"The kind of short film that I love, as it feels uncompromising, Can has a raw quality that makes the story emotionally potent, without sacrificing its effective dark humor. Creating the film with her “closest collaborators and friends”, McGee’s intimate and brutally honest approach enhances the authenticity of her material. While that life experience is undeniably challenging, she strikes the perfect balance between comedy and drama, with one enhancing the other in a way I’ve rarely seen on screen when tackling such heavy subjects." - Céline Roustan

www.shortoftheweek.com/2024/10/08/can/

"By offering glimpses into both the past and future, Madhu questions the idea of how we process emotions, and if we can ever truly let go of feelings, especially when they can’t be properly expressed. The power of the screenplay lies in its subtlety and gentleness, as what’s left unsaid carries more weight than the words spoken. This makes the silent moments between the characters all the more powerful, as they speak less and less, their silence says more than words ever could." - Céline Roustan

www.shortoftheweek.com/2024/10/07/madhu-honey/

The SXSW Midnight screening is notorious for unearthing some unforgettable short films. From watching Oscar-winning directors getting far too close to witnessing the tale of a girl with an anus for a mouth, if you’re a regular attendee of this highlight of the festival circuit you would have seen it all. The 2023 line-up was no different, as the audience was immersed in worlds overrun with mind controlling parasites and vibrator obsessions, however, when the lights came up in the Alamo Drafthouse there was only one film on everyone’s lips – Nick Roney’s The Flute.

Full review: www.shortoftheweek.com/2023/05/12/the-flute/