I’m curious about vertical dramas? Are there any good ones?

Or are they a portent of doom reminding us that our attention spans have been fiddled out of existence by tech machines, squeezing us until pennies come out?

What can vertical dramas tell us about the politics of now? And, aside from the usual promised gold rush - can filmmakers actually find some kind of living from making them? 

We are standing on the precipice of a brave new film landscape - how do we move forward?

This article draws upon the tactics of the far-right, conspiracy theorists, and christian nationalists to see what we can learn about fearless film distribution and bringing cinema to places where there is none. Buckle up, it’s going to get weird.

In the age of reboots, remakes, and re-appraisals, how important are original ideas to filmmakers? How high up does originality come on the list of must-haves when making a movie?

Jess Sweetman talks to three very unique filmmakers about their approach to originality, exploring genre cinema, shorts, and beyond.