Tag: online

IN CONVERSATION WITH: Rhianna Dhillon

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with Rhianna Dhillon who presents a new monthly series for BFI Player celebrating female friendship and chosen family through the Galentine’s Day collection, featuring films like Frances Ha and Daisies. She will also curate a BFI Flare collection on March 9th, honouring 40 years of the London LGBTQIA+ Film Festival with highlights including Weekend, Beach Rats, and Young Soul Rebels.

View the Galentine’s Day collection here

What drew you to frame your first BFI Player collections around female friendship and queer cinema, and what conversations were you hoping to spark with those themes?

I try to theme my curations around something relevant that is happening each month, so for January, I picked the idea of “Fresh Starts”, as we’re all thinking about resolutions and a new year. For February, I loved the idea of doing something a bit “anti-valentine” and Galentine’s Day (February 13th) seemed the perfect opportunity to celebrate films about female friendships – I always enjoy seeing parallels between me and my friends and characters on screen, whether it’s bickering, getting ready for a night out or just generally being a bit over-familiar – and I hope that audiences also love seeing themselves reflected in this way! The BFI Flare Film Festival takes place in March, so there didn’t seem a better moment to talk about some of my all time favourite LGBTQIA+ films from BFI Player.

When curating films about female friendship for Galentine’s Day, what qualities or emotional truths were you looking for that you feel are often overlooked on screen?

    I think I was especially mining films for their portrayals of how weird and unhinged women can be when they’re together – the safe space where they can be completely off the wall, share their darkest truths and challenge each other. With Frances Ha, I talk about how it uses almost romantic tropes to show how deep the bonds of female friendships can run. In Julie and Celeste Go Boating, I love the obsessive nature of the characters – like them, I often find myself drawn to gregarious, outgoing women and it really taps into that desire for excitement in your friendships as much as in your love life. 

    How do you approach balancing well-known classics with underrated gems when building a collection meant to represent the breadth of queer cinema?

      I don’t deliberately think too much about that balance, I just look for threads which work for the topics I’ve chosen – I think the spectrum of the films on offer speaks more to the versatility of BFI Player – because they have a bit of everything. There are lots of titles that audiences may know the name of but have never actually watched, so hopefully, by highlighting those films alongside more well known ones, audiences will have fun exploring something new. It’s also a great chance to look deeper at the back catalogue of a director or actor you love. If you’re a big fan of Harris Dickinson, check out Beach Rats! If you loved All of Us Strangers, make sure to watch Andrew Haigh’s Weekend!

      In your view, how has the representation of chosen family in film evolved over the past few decades, particularly within LGBTQIA+ storytelling?

        I love the films that are about the safe spaces that queer communities exist within – maybe that’s become more and more prevalent in recent years – The term “chosen family” is only about 35 years old and LGBTQIA stories have been told on screen for a lot longer, but I think the difference now is that queer stories are starting to have the joyful endings that films about straight love often have. Perhaps in the past, there was more of an emphasis on trauma and shame but it definitely feels like there’s a shift as audiences’ understanding and acceptance has evolved – filmmaking is of course part of this understanding, which is why festivals like BFI Flare are so important in showcasing different stories. 

        As a critic stepping into a curatorial role, how does selecting films for an audience differ from writing about them after the fact?

          These curations and the video essays that go alongside them have been so much fun because it’s a completely different slant on film criticism – instead of a written or verbal review, the films themselves can do so much off the talking for me in the video essay, so I can show audiences exactly what I mean, or break down a scene within a film to demonstrate what it is that I love so much.

          As most of these films aren’t brand new releases, I’m also getting the benefit of understanding a film’s impact on the social and cultural landscape so it’s not just about whether or not a film is worth seeing which is essentially what I’m doing when I review – it’s understanding how the theme has evolved since its release, and asking how it fits in with other films in the same genre that either came before it, or since. 

          With BFI Flare celebrating 40 years, what do you think its legacy tells us about the cultural power of film festivals in shaping visibility and inclusion?

            Film festivals like BFI Flare are so vital for amplifying voices who may struggle to tell their stories elsewhere. In a world where filmmakers can still be arrested for films about minorities, queer filmmaking can feel like a political act but BFI Flare allows for the full spectrum of human experience on the big screen – love, heartbreak, grief and joy. It truly is a celebration and it’s so important for festivals like this to exist so that queer stories have the space to breathe. I also love that BFI Flare has always felt like such an inclusive, exciting, vibrant festival, where it feels like you can discover movies that will stay with you for the rest of your life.  

            FEATURE: Guildhall School of Music & Drama: Spring Courses 2026 — A Season of Creative Discovery

            Published on by Tabitha JamesLeave a comment

            Year round, the Guildhall School of Music & Drama opens its doors to adult learners interested in developing their skills in a focused, supportive environment. In 2026, its Spring Courses offer a diverse programme of 21 short courses for ages 18 and over, spanning drama, theatre appreciation, writing, music, and skills for the creative industries. Rather than simply listing options, this year’s programme offers a series of snapshots into creative practice, giving participants the chance to step inside the rehearsal room, studio or writing space and experience Guildhall’s training first-hand.

            For those drawn to drama, the School presents a range of entry points, from introductory acting courses aimed at building confidence and practical techniques, to more targeted workshops. Participants can explore the foundations of truthful performance in the Introduction to Acting Practice courses, or go deeper into ensemble work in Level 2. Others may wish to focus on specific performance modes: discovering the mechanics of comic timing in Comedy and Performance, developing collaborative instincts in Improvisation Level 2, or gaining an accessible overview of Stanislavsky’s methods in a practical context. There are opportunities to tackle Shakespeare under the guidance of an experienced practitioner, or to understand the process behind leading a rehearsal room through Introduction to Directing.

            Beyond performance itself, Guildhall’s single theatre appreciation course this spring, Theatre Uncovered: Understanding Stagecraft, offers participants a structured look at how productions are built and analysed. It encourages a more informed approach to watching theatre and provides tools to understand the creative decisions behind what happens onstage.

            Writing also features prominently in the programme. Whether shaping the beginnings of a script or refining an existing idea, Guildhall’s writing courses offer clear pathways and professional guidance. Creative Writing for Live Performance introduces participants to the fundamentals of writing for the stage, while Writing for Screen: Level 2 supports those ready to develop and strengthen a pilot script, understand the pitching process, and redraft with purpose.

            For musicians and composers, the Spring Courses include training in orchestration and contemporary media composition. Participants can begin with Writing for an Orchestra: Beginners, or build on existing knowledge in the online Intermediate course, both led by experienced practitioners. Film Music Composition: Beginners provides an introduction to writing for moving image, including scoring approaches, sound design and working to brief. Those with more experience in digital production can deepen their understanding of software and studio techniques in Music Production in Logic Pro: Intermediate.

            Guildhall’s skills-based courses offer practical insight into areas that underpin the creative industries. New for 2026, Developing a Marketing Strategy in the Arts introduces participants to strategic thinking in cultural marketing, while Introduction to Arts Evaluation provides a structured understanding of how to measure and communicate impact. Introduction to Event & Production Management offers a grounding in the processes involved in managing a range of productions and events.

            Across all 21 courses, the emphasis is on accessibility and practical learning. Each course is open to adults aged 18 and over, with no requirement for professional experience — just an interest in exploring or developing a particular skill area. Whether attending in person or joining online, participants can expect guidance from experienced tutors and a clear, structured introduction to their chosen field.

            Guildhall School’s Spring Courses 2026 offer an opportunity to explore new areas of creative practice or build on existing skills within an environment shaped by experienced practitioners and supportive teaching.

            REVIEW: Juggernaut

            Published on by Maria Mădălina IfrimLeave a comment

            Rating: 3 out of 5.

            Ambitious, atmospheric, but uneven

            Please note this play was reviewed from a recording of a live performance.

            JUGGERNAUT, the debut play by Lyle Sauer, is a boldly original piece with a premise as bizarre as it is intriguing: a holy cryptid lies dead, a town begins to rot from the inside out, and Bill must resurrect the beast before everything collapses. Blending live music, ritual, and surreal humour, the production aims big: sometimes hitting its mark, sometimes missing it entirely.

            The strongest element of the show is unquestionably its company of actor-musicians, who bring impressive musicality and a distinct folk-inspired atmosphere to the space. The live underscoring adds texture and mood, often elevating scenes that might otherwise feel thin due to the very sparse set design. Performances are solid across the board, particularly the expressive, colourful turn from the Officer, and the candy delivery driver whose occasional stutter adds an unexpected charm.

            The dialogue is sharp and often enjoyable, though the exposition isn’t always clean, leaving the audience piecing together key story beats. Sometimes it feels on the nose, sometimes you need much more details. The necromancing taxidermist is an intentionally chaotic presence, but at times the chaos overwhelms rather than clarifies. The narrative leans heavily into themes of grief, belief, and decay, yet it sometimes struggles to say something truly new about its post-apocalyptic, ritualistic world, a territory that has been explored elsewhere.

            Some of the more dramatic moments land awkwardly. The death of Bill’s mother, for instance, feels strangely comedic rather than tragic, which pulls the audience out of the narrative. The worldbuilding: sugar-addicted townsfolk, a beast functioning as a religious centre, and characters whose mental instability is foregrounded, doesn’t always cohere smoothly, and certain shocking acts feel weird for their own sake rather than purposeful.

            Still, there are standout elements: the recurring refrain “Blessed by the juggernaut” has an eerie power, and the symbolic relationship between Bill and the parasite-like beast feeding on him is compelling. The production team, from musical direction to lighting and costume, work creatively within Fringe constraints, though the overall aesthetic sometimes feels stretched thin.

            JUGGERNAUT is ambitious, unsettling, and performed with commitment. While not all of its ideas fully land, the show offers a unique and immersive experience for audiences drawn to the strange and uncanny. With refinement, its bold world could strike even deeper – but what world-building goes deep when the audience does not step into it?

            REVIEW: The Importance of Being Oscar – Original Online

            Published on by Maria Mădălina IfrimLeave a comment

            Rating: 3.5 out of 5.

            Interesting contextualisation of the life and work of Oscar Wilde, told in the shadows of Reading Gaol

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            The multirolling is adeptly handled, making the various transitions easy to follow, and the dynamic camera angles keep the visual experience engaging. The set and costume design by Madeleine Girling are exquisite, with Wilde’s signature green carnation being a standout detail that adds authenticity and flair to the character.

            However, the production does have its flaws. While it raises intriguing questions about what Wilde might have said in his defense post-conviction, the latter part of the play becomes static and loses some momentum. The narrative sometimes dips into pettiness and vindictiveness, reflecting Wilde’s pain but also portraying him as somewhat egocentric. The pacing issues are particularly evident towards the end, where the story drags, making it unclear whether the audience is meant to see Wilde as framed, in denial, or a mix of both.

            Despite these shortcomings, the lighting design by Chris Davey and the composition and sound design by Barnaby Race contribute effectively to the atmosphere, though the overall artistic direction by Fentiman feels lackluster as the play progresses. The final act, unfortunately, fails to maintain the gripping energy of the earlier scenes.

            In conclusion, “The Importance of Being Oscar” is a visually and emotionally compelling production that shines in its portrayal of Wilde’s complex character. Alastair Whatley’s performance and the stellar costume design are highlights, though the play’s inconsistent pacing and static final act detract from an otherwise strong presentation.

            Photo by Mihaela Bodlovic

            REVIEW: Original Theatre: Jekyll & Hyde

            Published on by Maria Mădălina IfrimLeave a comment

            Rating: 4.5 out of 5.

            Forbes Masson’s masterclass in subtle acting, expertly captured on video, helps reinvent a classic

            Jekyll & Hyde as a theatre piece emerges as a captivating exploration of duality, conscious choices, and the complexities of human nature. From the outset, it’s clear that this rendition delves deeper into the shadows, with a conscious acknowledgement that the protagonist isn’t the conventional hero of the tale. This departure from the traditional narrative sets the stage for a nuanced examination of inner conflicts and the masks we wear.

            One of the standout elements of the production is its keen attention to visual storytelling. Richard Howell’s mastery of lighting, coupled with intriguing angles, elevates the simplicity of the set, particularly the door, into a powerful symbol of transition and transformation. The direction, credited to Alastair Whatley (Original Theater), Michael Fentiman and Tristan McShepherd (film), cleverly utilizes blank spaces, inviting the audience to fill in the gaps and engage with the unfolding narrative on a deeper level.

            The incorporation of camera shots adds an extra layer of depth, effectively highlighting the duality inherent in the storytelling. This is one of the only instances in which I would say that a recorded version of the show is not superior to a live viewing. This juxtaposition is further emphasized by the skilful use of accents, which not only enhance character portrayals but also underscore the themes of identity and disguise.

            Throughout the performance, moments of humour provide welcome relief amidst the darker themes. However, it’s the exploration of the relationship between Jekyll and Hyde that truly captivates. The revelation that Hyde is but a puppet of Jekyll’s conscience adds a poignant layer to the tale, while the symbolic significance of the cane as a key to the mystery reinforces the overarching themes of control and temptation.

            Forbes Masson’s masterclass in subtle acting, expertly captured on video, serves as the emotional anchor of the production. His portrayal delves into the complexities of the human psyche, leaving the audience questioning the boundaries between good and evil.

            While the adaptation deftly explores themes of mental health and the public versus private persona, it’s notable that certain aspects central to the original material, such as addiction and homoerotic undertones, are omitted. However, this allows for a more focused exploration of other themes, such as the id, ego, and superego.

            The clever implementation of moody lighting and precisely timed blackouts work in harmony to produce an intense atmosphere that permeates the entire performance. This results in a captivating and intimate experience that envelops the audience within the auditorium, leaving them on the edge of their seats. However, despite these atmospheric elements, the ending may feel somewhat predictable, given the familiarity of the source material.

            Overall, Jekyll & Hyde emerges as a thought-provoking and visually stunning theatre piece that skillfully navigates the complexities of human nature. While it may deviate from certain aspects of the original story, it offers a fresh perspective on timeless themes, leaving audiences pondering the depths of their inner conflicts long after the curtain falls.

            REVIEW: The Silence and the Noise

            Published on by Ben BreenLeave a comment

            Rating: 4 out of 5.

            An unflinching portrayal of teenagers struggling to cope, and a relationship forged in struggle

            Ben (William Robinson) and Daize (Rachelle Diedericks) are teenagers dragged into an adult world they are ill-prepared for: Ben a lackey to a big-time drug-dealer, Daize the protective daughter of a drug-addled mother. Behind their façades of bravado and aggression, both are scared stiff. Following a chance encounter whilst Ben is on a job, an unlikely friendship forms which could blossom into something more. Echoing the ‘lovers-never-meant-to-be’ trope, The Silence and the Noise remains fresh by engaging with the highly relevant issues of drug-addiction, poverty and county-lines crime without sentimentality.

            Opening with a knife pointed at someone’s throat, each meeting between Ben and Daize drips with tension, as they begin to allow themselves to be vulnerable in one another’s company. Both actors are convincing in their teen uncertainty, with every facial expression and shift in body language embodying tentative trust before snapping back to suspicion. The chemistry between the couple drives the narrative along through some troubling scenes, and a snappy script ensures the audience is engaged with the harsh realities being presented. As they become closer, and Daize urges Ben to get out of the drug game, you being to see just how scared – and how lost – they have both become.

            As a teacher myself, both characters are well-realised: teens feeling a need to present a tough exterior to the world, but really crumbling inside. I’ve had training in County Lines crime and students getting sucked into the world of big money and big addiction, but Tom Powell’s characters bring a tragic human element to proceedings making the issues seem more urgent.

            Having started life as a play, before being adapted for film in 2022, The Silence and the Noise maintains the fingerprints of good theatre. Each scene feels intimate and important, the characters are three-dimensional and authentic, and a focus on dialogue allows William Robinson and Rachelle Diedericks to shine. Shot in the Kent countryside, the star-crossed lovers only ever meet in the overgrowth surrounding Daize’s house, bringing a real claustrophobia to proceedings. This intimacy is amplified through clever camera-shots, frequently wrenching into a facial close-up and with wider angles peeking over hedges and around gates.

            The Silence and the Noise saw success at the Broadstairs International Film Festival (Best Film and Best Actor) and the original play’s script won the Papatango prize for new writing in 2021. It isn’t hard to see why, with an original narrative; actors with great chemistry; and an authentic script allowing an exploration of some dark and uncomfortable themes. Well worth an hour of your time if looking some something entertaining, tragic, and worthwhile.

            The Silence and The Noise is free to watch online until Wednesday 20th March via https://pentabus.co.uk/silence-noise. A trailer is available here.