it’s clearly commerce, sometimes it’s both. Ultimately, it’s a reflection of who we are – as is film. That’s why these two cultural entities are a perfect match! 

The post UAL Future Fashion Film Festival points Towards the Future of Both Industries in the UK appeared first on Big Picture Film Club.

Join co-founders Presh Williams and Urvisha Patel as they reveal proven strategies from 24 successful U.K.-wide theatrical campaigns. In this engaging session, you will explore the importance of thorough pre-production planning, learn how to shape a winning release strategy, and discover tactics to genuinely engage with your audience. Whether you’re a first-time short filmmaker or a seasoned director stepping into your next feature, this workshop offers invaluable insights tailored for the modern film landscape.

Since 2015, Big Picture Film Club has been committed to connecting films with diverse audiences. With partnerships spanning Odeon Cinemas, Paramount Pictures, and more, this event is your opportunity to elevate your craft and network with passionate creatives.

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Priscila went missing in January 2004, and the four-episode Disney+ docuseries not only presents to the viewer what transpired in those days at the dawn of the 21st century but also what has unfolded since then, considering the relatives and friends, the authorities, Brazilian society and its aftermath.

According to the 2024 Public Security Annual Report, in 2023, 80,317 missing people were registered in Brazilian territory. A rise of 3.2% from 2022, numbers that expose how deep this issue bleeds in Brazilian society. Through the picture ‘I’m Still Here,’ Brazil is getting a glimpse of what it is to have a missing one, and ‘Finding Priscila’ can be seen as a companion piece to Walter Salles’ masterwork ‘I’m Still Here’ (2024).

‘Finding Priscila’ tells the ordeal of Priscila Belfort, a young architect who was diagnosed with depression but with a happy social life and a talent for the arts. Priscila is also the sister of MMA champion Vitor Belfort, married to Joana Prado, a former TV personality. The couple are very popular in Brazilian society and were at the height of their fame in the 2000s, which ended up making the disappearance of Priscila reported by many media outlets, thus affecting Brazilian society and creating a curious feeling of false omnipresence as Priscila’s face could be seen in many places, her name was always heard, but she wasn’t at home.

Priscila’s face became a fixture in the news and TV shows, and the docuseries acts as a document on how the media could affect stories and people’s perceptions, and ‘Finding Priscila’ doesn’t forget the media dark side composed of exploitation. Outlets and media channels would reproduce many of the “hearsay” stories about the youngster, thus tarnishing her image and bringing more pain to the family, but all “in the name of journalism,” as such “professionals” usually utter.

The Disney+ production respects Priscila, the Belfort family, its viewers, and itself by avoiding such tropes and keeping seriousness and intelligence as the criteria. The soundtrack follows the narrowing and troublesome situations without having that cheesy appeal from lower productions, and in the end, it acts as a trump to ‘Finding Priscila’ as it doesn’t steal the focus from where it should be.

As a writer, I’ve covered the issue of missing Brazilian people by interviewing relatives who keep looking out for their loved ones. ‘Finding Priscila’ is very capable in representing the void that can be felt in those who are waiting for their loved ones or to at least bury their bodies. Their households also express such sensations; it is as if the air is heavier, the colors show a darker tone, and the rooms seem more spacious than they actually are.

Priscila was struggling with depression, and although it is a documentary and not a drama, ‘Finding Priscila’ is still able to capture this disease and reproduce its symptoms within the narrative as one can feel not only the sadness but the lethargy and despair that it brings not only to the person in question but also how it affects those around them.

The capacity to reproduce the sensations of absence and depression is due to the skill and craftsmanship of Finding Priscila’s team. The direction is precise, and the editing and photography complement each other, showing the beauty of Rio de Janeiro but also its shadowy corners while valuing the storytelling process and not resorting to being another “talking heads” festival.
Props also to the art department for the creative way it retells some parts of Priscila’s story, in particular her journals and artistic work, and to the writing team that sews the storytelling in a way that different threads connect and for finding light and endearing moments in a tragic story that makes the road for the viewer easier.

On the specialists’ side, the interview with journalist and researcher Bruna Rodrigues is among the best. The times that the mother, Jovita Belfort, appears are those that show how deep it cuts because, as in many stories of missing people, the one that does most of the search and takes the brunt of the suffering many times is the mother.

‘Finding Priscila’ shows a vulnerable and not much-seen side of Vitor Belfort, a cage legend, and the docuseries help humanize someone who is already so mediatized, hailing from a popular combat sport by showing a more intimate side. ‘Finding Priscila’ is haunting, urges Brazilian authorities to do more, and Priscila’s story would make a compelling live-action drama.

Rating: (4 / 5)

The post Finding Priscila: How a Family’s Tragedy Became Brazil’s Most Poignant True Crime Story appeared first on Big Picture Film Club.

“Electronic music aurally mirrors the modernism often associated with science-fiction visuals and themes. Visions of strange new worlds benefit from complementary soundtracks,” says sci-fi writer Jon Frechette in an interview with The Big Picture Film Club. Alongside Todd Luoto, Frechette is the co-creator of BBC’s science fiction narrative podcast ‘The Skies Are Watching,’ which was lauded at the Tribeca Festival last season.
Electronic Music’s primordial roots can be traced back to the first instruments that came by the end of the 19th Century and the dawn of the 20th Century, like the Telharmonium organ that synthesized the sound of orchestral instruments with considerable precision. Some decades before, modern sci-fi storytelling was taking its first steps with the patched up corpse in the book Frankenstein (1818) by Mary Shelley and the futuristic tales crafted by Jules Verne and H.G. Wells.

In the 1920s, Soviet inventor Leon Theremin developed the Theremin, which produced a peculiar non-acoustic sound that would go on that feels like the soundtrack to its literature contemporaries Isaac Asimov and John W. Campbell and their visions of a possible future.

These worlds had their first on-screen contact with Bernard Hermann’s score for ‘The Day the Earth Stood Still’ (1951) which brought an unearthly howl by employing a radio wave antenna and knobs to control pitch and frequency, which was performed with a simple hand wave in its magnetic field. Hermann furthered the sense of strangeness to the story of an alien visiting Earth to warn its inhabitants that their warmongering ways are a threat to other planets, a theme that resounds with the world we live in now.

However, even after ‘The Day the Earth Stood Still,’ Hollywood pictures still used the new technology for particular moments while favoring traditional orchestral soundtracks. Nevertheless, in 1956 cinema arrives in the ‘Forbidden Planet,’ the first picture to have an electronic score from the beginning to the end, a game changer.

Its launching pad started to ignite when MGM producer Dore Schary met cutting-edge experimental artists Bebe and Louis Barron in a Greenwich Village Club and presented his idea of them providing 20 minutes of rare electronic sound effects. In the end, that third of an hour became the whole score as MGM’s music department opted to back the Barrons, and they worked in the New York studio to create their out-of-this-world sounds. It marked the first time MGM recorded outside its studio lot, thus carving a milestone in cinema and music history.

When sci-fi and synthesizers break barriers

That is how the culture got to the present moment, where electronic music and sci-fi pictures share a close bond. The Barrons would influence Vangelis’ work in ‘Blade Runner’ that has layered synth sounds and sinewaves, making the soundtrack a character itself as the viewer follows Rick Deckard (Harrison Ford) and his hunt for the replicants led by Roy Batty (Rutger Hauer), who, in turn, just want to prolong their short lifespan, all in a dystopian Los Angeles stripped of its golden era glamour. Vangelis’ compositions for the picture are ingrained in many conversations about soundtracking in many different media formats.

For American musician KiNG MALA, “electronic music feels futuristic and often surreal, which serves the sci-fi genre well, but honestly, when a sci-fi movie has a primarily electronic score, I tend to find it boring and predictable.” This line resonates with the many “heirs” of ‘Blade Runner’ and their propagation in the “content production” era brought by the streaming services and echoing the straight-to-video days.

MALA is working on new music that is inspired by horror films such as ‘The Witch,’ ‘The Shining,’ and ‘Midsommar.’ Not only a musician but also a cinephile, her eyes and ears are also connected to the sci-fi world, including the ‘Alien’ saga that is a horror sci-fi classic.

“The ‘Interstellar’ soundtrack is one of my faves, it uses silence and simplicity in a really genius way. I really love that it’s mostly orchestral rather than using synths and samples. I also really loved the soundtrack for ‘Alien Romulus,’ it felt very horror inspired and unique. Also, obviously, ‘Dune 2’ was insane,” says MALA, which explains that there is still room for orchestral music in the genre as performed by Hans Zimmer, and although there is a symbiotic relationship with electronic music, synthesized sci-fi soundtracks have the challenge of bringing something new to the game.

For Jon Frechette, Russia’s Andrei Tarkovsky (1932 – 1986), a world cinema giant, is a director who mastered working with electronic music in sci-fi worlds. “The soundtrack to ‘Stalker’ (Tarkovsky) is so good. It’s strange, evocative and meditative, like the film itself.”

The 1979 picture tells the story of three future travellers crossing a forbidden area and finding a heaven where fantasies are fulfilled, and truth is revealed. All tuned with the poetry and symbolism from Tarkovsky’s mind. On the other hand, different from ‘Stalker,’ mediocre electronic soundtrack to a non-special sci-fi picture can become just noise in the background, mirroring the words by KiNG MALA.

Still, to those that are special, such as ‘Forbidden Planet,’ ‘Blade Runner,’ ‘Tron: Legacy,’ ‘Blade Runner 2049,’ ‘Stalker’ and others of its ilk, soundtrack becomes an aspect that not only aggregates to the narrative but has a life of its own crossing through genre and format barriers.

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Since our inception in 2015, Big Picture Film Club has championed films that spark conversation and build communities around important social, cultural, and political issues. Over the past decade, we’ve cultivated strong partnerships with distributors and brands of all sizes, including a nationwide collaboration with Odeon Cinemas, which has seen us curate 24 titles under the Diverse Cinema programming banner. This latest move into distribution solidifies our commitment to bringing bold, transformative storytelling to audiences across the UK and beyond.

Fighters

Acquired from Ben & Jack Studios and directed by Michael Grimmett & Jack Tompkins, Fighters follows Matt Edwards, a lower-limb amputee boxer determined to secure his amateur boxing license. His pursuit highlights systemic barriers faced by disabled individuals in sports and everyday life. The film features disability advocates such as Baroness Tanni Grey-Thompson and ‘Fury the Gladiator’ Jodie Ounsley, shining a light on ongoing inequalities while championing resilience and hope.

50 Hours Underwater

Directed by Shahrzad Mazloumsaki and produced by Lifton Media, 50 Hours Underwater documents the extraordinary mission of Maldivian diver Shafraz (Shaff) Naeem. His record‑breaking 50‑hour dive spotlights the devastating environmental impacts threatening marine ecosystems, offering a stirring call to action for ocean preservation. It also underscores the power of community solidarity, as an international support team rallies behind Shaff’s mission.

Both films are set for a Q3 theatrical release, followed by digital availability. As we celebrate our 10th anniversary, we’re proud to take this next step, reinforcing the importance of the cinematic experience in an era dominated by on-demand viewing. Thank you for supporting us over the years, and stay tuned for more updates on Fighters and 50 Hours Underwater—we can’t wait to share these incredible stories with you.

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Expanding on Szumowska and Englert’s reputation for empathetic storytelling, Woman of… spotlights an underrepresented community. Aniela’s journey mirrors Poland’s own transition from Soviet influence to a modern Europe—an evolution that has brought new freedoms but still leaves many individuals on the margins. By framing the story of a trans woman in a society often slow to embrace LGBTQ+ rights, the film poses timely questions about identity, acceptance, and the cost of living authentically.

Notably, Woman of… features numerous trans and non-binary cast members in both trans and cis roles. This inclusive approach lends a tangible authenticity to Aniela’s emotional struggle. In a nod to iconic Polish director Andrzej Wajda, the title references his seminal works Man of Marble and Man of Iron, aligning this contemporary narrative with a tradition of Polish cinema that challenges societal norms.

While the film’s universal themes resonate anywhere, the UK release particularly appeals to British audiences with Polish heritage and those invested in queer cinema. By focusing on the hardships, resilience, and ultimately the dignity of its protagonist, Woman of… stands as a powerful human drama that crosses cultural barriers. It promises to spark conversation, provoke empathy, and underscore the urgent need for legal and social reforms—both in Poland and beyond.

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Screening Days have long been a staple of the UK cinema calendar, offering attendees a chance to watch and evaluate new films ahead of their public release. This year’s event promises another carefully curated line-up designed to resonate with diverse audiences and attract new communities to local cinemas.

The first confirmed title is Good One, the debut feature from India Donaldson. This tender story about a camping trip gone awry is just the beginning, with more titles to be announced soon. Whether you’re a programmer, marketing professional, or front-of-house staff member, Screening Days provides valuable insights into the films that could become audience favourites in the coming months.

New to the event? ICO is offering a limited number of free passes for first-time attendees from theatrical venues. Don’t miss this chance to experience the event that regularly sells out, combining exclusive screenings with networking opportunities and a chance to learn about the latest trends in film exhibition.

For those looking to dive even deeper, the ICO will also host an Audience Development Day on 28 February at BFI Southbank. This additional event will feature workshops, speaker sessions, and networking opportunities to help cinemas grow their reach and better connect with audiences.

Tickets for the in-person event are highly sought after, so early booking is essential. Whether attending in London or online, don’t miss this opportunity to explore the films and ideas that will shape cinema programming in 2025.

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Cinerama

Competition from television drove a lot of innovation in formats and Cinerama is a classic example. Briefly, Cinerama involved three cameras set up as one unit to film a scene, when shown in cinemas you needed three carefully positioned projectors. The screen was curved allowing a panoramic picture, taking up most of the audience’s field of version. Not only did this add to the immersion of the audience but for something like a Western with long shots of never-ending spectacular nature it added a lot to the experience. Filming in Cinerama was expensive, you needed three times as many cameras, if the film from one camera was damaged then the complete footage from all three would be useless and while it could look spectacular you needed to be in the right place in the audience, and this by no means meant everyone in the cinema. Due to the high costs, Cinerama was phased out for cheaper techniques – such as the Ultra Panavision so beloved by Tarantino.

VistaVision

VistaVision was Paramount’s attempt at showing people the value of cinema. This was a higher quality 35mm print that was very good for widescreen. Even when more traditional film stocks gained in quality some persisted in using VistaVision, famously for special effects scenes Star Wars used it. In fact VistaVision was still used in some shots for The Dark Knight, but that is just the sort of thing you’d expect from Christopher Nolan. Such cinematic classics as White Christmas and Vertigo (Hitchcock used it a lot) were filmed using VistaVision. Another benefit to this format over some of its contemporaries was that it didn’t need the cinema to sacrifice seats to make space for it, it needed less specialist equipment to show and as always, making money was of paramount importance.

3D

Like an 80s horror villain 3D is the format that will not stay dead. The technology has been available since the early days of cinema but has come and gone in crazes – most famously in the 1950s (once again, brought out to defeat television). Most recently the 2000s saw a huge boom in 3D films – with one of the early adopters oddly enough being the Spy Kids franchise. These booms went through artistic peaks and troughs with highlights of films like Gravity and Hugo, which tried to do something with 3D and not just have something occasionally thrown at the camera. Avatar is one of the most financially successful films of all time with James Cameron putting huge amounts of time and effort into making it look amazing. And while at one point there was talk that 3D was going to be the future of filmmaking it has once again receded into obscurity.

Super 8

To filmmakers of a certain age Super 8 film is of incredible importance. It was a home movie film stock but due to its numerous advantages became a phenomenon of DIY filmmaking (this being memorably highlighted in the film Super 8, about kids making their own zombie movie and accidentally getting caught up in much bigger events). Super 8 was relatively cheap and one of the fastest loading recording systems ever made, it was incredibly simple and did not require the user to thread the film or even touch the actual film.

Digital

Actual tangible celluloid film is now a rare thing in filmmaking, instead, it is digital. There are many detractors of digital filmmaking and there are valid points to be made but there are huge advantages. It is cheaper, the film costs money and every take costs more. For editing purposes film is a nightmare, you literally cut it, and a cut is permanent. Distribution and copying are immensely easier, as is storage (with no Inglorious Basterds infernos). There is much that can be done digitally, it is flexible and easy to manipulate. Of course, many of these benefits are even more important for small filmmakers. Super 8 film was cheap and easy to use and led to an explosion in home filmmaking; Thomas Edison once said he would make electricity so cheap only the rich would burn candles and we have made digital filming so easy we have TikTok.

Also Read: Iconic Monsters In Film & Television

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