1/45
|
6 Rushton Road
|
Against the Clock
|
Bernadotte, Louise and Napoleon
|
Title |
Film Maker / From |
1/45 |
Aleks Kartselski / Wiltshire, UK |
6 Rushton Road |
Jan Anne Oliver / Enfield, UK |
Against the Clock |
Martin Evans / Ceredigion, UK |
Bernadotte, Louise and Napoleon |
Gunnar Lindholm, Laszlo Schüszler / Sweden |
Bracelet, The |
Ella Yoder, Grace Baker / USA |
Christmas Present, The |
Patrick Duggan / Manchester, UK |
Company Man |
BFVS Filmmaking in Bristol / UK |
Distance and Meaning |
Evan Cowell-New / London, UK |
The Bracelet
|
The Christmas Present
|
Company Man
|
Distance and Meaning
|
Escape to Alcatraz
|
The Fading Memory
|
Free Access
|
Gorta
|
Title |
Film Maker / From |
Escape to Alcatraz |
Martin Bickell / Hertfordshire, UK |
Fading Memory, The |
Martin Bickell / Hertfordshire, UK |
Free Access |
Svein Varhaug / Norway |
Gorta |
Brendan Gillan / Northern Ireland, UK |
Great Railway Nightmare, The |
Tim Easton / Birmingham, UK |
Guilt |
Duane Emsley / UK |
High Arctic, The |
Andrew Tweed / Essex, UK |
Hoarder, The |
EBOFF Films / Enfield, UK |
The Great Railway Nightmare
|
Guilt
|
The High Arctic
|
The Hoarder
|
Housing and Health: The Future of UK Housing
|
I We-Are
|
The Importance of Homelessness & Food Banks
|
Jebra
|
Title |
Film Maker / From |
Housing and Health: The Future of UK Housing |
Faye Sanders / Bath, UK |
I We-Are |
Vittorio Caratozollo / Italy |
Importance of Homelessness & Food Banks- director's cut, The |
Dante Williamson / Birmingham, UK |
Jebra |
Yasna Saberian / Iran |
Kumano Kodo |
Andrew Tweed / Essex, UK |
Lads on Tors |
Callum George Quayle Hird / Somerset, UK |
Look on the Bright Side |
Potters Bar Filmmakers / Hertfordshire, UK |
Magic of the Night |
Bernhard Zimmerman / Germany |
Kumano Kodo
|
Lads on Tors
|
Look on the Bright Side
|
Magic of the Night
|
Moonwater
|
Moving Day
|
My Moana Lisa
|
Never Give Up on Your Dreams
|
Title |
Film Maker / From |
Moonwater |
Svein Varhaug / Norway |
Moving Day |
Group Two / Hampshire / UK |
My Moana Lisa |
Howard Johnson / Worthing, UK |
Never Give Up on Your Dreams |
Martin Bickell / Hertfordshire, UK |
Puppetries! |
Isabella Capurso / Italy |
Quiet Corner, A |
Richard Scarsbrook / Trafford, UK |
Quo Vadis |
Hildegard Butterweck / Germany |
Retrospect |
Ramona Raffaele |
Puppetries!
|
Quiet Corner
|
Quo Vadis
|
Retrospect
|
A Savage Silence
|
Scarlet
|
Sheep's Clothing
|
Social Credit
|
Title |
Film Maker / From |
Savage Silence, A |
Darragh O'Rourke / Ireland |
Scarlet |
Jake Ward Monsen / Hertfordshire, UK |
Sheep's Clothing |
Mira Snyder, Olivia Ramos / USA |
Social Credit |
Norwich Film Makers / UK |
Story of Dadya, The |
Werner Haegeman / Belgium |
Taxidermy Roadkill |
Felix Harris, Lewis Lehrfreund / UK |
Terminal |
Howard Smith / Wolverhampton, UK |
Thirsty |
Edzai Soper / London, UK |
The Story of Dadya
|
Taxidermy Roadkill
|
Terminal
|
Thirsty
|
The Unfortunate Credit Hog
|
VE80: A Tribute to my Father
|
Walking the Dog
|
The Well Beloved
|
Title |
Film Maker / From |
Unfortunate Credit Hog, The |
EBOFF Films / Enfield, UK |
VE80: A Tribute to my Father |
Geoff Hodgkinson / UK |
Walking the Dog |
Andrew Tweed / Essex, UK |
Well Beloved, The |
Rose Goldthorp / Dorset, UK |
Wise Father, A |
Steve Cranenburgh / Kent, UK |
World's Gone Mad, The |
Francisco Merejo / USA |
You Want to be an Electrician? |
Martin Bickell / Hertforshire, UK |
Wise Father
|
The World's Gone Mad
|
You Want to be an Electrician?
|
Two Stars means
The work is a ‘Near Miss’ by the filmmaker. They may have tried some brave or novel ideas which the judges believed didn’t work. Apart from shortcomings in the concept, there may have been technical or constructional issues: Cinematography may be inadequate with little sign of attractive or well-composed images. Sound may be uneven. Story may feel too long. The film may fail to show an adequate sense of purpose/structure/timing. Voiceover may state the obvious. Editing may not flow.
Clearly each rating will inevitably cover a range of attainment levels, and will be subjective to some degree; film is a work of art not science.
Please also be aware that the general standard of films drifts over time.
The work is a ‘Near Miss’ by the filmmaker. They may have tried some brave or novel ideas which the judges believed didn’t work. Apart from shortcomings in the concept, there may have been technical or constructional issues: Cinematography may be inadequate with little sign of attractive or well-composed images. Sound may be uneven. Story may feel too long. The film may fail to show an adequate sense of purpose/structure/timing. Voiceover may state the obvious. Editing may not flow.
Clearly each rating will inevitably cover a range of attainment levels, and will be subjective to some degree; film is a work of art not science.
Please also be aware that the general standard of films drifts over time.
