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SIGNIS REVIEWS JUNE 2019 by Peter Malone

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SIGNIS REVIEWS MAY 2019 by Peter Malone

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SIGNIS REVIEWS JULY 2019 by Peter Malone

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SIGNIS REVIEWS AUGUST 2019 by Peter Malone

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SIGNIS REVIEWS SEPTEMBER 2019 by Peter Malone

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SIGNIS REVIEWS OCTOBER 2019 by Peter Malone

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SIGNIS REVIEWS NOVEMBER 2019 by Peter Malone

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SIGNIS REVIEWS DECEMBER 2019 by Peter Malone

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SIGNIS REVIEWS JANUARY 2020 by Peter Malone

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SIGNIS REVIEWS FEBRUARY 2020 by Peter Malone

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SIGNIS REVIEWS MARCH 2020 by Peter Malone

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SIGNIS REVIEWS APRIL 2020 by Peter Malone

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SIGNIS REVIEWS MAY 2020 by Peter Malone

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SIGNIS REVIEWS JUNE 2020 by Peter Malone

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SIGNIS REVIEWS JULY 2020 by Peter Malone

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SIGNIS REVIEWS AUGUST 2020 by Peter Malone

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SIGNIS REVIEWS SEPTEMBER 2020 by Peter Malone

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SIGNIS REVIEWS OCTOBER 2020 by Peter Malone

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SIGNIS REVIEWS NOVEMBER 2020 by Peter Malone

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SIGNIS REVIEWS FEBRUARY 2021 by Peter Malone

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SIGNIS REVIEWS MARCH 2021 by Peter Malone

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SIGNIS REVIEWS APRIL 2021 by Peter Malone

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Australia, 2021, 12 minutes, Colour. Charlotte Best, Jonny Pasvolsky, Alex Menglet. Directed by Antaine Furlong.   One of the creative aspects of filmmaking in Australia is that young writers, producers, directors, have possibilities for developing their projects with the help of Commonwealth and state funding. Often the films are small-budget, rely on character actor casts rather than stars, are able to exercise technical expertise, especially when they make genre films – and many of them have made small horror films. This is one of those films.   However, one of the difficulties is financing distribution, a reliance on international audiences (and often some international settings and accents with a touch of the American). And, distribution often relies on streaming services. This also happens with this film.   Actually, it is the kind of horror-drama that is popular with audiences of specialised festivals of horror films. The title actually refers to a very tall building in Shanghai, a hotel, over 100 floors, and a series of elevators. One particular elevator is a lot in the ascendant but it also has some crashing down, descendant.   On the whole, the action is confined to the cabin of the elevator, making the early part of the film quite claustrophobic, not just for the young woman who has been abducted, drugged, awakens in the elevator to find herself bound and gagged, but for the audience itself. There is some relief for the audience – not for the young woman, Aria (Charlotte Best). She can escape in her memories and imagination – but they are visualised, however briefly, for some relief for the audience. Aria remembers her twin sister, playing on the beach, their devoted parents, the loving father, and the suggestion of some mysterious powers that the girls have. Just suggestions in the early part.   The action is literally jolting, especially when the lift suddenly descends, Aria hanging suspended and then crashing to the floor (quite a number of times).   There is some explanation as to what happens – and the use of a television screen in the elevator cabin, showing Aria’s father, being tortured, the standover interrogator, Russian, with a couple of thugs, wanting to get information from her father. He refuses. She does not know the answers.   Aria also has the benefit of a mobile phone – although, at one stage, she has to get herself out of the elevator and onto high beams in the shaft to recover her phone.   This kind of mysterious claustrophobic thriller may not appeal to a number of audiences – but for those who find the synopsis and its mysteries rather tantalising, most probably their film.
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SIGNIS REVIEWS MAY 2021 by Peter Malone

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SIGNIS REVIEWS JUNE 2021 by Peter Malone

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SIGNIS REVIEWS JULY 2021 by Peter Malone

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SIGNIS REVIEWS DECEMBER 2020 by Peter Malone

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SIGNIS REVIEWS NOVEMBER 2021 by Peter Malone

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SIGNIS REVIEWS JANUARY 2021 by Peter Malone

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SIGNIS REVIEWS JANUARY 2022 by Peter Malone

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SIGNIS REVIEWS MARCH 2022 by Peter Malone

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