Evaluation - Laura

Question 1 - In what ways does your media product use, develop or challenge forms & conventions of real media products?

1 & 2) The Ex Factor
3 & 4) Bus Baby
5 & 6) Trains and Paper Planes
7 & 8) Ascending
9) Three Amigo's

Themes and issues: We have represented the theme of domestic violence in our film. For this, we looked at many different short films representing the same thing, where we found too really good ones: Alone and Trapped (we had forgotten about this name until we realised we had used it for our film!). Arguably, both of these films challenge the conventions of this issue, as in Alone we see it from the child’s perspective, as opposed to the perspective of the abuser or abusee. In Trapped, we are also lulled into a false sense of security, when the original shot is a blurred long shot of a hospital room. We hear a non-diegetic voice over of a conversation between a man and a woman. Originally, we assume it is a diegetic conversation, where the man is coming to see the woman in hospital, asking her how she is. However, as the conversation carries on, and the man walks closer towards the bed, we learn the conversation is non-diegetic, and we hear the violence of how she got to the hospital. Yet, these are not challenging any conventions, as there are no conventions for this theme. It is important that new conventions are created for these serious themes so we can perceive the films in different ways. For example, we have conformed to the way Trapped has made the audience originally think something else (for example we change the audience’s attitude towards Sam) in order to make the audience more shocked, as they are no longer secure in what they thought.

Editing/ post-production: Ascending has used flashbacks. They have used certain props or settings to trigger these memories, for example, the sunny weather, or the photo he carries. As props are so significant, we decided to conform to this style of editing, and use props to transition to different scenes. For example, for the second flashback, Sam picks up a photo in current time, which we see in a close up, then it cuts to another close up of the same photo but with a different background (11 & 12). Yet, unlike Ascending, we used fades to make it clear that it is a different time, and a gold glow for the flashbacks to signify that it was a memory that is clear in Sam’s mind, as well as giving it a dream-quality with the use of the gold. This glow is most prominent in the first flashback, so perhaps suggesting that this was the happiest time, so one he dreams about going back to.

Here is a scan of one of the reviews I annotated in LWL. The methods I discussed can be seen here.

  2) Question 2 - How effective is the combination of your main product and your ancillary tasks?
LWL audience
 “film fans with an adventurous streak. They love cinema in all its forms, but recognise that it exists in a wider cultural tapestry, and get excited about that bigger picture too” 

Distribution
“It is the task of distributors to identify and deliver the largestpossible audience for every film”. They must make the film well-known, especially if it is being exhibited in cinema, as most cinema-goers would like to know what they are seeing first! The distributors need to know who the audience are first, as they will need to know where to distribute it. Key things they need to think about…

• "identifying its audience
• considering why they’d go and see it
• estimating the revenue potential across all the formats of its release
• developing plans and partnerships to build awareness of and interest in
• the film
• aiming to convert as much interest as possible into cinema visits
• persuading exhibitors (cinema operators) to play the film"

Approximately 10 films are released a week in the cinema, meaning that there will be many more posters out in the foyer for these customers to view. Distributors need to make these stand out to the target audience.
Sometimes teaser posters are released, however, for our ancillary task we produced a poster so that we could fully try to target our audience, by thinking about different elements we would need to use. Also, as it is a short film, it will be less anticipated then feature films, as the purpose of these are often to portray an issue as opposed to entertainment. Trailers are another marketing device, with teaser trailers too. However, as ours is a short film, we cannot make a trailer for it as there is not enough narrative! These means that the poster needs to fully display the genre and target the audience, as this is the main marketing aspect that we are relying on.
Film festivals are often used in marketing, and are especially good for short films, as it is a broad audience; so by having something short they are more likely to watch it. The Sundance Film Festival is well known for exhibiting short films.

We are only looking at short films, so the posters may not be exhibited in the cinema, however, they can still be viewed in the public sphere. Or, places that are geared more towards ‘film lovers’, like the LWL audience. Examples of this are the Duke of York, in Brighton, which is known to play quirky films that are not always exhibited in mainstream cinemas. Places like this are continually visited by ‘film buffs’, for example, with the way they have a Duke of York membership card, their own marketing device which, by giving discounts, is more likely to secure customers.

Original poster:

Final Poster

 

3) Question 3 - What have you learned from your audience feedback?

 

4) Question 4 - How did you use media technologies in the construction, research, planning and evaluation stages?

Here is my prezi...
http://prezi.com/wnoqvenolkum/edit/

Evaluation - Mark

Question 1: 

Link to my research on domestic violence and Coronation Street

Link to James' in depth analysis of Coronation Street Domestic Violence Story
Link to poster research
Link to Little White Lies Research

Question 2: 

Question 2 – How effective is the combination of your main product and your ancillary tasks?

Question 3:

Question 4:

Evaluation - Megan

Question 1 - In what ways does your media product use, develop or challenge forms & conventions of real media products?

1. Narrative Organization - In Back to Solitude, the narrative appears in reverse. The film starts with the two characters facing each other in a field at the end of their relationship, and works back to the moment they first meet. In our film, we use flashbacks to show the passing of the relationship between our characters meaning that we do not follow a conventional linear and chronological narrative. In this sense, I think Trapped conforms to the conventions of real media products, as both of these short films document the passing of time, though in different ways. Our film conforms a simple version of Todorov's theory of narrative, in that we start with an equilibrium, there is a disruption to this, and then this is resolved and a new equilibrium is formed. This theory can also be applied to Back to Solitude, further showing that our film conforms to common conventions.

2. Characterisation - In Tune for Two, the more vulnerable character is portrayed as weak through his facial expressions, and position in relation to the other character - he is on his knees, facing away from him.

In our film, we wanted to show a different side to our more vulnerable character. To do this, we have a scene with him hanging out with his friends, showing that he is on an equal footing to some of the people in his life. However, even this is ruined by Amy's calls, and demonstrates to the audience that he can't escape her. This prompts a reaction from his friends, who find the situation "weird", showing an element of isolation from Sam between the people we have seen him be most comfortable with. We challenge the conventions of showing vulnerability here, as we show a different side to Sam than his constant vulnerability when he is around Amy.

  This episiode of Coronation Street presents Tyrone as we tried to portray Sam, thereby conforming to the conventions used in the soap. Our film very much conforms to what we see in this particular episode between Kirsty and Tyrone, as it shows a build up of anger before a climactic ending, however there is no apology from Amy, or recognition that she has done wrong.  

3. Characterisation - Back to Solitude shows a quite stereotypical characterisation of its two characters. We see the male character drinking beer and sitting in a laid back manner, in contrast to the female character reading a magazine and appearing quite feminine. In Trapped, we also wanted to show a pretty stereotypical representation of our characters, to create more of an impact when we introduced the violence. In this flashback scene, Sam has his arm around Amy in a seemingly protective way, though her dominance comes through here as she does not reciprocate the gesture and instead is almost turned away from him.

This conforms to the characterisation of the characters in Back to Solitude as we have created the couple in much the same way, thinking about how we wanted to characterise them and trying to decide how best to portray this.

4. Camerawork - In Tune for Two, camerawork is essential to portraying the status of the two characters. A low angle is used to show the dominance of the murderer, reminding the audience that he still has power over the other character even though the tone of the film is more humorous at this point. Camerawork is also important when showing the dominance of the character of Amy throughout the film, as well as Sam's more vulnerable side. We wanted to use some more experimental camerawork in our film, as well as conforming to the use of somewhat standard camerawork in other short films. For this reason, we filmed shots such as this one where Sam drives to college.

 Instead of simply using the shot of him driving away, and trying to show shots of Amy ringing him once he arrived at college, we decided to film him actually driving which challenges the conventions of other short films I have looked at. However, this being said, short films are often renowned for their experimental nature so in this sense experimenting with camerawork could be seen as conforming to conventions.

5. Sound - Much of the narrative in Back to Solitude is communicated through voiceover. The voiceover helps to communicate the narrative as otherwise this could potentially be quite confusing for the viewer. In other short films that I looked at such as Tune for Two and The Black Hole, the dialogue was very minimal and they mostly just used ambiend sound. I think Trapped conforms to the sound used most commonly in short film, as we have pretty minimal dialogue and rely on diegetic sound throughout to communicate meaning. One particular bit of sound that we relied on was the sound of the mobile phone ringing, which signaled the violence and reiterated it to the audience throughout. Nothing hugely similar to this appeared in any of the short films I looked at, so this could be seen to challenge the conventions.

6. Mise en scene - As our film is supposed to be realistic, we tried to make the mise en scene reflect this. We used realistic settings that we thought Sam would be in, such as his house and at college. This conforms to the conventions used in other short films, such as The Black Hole where we see the character in a suit and tie in an office setting. This also shows the importance of having suitable costume in relation to setting, as the man in the office needs to be wearing the smart clothing for the audience to believe the setting. We tried to conform to this in Trapped, by keeping Sam and Amy in stereotypical clothing for their age which would be appropriate for whichever setting.

 Props were also important for us to consider as we filmed in Laura's house, so we needed to be wary of using props that would relate to her in any way as we needed to make the setting believable. Because of this, we ended up with very few key props, and only very few props in the background.

Sometimes this became more difficult to achieve, such as above, but we did our best to work around the fact that it appeared quite cluttered and made sure that we did not move anything in the background accidentally to ensure that we did not end up with any continuity errors. The Black Hole also only seems to use necessary props in the background, and the man does not hugely interact with his surroundings. For the most part, we conformed to the conventions of mise en scene in already existing short films. 

7. Themes & Issues - Our film showed a representation of a relationship containing domestic abuse. We wanted to challenge the conventions of stereotypical representations of domestic abuse - not only in short film but also in other aspects of the media, such as Coronation Street's current storyline with Kirsty and Tyrone. We felt that male domestic abuse was a topic that we could successfully portray as realistic, even though there is not a lot similar to this around at the moment. The relationship in Back to Solitude is also the issue, though does not deal with it in quite the same way as we chose to in Trapped. We used the iPhone throughout the film to reiterate the domestic abuse the whole way through, as Amy's 'clinginess' was one of the key factors, and issues, in their relationship.

 The key issue in our film challenged the stereotypical portrayals of domestic abuse in the media, though the relationship between the two characters was shown in a way that conforms to conventions of relationships, in that we see the couple doing stereotypical 'couple' things, such as having dinner together.

8. Post-production - Post-production effects are used widely in all types of media, including short films, and ours was no exception to this. With post-production, we were able to add in transitioning effects to create our flashbacks and alter the colours slightly to make it more obvious to the audience that they had moved to a different point in time. Without this, our film could have become very confusing to keep up with if the viewer had no prior knowledge of the film. Effects were also used in Tune for Two to show the audience that the person whose eyes we are seeing through is not quite conscious.

A blur effect was used to demonstrate this, as well as a blinking eye which added to the illusion. We conformed to the conventions of real media products here, as using effects in post-production is quite common. 

9. Editing - Most of our editing is quite slow paced throughout, particularly in the beginning as there is not a lot going on. It becomes more fast paced at the end, when we reach Sam's 'breakdown'. This adds tension and is quite common in film and television to show a build up of suspense. We also tried to do some more interesting things with editing, which involved filming scenes from inside a cupboard, an oven and a fridge and then editing these together later to show the passing of time without having to use fades or other editing techniques. Editing in The Black Hole is interesting as the special effects are quite clever. Obviously all of these had to be done in editing/post-production and show how much of a film is actually made afterwards. As the suspense builds towards the end of the film when we realise what he is going to do with his new-found power, the pace of the editing quickens much like ours does at the end of our film, meaning we have conformed to the conventions of editing. 

The Poster

Above are a selection of short film posters. The final four (6-9) are posters made through Virgin Media shorts, where they ask people to make posters for the short films on their shortlist. More information about this can be found here. Because of this, these posters are slightly different to other short film posters, (2 & 5) in that they only contain the title of the film and the name of the director, as opposed to having a credit block or references to festivals and awards. Posters 1, 3 and 4 are from full length feature films, that fall under the social realist genre and therefore link to our short film.

Conventions of Film Posters

• Title - larger than the rest of the text, usually stands out in terms of positioning/colour. Though our title is the same green as some of our other text, we still feel that it stands out due to it's positioning and the fact that it is on a plain background so there is nothing else to distract from it. The title also usually suggests something about the film itself, particularly in short film as this is often the only thing an audience will have to go by before seeing the film, as trailers are uncommon. Our title and the image above it work together to suggest that he is 'trapped' in some way.
• Tagline - most often found on feature length film posters, however we decided to include one as a quote on our poster as we felt that the poster needed something to indicate the nature of the storyline further.
• Director's name - this tends to appear separate from the credit block, Fish Tank, Ginger & Rosa and This is England all support this, with "a film by..." appearing above/below the title on all of them. 
• Actor's names - these appear somewhere on the poster, usually quite large, particularly if the actors are particularly well known as this would be used as a selling point of the film. The names above the title of the film have a dual purpose, as they not only show who acted in the film but who it was directed by. The way this is laid out though, fits more with the conventions of actor's names on a poster.
• Credit block - contains the names of people involved in the film making process, and usually appears at the bottom of the poster. This is true of The Lost Purse, Ginger & Rosa and This is England, though Fish Tank uses this slightly differently as it is actually more central. We decided that our credit block would look best on the screen of the phone, as not only did this give us more room on the poster, it also helped to integrate the phone more with the rest of the design and was more of an original design.
• Image of main characters - most film posters contain an image of the main character(s) in a setting from the film. In films with more well-known actors, this has a dual effect as doing this could also persuade fans of a particular actor/actress to go and see the film because of the 'star' in it. We chose to use an image of our main character on our poster, as we felt that it was important to convey some of our storyline and this was best done by showing Sam looking upset/distressed.
• Ratings - ratings are useful as a part of the selling point of a film. Where a rating is from is also important, as if the source is not interesting to the audience the poster is trying to reach, then they will seem less credible. Ratings tend to come from newspapers and film magazines, and we wanted to conform to these conventions and therefore have ratings from Empire magazine, and Little White Lies. 
• References to award wins/film festival entries - again, these are an important selling point for a film. If an audience can see that a film has been successful at festivals or has won many awards, they will probably be more tempted to go and see it. We decided just to put ratings on our poster, as it was easy for us to add them in to the design with the use of the iPhone. 

For the most part, our poster conforms to the conventions of both short film posters and feature film posters. We did not try to challenge the conventions we had looked at in any way, and only really tried to develop what we had seen by adding in the iPhone as another layer to the poster which would allow us to present the same information in a slightly different way.

The Review

This review layout is slightly different to what usually appears in Little White Lies, as the image that is usually along the top has its own page on the right. However, the rest of the review is much the same with three columns, and the ratings at the end. The review can be found online here. We looked at many reviews from the magazine to give us an idea of what ours should look like, as our aim was to conform to the conventions usually found in the reviews. 

We analysed what was found in each paragraph of the reviews, as well as learning that most reviews tended to have around 5-7 paragraphs. We aimed to make ours conform to this, and ended up with 7 of our own paragraphs.

To make sure that we were conforming to the conventions of the magazine, we not only focused on layout, but also analysed the type of language used in the Little White Lies magazine. Through looking at this example from a review of The Girl with the Dragon Tattoo as well as other Little White Lies reviews, we found some common features of the language and were able to assume that the magazine and therefore the reviews are aimed at quite a sophisticated audience.   

Some of these language features that we found were:

• alliteration
• complex sentences
• restricted code
• adjectives
• adverbs
• rhetorical questions
• puns
• metaphors

We then tried to use these language features in our own review, for example: 

We intentionally analysed the language and the layout to conform to the conventions of a Little White Lies review, as well as analysing the layout in the same way.

Question 2 - How effective is the combination of your main product and your ancillary tasks?



Question 3 - What have you learned from your audience feedback?

 
Here are screen grabs of our Facebook feedback page (above) and our Twitter account (below). We received our feedback primarily through these two sources (particularly Facebook), though also received feedback verbally and via text in particular from friends and family. 

 
Here are a couple of our Vlogs where we discussed some of our ideas for audience feedback, and things that we changed because of this.
   

Question 4 - How did you use media technologies in the construction, research, planning and evaluation stages?

Evaluation - James

Final Review

Today we finished our review. 

View full size image

Finished Poster

We have finally finished our poster.

Update: 3rd March 2013
After some final comments from our moderator we have updated the poster so that the missed call and message symbols are smaller as feedback suggests that they detract to much attention away from the rest of the poster. Here is the tweaked version although we all agree that both versions would be suitable in an advertising environment.

*Please also note that the updated poster has not appeared in our evaluations however full analysis of the first final poster can be found within our evaluations.

Final Vlog

As we have now finished the Advanced Portfolio, below is our last and final vlog. Evaluation to follow within the next few weeks.

Outtakes! - Laura

Here are some outtakes which made us laugh whilst filming and editing! There are some deleted scenes (with a dodgy accent!), moments of laughter, and a certain, terrible contiunity error!

Review Third Draft - Laura

James Dunham and Laura Geall make their directorial debut in this harrowing representation of domestic abuse. In this gritty social realism, Dunham and Geall have broken societal expectations by having the female as the abuser, with the main star, Sam (Mark Summers); playing the victim. With this the audience are cleverly reminded that uncomfortable truths still lie below the surface. 

We see a character that represents a standard, Inbetweeners-style ’lad’, “going out on the pull” with his friends, criticising his “clingy” girlfriend. However, we are lulled into a false pretence of protagonist and antagonist here, and we find when Sam is in  his world away from his friends, all is not what we have been led to believe. Sam takes us through his relationship with Amy (Megan Trigg) through a series of Ascending-style flashbacks. As his memories progress, we are made witness to the subtly-growing violence.

In the first flashback the audience are made to believe that Amy is to Sam, as Lady is to Tramp. This moment of intertextuality is there to signify romance. However, by comparing their relationship to this oh-so-sweet Disney classic, Amy’s stifling nature is heightened later on, when we realise that this is far from the truth.

Amy’s psychotic, possessive tendencies are triggered by Laura, Sam’s “friend from college”. We see this in a flashback, when a cleverly edited transition reveals Amy and Sam’s confrontation after meeting Laura (Laura Geall, Snapshot). The moments of violence throughout the film are only shown to us subtly, reminding the audience of the ever-present theme that things are not always as they appear. Even in the final confrontation, Dunham and Geall rely only on the off-screen diegetic sound of Sam’s reaction. Hearing his pain is more chilling than seeing it; a cold reminder to the audience that abuse is not always visual.

Summers was given the difficult task of playing an abused college student. Even though his portrayal of the character was hardly Oscar-winning, it does nothing to ruin the overall feel of the film. Even when we see him look to the camera on occasion, Trigg’s outstanding performance just about manages to hold everything together. Her excellent portrayal of such a cold-hearted character, eerily similar to bunny-boiler Glenn Close, conveys her dominance and reiterates Sam’s weak character (whilst reminding us of Summers’ weak acting). Using unknown actors helps portray the social realist aspect, and like many other actors from this genre, Summers was plucked off of the street; in the hope of creating greater realism. These hopes are not fulfilled, however, and the casting director needs to be fired - effective immediately.

The audience roots for Sam when they realise what he is going through. We hope for him to find a way out of this relationship that he is isolated in; being truly representative of its title: Trapped. Even by the end we see there is no escape for him; as Dunham and Geall reveal the most extreme consequences of domestic abuse.

The audience are left judging themselves for criticising Sam, and contemplating whether relationships are really as they appear. The truth of this barefaced social realist film hits home with the audience, leaving them with a truly chilling feeling.

Anticipation: With it being a directorial debut from Dunham and Geall, we were tentative about the quality - 3
Enjoyment: 'Excellent, edge-of-the-seat portrayal of domestic abuse'.
- 4
In retrospect: 'Makes you take a close look at life - when is reality really the truth - 4

Review drafting - Laura

The tiresome amounts of redrafting that the review has undergone! Including an annotated copy from our media teacher (top). The scan of the review which is in the LWL review format is one of our last drafts, where we used the thesaurus to try to find synonyms for the words which we were using often, for example "gritty" and "possessive".

Review Ratings - Laura

For the review in Little White Lies, we have to give ratings out of 5 for our film, as well as including a short comment with three titles: anticipation, enjoyment and in retrospect.

As a group, we are bias towards our film, so we decided to get some audience feedback to help us decide. 2/3 people gave 4 for anticiaption. 2/3 people gave us 4 for In retrospect. However, there was a range of answers for Enjoyment, with 1/3 people each deciding either 3, 4 or 5. This means for the most part, we will follow the audience's ratings and give 4, however, we will have to make a group decision for what we will rate Enjoyment. We also asked for a comment from them, however, as they have not, unlike us, studied the format of the LWL reviews, they did not know what type of sentence to write. However, we can use some of the comments, but word them differently. For example, Gavin siad he was "uncertain about the quality", so we can use this to interspere that it is a "directorial debut". "Draws the audience in well", we can talk about the thrilling, edge-of-the-seat aspect of the film, perhaps 'Excellent, edge-of-the-seat portrayal of domestic abuse'. Finally, we have made a group decision on the 'In Retrospect' comment, where we will talk about how it is a good 'portrayal of domestic abuse'. Or, 'Makes you take a close look at life - when is reality really the truth?'   

Little White Lies Review Design Draft - Megan

After learning how to use InDesign on Wednesday, today we tried to put everything together roughly how it would be for our final review. I used the review draft that Laura and I had been working on in the lesson and input that text for the columns. With some tweaking of line sizes, all of our text now fits onto one page and still leaves room for the numbered review in the final column. This is the main part of the review that still needs working on, as we have not really thought about what we will write there yet.

Other than that we were looking at more details that we could add to make the review more realistic. We added the LWLies 'stamp of approval' as well as a page number and the word 'review' down the left hand side of the page. This design does still need some work, but we will make the finishing touches when we know the exact length of the review, as this is still a draft.

Review Vlog

So we are approaching the end of the Advanced Portfolio, we're nearly there!

Poster Design Decisions

For our poster, we had 3 designs to play with, as you can see above. 
Poster 1 includes a white phone which coincides with the phone used in our film, but as a group, we felt this didn't look as good as what the black one did in the other two posters.

Poster 1

The picture in poster 1 and 3 seemed to be the better photo as well as proved by our Audience Feedback. 
The picture in poster 2 was deemed to give too much away to the audience, as he is in a hospital bed and gives away too much, whereas Sam sitting in the corner with photo's around him signalling that he is "trapped" isn't such a giveaway.

Poster 2

Our final decision for our poster is design 3 as we feel this is the best represented photo for the film and the most professional looking design. Although our design is good, there are still some finishing touches to be completed that we are doing now, so we will keep you updated with the final poster shortly!

Poster 3 - Our Choice of Design

Second Draft of Review - Laura and Megan

Megan and I have now created a second draft for the review. After having a lesson on the structures of the review, and annotating some more ourselves, we have added a paragraph and changed the ordering slightly. Here it is...

James Dunham and Laura Geall make their directorial debut in this gripping representation of domestic abuse. Dunham and Geall have breached societal expectations by having the female as the abuser, with the main star, Sam (Mark Summers); playing the victim. With this the audience are cleverly reminded that what appears on the outside is not always the truth.

We see a character that represents that of a stereotypical teenage boy, “going out on the pull” with his friends, criticising his “clingy” girlfriend. However, as the college day ends, we enter a world that is far from stereotypical. Sam takes us through his relationship with Amy (Megan Trigg) through a series of Ascending-style flashbacks. As his memories progress, we are made witness to the subtly-growing violence.

In the first flashback the audience are made to believe that Amy is to Sam, as Lady is to Tramp. This moment of intertextuality is not there simply to signify romance, but to indicate that Sam is being abused. By comparing their relationship to this oh-so-sweet Disney classic, Amy’s possessive nature is heightened; reflecting the way Sam is stifled in his relationship.

Amy’s psychotic and possessive tendencies are triggered by Laura, Sam’s “friend from college”. We see this in a flashback, when a cleverly edited transition reveals Amy and Sam’s confrontation after meeting Laura (Laura Geall, Snapshot). The moments of violence throughout the film are only shown to us subtly, reminding the audience of the ever-present theme that things are not always as they appear. Even in the final confrontation, Dunham and Geall rely only on the diegetic sound of Sam’s reaction. Hearing his pain is more chilling than seeing it; a cold reminder to the audience that abuse is not always visual.

Summers was given the difficult task of playing an abused college student. Even though his portrayal of the character was hardly Oscar-winning, it does nothing to ruin the overall feel of the film. Even when we see him look to the camera on occasion, Trigg’s outstanding performance just about manages to hold everything together. Her excellent portrayal of such a cold-hearted character, eerily similar to bunny-boiler Glenn Close, conveys her dominance and reiterates Sam’s weak character (whilst reminding us of Summers’ weak acting). Using unknown actors helps portray the social realistic aspect; however, the casting director needs to be fired - effective immediately.

The audience roots for Sam when they realise what he is going through. We hope for him to find a way out of this relationship that he is isolated in; being truly representative of its title: Trapped. Even by the end we see there is no escape for him; as Dunham and Geall reveal the most severe consequences of domestic abuse.

The audience are left judging themselves for criticising Sam, and contemplating whether relationships are really as they appear. The truth of this social realist film hits home with the audience, leaving them with a truly chilling feeling.