You may think you’ve seen all of the British working class films however Chuck Chuck Baby brings a new light to the sub genre, giving a voice to small town women. 

We follow the character of Helen who lives with her ex-husband and his new girlfriend and their baby all under the same roof. Then one day her childhood friend and ex-neighbour comes back into town, which leaves Helen to question her life decisions.

I sat down with Janis Pugh Director and Writer to talk about her latest feature film Chuck Chuck Baby. Drawing a lot from Pugh’s personal life, filming it around her childhood hometown this feels very close to the director. 

Chuck Chuck Baby is out in cinemas on 19th July.

Written and directed by Dan Clark, this fairly star studded independent film follows a young couple who are stuck in a financial situation, and decide to kidnap a sleazy conservative politician in order to receive a ransom, that will allow them to escape their static lives.

Patrick Baladi (The Office) plays Hardy our creepy politician, Kelly Wenham (Double Date) plays Maggie, a complex woman who seemingly is always drawn to the “bad boy”, Jack Parry-Jones (The Crown) plays Brian our voice of reason within all of this, or is he?

A Kind of Kidnapping [2023]

The character development is well written and allows the space for character arcs, unlike a lot of small films, where there isn’t that room in the script. The three main leads feel very grounded and familiar, everyone knows someone like this in their life or perhaps public figures in the media.

The performances of the main three lead actors are great, if it wasn’t for them, I don’t think this film would work as well. Alongside the strong performances, the editing of the film helped to navigate this non-linear plot and allowed the film to peel aways the layers of backstory which all helped to create a stronger character driven piece.

A Kind of Kidnapping [2023]

As the film was nearing the final act,  it felt as though it was dragging a little. Dan Clark mentioned in the Q&A after the screening how this was a short film before and I can definitely see how it could work in a confined setting really well. Maybe there was a bit of padding in second to third act to reach that feautre length requirement that didn’t aid certain character moments.

If you want to hear my full thoughts, the best thing to do is check out my review over on YouTube and let me know your thoughts in the comments. 

When independent film is fighting for its life, A Kind of Kidnapping is the light in the dark. This is one of the better British produced indie films I’ve seen in a long time. 

A Kind of Kidnapping is out on digital on 24th July on iTunes, Amazon, Google and Sky.

This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the [series/movie/etc] being covered here wouldn’t exist.

This short film written and directed by Richard Schertzer tackles the themes of mortality, loneliness, and memory through the perspective of the main character Marina Davis (Danette lllig), a breast cancer patient.

Marina is visited by her carer, Katie (Kike Ayodeji), who lends warmth to her character and provides a ray of hope for Marina’s daily struggle. Marina’s sole family is her son John (Donald Imm), who is away for college and on a trip to China, so she can only video contact him, which adds to Marina’s loneliness. Then Angel of Death (Trey G. Riley), an enigmatic figure, enters the picture. This causes her to ponder life and death, as well as what will happen beyond.

Ms. Davis’ Close Friend [Credit: Richard Schertzer]

The film’s primary highlight employs a sombre colour scheme to depict the protagonist’s sorrowful mood. The sceneries are mostly grey, black, and white in colouration. The lack of colour suggests that the character has lost interest and enjoyment in life, seeing everything as drab and depressing. Instead of informing the audience how the character feels through speech or narrative, the film uses this visual technique to show the audience how the character feels.

Marina is placed in the centre of the frame by the director (Schertzer) to illustrate how she is the major focus, but also how the other characters swirl around her. Despite the fact that the tale solely takes place within the structure, Schertzer captures the audience’s attention with unique views, angle frames, and music soundtrack. While the concepts are similar to the Netflix series After Life (2019-2020), the short film allows the spectator to empathise with the character’s emotions.