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GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

GOLDEN MAGAZINE: BETWEEN TWO WORLDS

Excerpt from GOLDEN, an annual hardback magazine.
A physical time capsule recording an abundant year of works.
Created by and for British East & South East Asian diaspora.

Full interview only available to buy in hard copy via @milkteafilms

Interview by Christine Seow
Photography by Stuart Nimmo
Edited by Chi Thai, Jun Kit Man, & Zoe Li

For @milkteafilms, @resonatevoices, and @juniperseabooks

REL for Corin Hardy’s ‘Whistle’

A misfit group of high school students stumble upon a cursed object. They discover that hearing the sound it emits will summon their future deaths to hunt them down.

“Are you mad? I could never forgive them,” says Eric. The Crow replies. “Not them, idiot. Yourself. You couldn’t save her, Eric. There was nothing to be done, boy. If you want to leave this in-between place you have to let it go.” - James O'Barr

(2026)

REL for Corin Hardy’s ‘Whistle’

A misfit group of high school students stumble upon a cursed object. They discover that hearing the sound it emits will summon their future deaths to hunt them down.

“Are you mad? I could never forgive them,” says Eric. The Crow replies. “Not them, idiot. Yourself. You couldn’t save her, Eric. There was nothing to be done, boy. If you want to leave this in-between place you have to let it go.” - James O'Barr

(2026)

REL for Corin Hardy’s ‘Whistle’

A misfit group of high school students stumble upon a cursed object. They discover that hearing the sound it emits will summon their future deaths to hunt them down.

“Are you mad? I could never forgive them,” says Eric. The Crow replies. “Not them, idiot. Yourself. You couldn’t save her, Eric. There was nothing to be done, boy. If you want to leave this in-between place you have to let it go.” - James O'Barr

(2026)

REL for Corin Hardy’s ‘Whistle’

A misfit group of high school students stumble upon a cursed object. They discover that hearing the sound it emits will summon their future deaths to hunt them down.

“Are you mad? I could never forgive them,” says Eric. The Crow replies. “Not them, idiot. Yourself. You couldn’t save her, Eric. There was nothing to be done, boy. If you want to leave this in-between place you have to let it go.” - James O'Barr

(2026)

REL for Corin Hardy’s ‘Whistle’

A misfit group of high school students stumble upon a cursed object. They discover that hearing the sound it emits will summon their future deaths to hunt them down.

“Are you mad? I could never forgive them,” says Eric. The Crow replies. “Not them, idiot. Yourself. You couldn’t save her, Eric. There was nothing to be done, boy. If you want to leave this in-between place you have to let it go.” - James O'Barr

(2026)

REL for Corin Hardy’s ‘Whistle’

A misfit group of high school students stumble upon a cursed object. They discover that hearing the sound it emits will summon their future deaths to hunt them down.

“Are you mad? I could never forgive them,” says Eric. The Crow replies. “Not them, idiot. Yourself. You couldn’t save her, Eric. There was nothing to be done, boy. If you want to leave this in-between place you have to let it go.” - James O'Barr

(2026)

“Drawing Feathers Makes Me Feel Like I Can Fly”

Hand painted trench.

(115cm x 48cm)

- 2024

“Drawing Feathers Makes Me Feel Like I Can Fly”

Hand painted trench.

(115cm x 48cm)

- 2024

“Drawing Feathers Makes Me Feel Like I Can Fly”

Hand painted trench.

(115cm x 48cm)

- 2024

“Drawing Feathers Makes Me Feel Like I Can Fly”

Hand painted trench.

(115cm x 48cm)

- 2024

WHISTLE

If you don’t want to die, you shouldn’t have been born.

Screaming into US theatres Friday 6th Feb & UK theatres Friday 13th Feb.

From the mind of Corin Hardy.

@independentfilmco @shudder

JOHN for ‘Last Days’, by Justin Lin

A young man embarks on a dangerous adventure across the globe to share his faith with the isolated tribe of North Sentinel Island, while a detective from the Andaman Islands races to stop him before he does harm to himself or the tribe.

(2025)

Photos by Tanasak Boonlam.

Forever indebted to cast and crew.

JOHN for ‘Last Days’, by Justin Lin

A young man embarks on a dangerous adventure across the globe to share his faith with the isolated tribe of North Sentinel Island, while a detective from the Andaman Islands races to stop him before he does harm to himself or the tribe.

(2025)

Photos by Tanasak Boonlam.

Forever indebted to cast and crew.

JOHN for ‘Last Days’, by Justin Lin

A young man embarks on a dangerous adventure across the globe to share his faith with the isolated tribe of North Sentinel Island, while a detective from the Andaman Islands races to stop him before he does harm to himself or the tribe.

(2025)

Photos by Tanasak Boonlam.

Forever indebted to cast and crew.

JOHN for ‘Last Days’, by Justin Lin

A young man embarks on a dangerous adventure across the globe to share his faith with the isolated tribe of North Sentinel Island, while a detective from the Andaman Islands races to stop him before he does harm to himself or the tribe.

(2025)

Photos by Tanasak Boonlam.

Forever indebted to cast and crew.

JOHN for ‘Last Days’, by Justin Lin

A young man embarks on a dangerous adventure across the globe to share his faith with the isolated tribe of North Sentinel Island, while a detective from the Andaman Islands races to stop him before he does harm to himself or the tribe.

(2025)

Photos by Tanasak Boonlam.

Forever indebted to cast and crew.

This photo was taken in New York.
It was the day we were told production wouldn’t be going ahead.
Everything in the world was saying ‘give it up’.
But for some reason, we couldn’t quit it.
Maybe because when we’ve found one of our own,
We can’t let them go.

I had spent the last month sleeping on strangers sofas,
Learning their kindness and their faith,
And their fumbles and flaws.
None of these clothes are mine.

If you look like us,
It is a lonely thing.
To grow up without a single person able to speak to your experience,
Is a lonely thing. 

‘Last Days’ is out now in U.S cinemas.

LAST DAYS

When Justin set out to make this film, he did something most people, including myself, weren’t willing to do. He set out to look past headlines, and see someone’s life as more than just their death. To neither glorify, nor demonise. Because both can be destructive in equal measure.

I know many will come with their minds fixed and looking to throw the first stone. But this is not a story about one person; it is a story about all people. How much closer we are than we’re made to believe.

It’s a tale about how we all make our own islands, and disappear to them. It’s a beautiful thing to get lost in fantasy, but a terrible thing to never be found.

LAST DAYS will play in U.S. theatres exclusively from October 24th.

#lastdaysmovie @verticalentertainment @closermedia @unapologeticprojects @sundanceorg

DEAR GOOGLE

A while ago, I wrote a poem called ‘Sunny’ while in the shower. What started as a mantra to wash away unwanted feelings ended up as a short film by the same name.

‘Dear Google’ is its companion. It’s an essay examining racial identity and insecurity through a young boy’s Google search history.

Growing up online, you almost don’t notice how the rise of internet has slowly started to supplant intimacy with people. But there are some things that Google, and even parents, don’t have the answer to. As cyberspace expands, you can now bypass every form of meaningful human connection through a digital surrogate. This is especially easy to do when your other option lies on the humiliating battlefield of the school yard, or in awkward conversations with parents.

So just as Sunny once donned the mask, he now retreats behind the veil of a computer screen and confides in the only companion who could possibly understand him…

The full audio essay is now available on the Short Stuff website. Please visit it in a quiet moment for a deeper dive.

Credits:
Written + Performed by Sky Yang
Cinematography by Darius Shu
Sound Design by Rohail Javed
Commissioned by @shortstuff.film

Special thanks to Molly Lipson, Joel Tan and @milkteafilms, without whom this would not exist.

Supported by @hungermagazine and @huckmagazine

WHISTLE
Heartfelt horror from Corin Hardy.
(Coming to theatres Feb 6th, 2026)

SCENES FROM A REPATRIATION

Place of Origin: The Royal Court Theatre

Period: 21st Century

Duration: 125 minutes

Languages: English, Cantonese, Mandarin

Materials: Wood, Steel, Acrylic, Sand, Linen, Bodies

Description: A shape-shifting play tracing the journey of a 1000-year-old statue of the Boddhisattva Guan Yin in The British Museum, and it’s repatriation after it emerges that the statue was stolen from The Old Summer Palace (Yuanmingyuan). The Guan Yin’s gaze falls over the broken shards of human life from empires old and new, stirring up centuries of ghosts and people in its wake. 

*Removed Until Further Notice*

JTU.RC.APR-MAY25.

Playwright: Joel Tan
Direction: emma + pj @emmaandpj
Design: TK Hay @tkhaydesign
Sound Design & Composition: Patch Middleton @patchesandcream
Lighting Design: Alex Fernandes @oneferny
Video Design: Tyler Forward @tylerforwardportfolio
Movement Direction: Ken Nakajima @kxn.nak
Stage Manager: Aime Neeme @aneemic
Deputy Stage Manager: Daze Corder @d_corder_
Assistant Designer: Yijing Chen @iching_yijing
Costume Supervisor: Ellen Rey de Castro @xreydecastro
Dialect & Language Coach: Jenru Wang @jenruwangvoice
Casting Director: Jatinder Chera @jatinstagram
Production Manager: Zara Drohan
Lead Producer: Hannah Lyall
Company Manager: Mica Taylor
Executive Producer: Steven Atkinson

Ensemble:
Kaja Chan @kaja.chan
Aiden Cheng @aidan.cheng
Jon Chew @sochews
Fiona Hampton @fionahampton
Robin Khor Yong Kuan @robinkhoryongkuan
Sky Yang @skyyang_

Production Photos c/o Alex Brenner

SCENES FROM A REPATRIATION

Place of Origin: The Royal Court Theatre

Period: 21st Century

Duration: 125 minutes

Languages: English, Cantonese, Mandarin

Materials: Wood, Steel, Acrylic, Sand, Linen, Bodies

Description: A shape-shifting play tracing the journey of a 1000-year-old statue of the Boddhisattva Guan Yin in The British Museum, and it’s repatriation after it emerges that the statue was stolen from The Old Summer Palace (Yuanmingyuan). The Guan Yin’s gaze falls over the broken shards of human life from empires old and new, stirring up centuries of ghosts and people in its wake. 

*Removed Until Further Notice*

JTU.RC.APR-MAY25.

Playwright: Joel Tan
Direction: emma + pj @emmaandpj
Design: TK Hay @tkhaydesign
Sound Design & Composition: Patch Middleton @patchesandcream
Lighting Design: Alex Fernandes @oneferny
Video Design: Tyler Forward @tylerforwardportfolio
Movement Direction: Ken Nakajima @kxn.nak
Stage Manager: Aime Neeme @aneemic
Deputy Stage Manager: Daze Corder @d_corder_
Assistant Designer: Yijing Chen @iching_yijing
Costume Supervisor: Ellen Rey de Castro @xreydecastro
Dialect & Language Coach: Jenru Wang @jenruwangvoice
Casting Director: Jatinder Chera @jatinstagram
Production Manager: Zara Drohan
Lead Producer: Hannah Lyall
Company Manager: Mica Taylor
Executive Producer: Steven Atkinson

Ensemble:
Kaja Chan @kaja.chan
Aiden Cheng @aidan.cheng
Jon Chew @sochews
Fiona Hampton @fionahampton
Robin Khor Yong Kuan @robinkhoryongkuan
Sky Yang @skyyang_

Production Photos c/o Alex Brenner

SCENES FROM A REPATRIATION

Place of Origin: The Royal Court Theatre

Period: 21st Century

Duration: 125 minutes

Languages: English, Cantonese, Mandarin

Materials: Wood, Steel, Acrylic, Sand, Linen, Bodies

Description: A shape-shifting play tracing the journey of a 1000-year-old statue of the Boddhisattva Guan Yin in The British Museum, and it’s repatriation after it emerges that the statue was stolen from The Old Summer Palace (Yuanmingyuan). The Guan Yin’s gaze falls over the broken shards of human life from empires old and new, stirring up centuries of ghosts and people in its wake. 

*Removed Until Further Notice*

JTU.RC.APR-MAY25.

Playwright: Joel Tan
Direction: emma + pj @emmaandpj
Design: TK Hay @tkhaydesign
Sound Design & Composition: Patch Middleton @patchesandcream
Lighting Design: Alex Fernandes @oneferny
Video Design: Tyler Forward @tylerforwardportfolio
Movement Direction: Ken Nakajima @kxn.nak
Stage Manager: Aime Neeme @aneemic
Deputy Stage Manager: Daze Corder @d_corder_
Assistant Designer: Yijing Chen @iching_yijing
Costume Supervisor: Ellen Rey de Castro @xreydecastro
Dialect & Language Coach: Jenru Wang @jenruwangvoice
Casting Director: Jatinder Chera @jatinstagram
Production Manager: Zara Drohan
Lead Producer: Hannah Lyall
Company Manager: Mica Taylor
Executive Producer: Steven Atkinson

Ensemble:
Kaja Chan @kaja.chan
Aiden Cheng @aidan.cheng
Jon Chew @sochews
Fiona Hampton @fionahampton
Robin Khor Yong Kuan @robinkhoryongkuan
Sky Yang @skyyang_

Production Photos c/o Alex Brenner

SCENES FROM A REPATRIATION

Place of Origin: The Royal Court Theatre

Period: 21st Century

Duration: 125 minutes

Languages: English, Cantonese, Mandarin

Materials: Wood, Steel, Acrylic, Sand, Linen, Bodies

Description: A shape-shifting play tracing the journey of a 1000-year-old statue of the Boddhisattva Guan Yin in The British Museum, and it’s repatriation after it emerges that the statue was stolen from The Old Summer Palace (Yuanmingyuan). The Guan Yin’s gaze falls over the broken shards of human life from empires old and new, stirring up centuries of ghosts and people in its wake. 

*Removed Until Further Notice*

JTU.RC.APR-MAY25.

Playwright: Joel Tan
Direction: emma + pj @emmaandpj
Design: TK Hay @tkhaydesign
Sound Design & Composition: Patch Middleton @patchesandcream
Lighting Design: Alex Fernandes @oneferny
Video Design: Tyler Forward @tylerforwardportfolio
Movement Direction: Ken Nakajima @kxn.nak
Stage Manager: Aime Neeme @aneemic
Deputy Stage Manager: Daze Corder @d_corder_
Assistant Designer: Yijing Chen @iching_yijing
Costume Supervisor: Ellen Rey de Castro @xreydecastro
Dialect & Language Coach: Jenru Wang @jenruwangvoice
Casting Director: Jatinder Chera @jatinstagram
Production Manager: Zara Drohan
Lead Producer: Hannah Lyall
Company Manager: Mica Taylor
Executive Producer: Steven Atkinson

Ensemble:
Kaja Chan @kaja.chan
Aiden Cheng @aidan.cheng
Jon Chew @sochews
Fiona Hampton @fionahampton
Robin Khor Yong Kuan @robinkhoryongkuan
Sky Yang @skyyang_

Production Photos c/o Alex Brenner

SCENES FROM A REPATRIATION

Place of Origin: The Royal Court Theatre

Period: 21st Century

Duration: 125 minutes

Languages: English, Cantonese, Mandarin

Materials: Wood, Steel, Acrylic, Sand, Linen, Bodies

Description: A shape-shifting play tracing the journey of a 1000-year-old statue of the Boddhisattva Guan Yin in The British Museum, and it’s repatriation after it emerges that the statue was stolen from The Old Summer Palace (Yuanmingyuan). The Guan Yin’s gaze falls over the broken shards of human life from empires old and new, stirring up centuries of ghosts and people in its wake. 

*Removed Until Further Notice*

JTU.RC.APR-MAY25.

Playwright: Joel Tan
Direction: emma + pj @emmaandpj
Design: TK Hay @tkhaydesign
Sound Design & Composition: Patch Middleton @patchesandcream
Lighting Design: Alex Fernandes @oneferny
Video Design: Tyler Forward @tylerforwardportfolio
Movement Direction: Ken Nakajima @kxn.nak
Stage Manager: Aime Neeme @aneemic
Deputy Stage Manager: Daze Corder @d_corder_
Assistant Designer: Yijing Chen @iching_yijing
Costume Supervisor: Ellen Rey de Castro @xreydecastro
Dialect & Language Coach: Jenru Wang @jenruwangvoice
Casting Director: Jatinder Chera @jatinstagram
Production Manager: Zara Drohan
Lead Producer: Hannah Lyall
Company Manager: Mica Taylor
Executive Producer: Steven Atkinson

Ensemble:
Kaja Chan @kaja.chan
Aiden Cheng @aidan.cheng
Jon Chew @sochews
Fiona Hampton @fionahampton
Robin Khor Yong Kuan @robinkhoryongkuan
Sky Yang @skyyang_

Production Photos c/o Alex Brenner

SCENES FROM A REPATRIATION

Place of Origin: The Royal Court Theatre

Period: 21st Century

Duration: 125 minutes

Languages: English, Cantonese, Mandarin

Materials: Wood, Steel, Acrylic, Sand, Linen, Bodies

Description: A shape-shifting play tracing the journey of a 1000-year-old statue of the Boddhisattva Guan Yin in The British Museum, and it’s repatriation after it emerges that the statue was stolen from The Old Summer Palace (Yuanmingyuan). The Guan Yin’s gaze falls over the broken shards of human life from empires old and new, stirring up centuries of ghosts and people in its wake. 

*Removed Until Further Notice*

JTU.RC.APR-MAY25.

Playwright: Joel Tan
Direction: emma + pj @emmaandpj
Design: TK Hay @tkhaydesign
Sound Design & Composition: Patch Middleton @patchesandcream
Lighting Design: Alex Fernandes @oneferny
Video Design: Tyler Forward @tylerforwardportfolio
Movement Direction: Ken Nakajima @kxn.nak
Stage Manager: Aime Neeme @aneemic
Deputy Stage Manager: Daze Corder @d_corder_
Assistant Designer: Yijing Chen @iching_yijing
Costume Supervisor: Ellen Rey de Castro @xreydecastro
Dialect & Language Coach: Jenru Wang @jenruwangvoice
Casting Director: Jatinder Chera @jatinstagram
Production Manager: Zara Drohan
Lead Producer: Hannah Lyall
Company Manager: Mica Taylor
Executive Producer: Steven Atkinson

Ensemble:
Kaja Chan @kaja.chan
Aiden Cheng @aidan.cheng
Jon Chew @sochews
Fiona Hampton @fionahampton
Robin Khor Yong Kuan @robinkhoryongkuan
Sky Yang @skyyang_

Production Photos c/o Alex Brenner

SCENES FROM A REPATRIATION

Place of Origin: The Royal Court Theatre

Period: 21st Century

Duration: 125 minutes

Languages: English, Cantonese, Mandarin

Materials: Wood, Steel, Acrylic, Sand, Linen, Bodies

Description: A shape-shifting play tracing the journey of a 1000-year-old statue of the Boddhisattva Guan Yin in The British Museum, and it’s repatriation after it emerges that the statue was stolen from The Old Summer Palace (Yuanmingyuan). The Guan Yin’s gaze falls over the broken shards of human life from empires old and new, stirring up centuries of ghosts and people in its wake. 

*Removed Until Further Notice*

JTU.RC.APR-MAY25.

Playwright: Joel Tan
Direction: emma + pj @emmaandpj
Design: TK Hay @tkhaydesign
Sound Design & Composition: Patch Middleton @patchesandcream
Lighting Design: Alex Fernandes @oneferny
Video Design: Tyler Forward @tylerforwardportfolio
Movement Direction: Ken Nakajima @kxn.nak
Stage Manager: Aime Neeme @aneemic
Deputy Stage Manager: Daze Corder @d_corder_
Assistant Designer: Yijing Chen @iching_yijing
Costume Supervisor: Ellen Rey de Castro @xreydecastro
Dialect & Language Coach: Jenru Wang @jenruwangvoice
Casting Director: Jatinder Chera @jatinstagram
Production Manager: Zara Drohan
Lead Producer: Hannah Lyall
Company Manager: Mica Taylor
Executive Producer: Steven Atkinson

Ensemble:
Kaja Chan @kaja.chan
Aiden Cheng @aidan.cheng
Jon Chew @sochews
Fiona Hampton @fionahampton
Robin Khor Yong Kuan @robinkhoryongkuan
Sky Yang @skyyang_

Production Photos c/o Alex Brenner

LAST DAYS premieres at Sundance Film Festival, January 28th 2025.

Words will fall short. The skin of love is stretched by knowing, and it’s been the greatest honour to watch this group pull off what felt impossible.

@sundanceorg @justinlin #sundance

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -

TEFF

For ‘SHOULDERS’, the debut feature from the brain of Jamie Flatters

After being stationed at the northernmost post, eight young soldiers are tasked with watching for the first signs of an enemy invasion. Yet, what they unearth plunges them into unforeseen psychological warfare.

The breaking and making of boys. Or men. Or minds. Maybe breaking and making are one and the same. Bang. Pain isn’t as far from pleasure on the spectrum as you think. Neither commune from solitude. Bang. Put reality into play, make a stick a gun. The war is in the mind. Chatter in the skull. If you pull the trigger it won’t actually -