Midlands Review of Mind
midlandsmovies • April 26, 2021
MIND
Directed by Joshua Griffiths
2021
JJR Films
Mind is the latest film from Midlands filmmaker Joshua Griffiths and delves into sensitive subject of mental illness and the effects it can have on a person.
The film tells the story of Mark Daniels (Joshua Griffiths himself) who is suffering from a variety of mental health issues but is unable tell anyone around him about the problems he is facing. Amongst conversations about life struggles with his brother Steven, his delicate situation is compounded when a policeman arrives to tell him his brother has passed away in a road accident.
Already suffering isolation, the incident pushes Mark further into drinking and his solitary world whilst avoiding the problems he’s facing at every turn. Voices from the past are both terrifying and haunting as Mark spirals into a world of self-destruction and misery.
The film uses music and sound well as the ever-present voices become more intense and repetitious which annoy our protagonist and drive him to ever further psychosis and a final realisation about his predicament.
The story is told in a straight-forward manner yet the film falls down with its technical attributes. One flaw is lighting and cinematography. Many shots are under-lit and rather than a creative choice, the visuals look like an afterthought. It’s hard to say but some shots should be given more thought at the planning stage.
The lighting goes hand-in-hand with the cinematography which is also careless at times. Haphazard compositions create unintentional confusion – remember the rule of thirds
- and doesn’t help the filmmaker tell their story. Together with the pacing problems of the editing, it leaves us with a film that is drawn-out and looks a bit crude, which no doubt wasn’t the intention.
Again, it comes back to the basics. What is the style? What is the tone for each scene? Do we need a dramatic close-up? An establishing shot to know where we are? These are merely touched upon here when they should be the fundamental aspects to help underpin the narrative and character arcs.
But it would be unhelpful not to make suggestions for improvements. Low-budget filmmakers should be honoured for their filmmaking keenness and their creative passion for their stories. Everyone wants to share some view on the world they have and a tale they wish to tell.
For chunks of this film we get conversations playing out the character moments. This helps show the relationships between them and also their motivations. Yet it's easy to make these scenes uninteresting visually. Filmmakers would do well to see how established moviemakers tackle similar sequences. There’s the “simplicity” of the famous Heat diner scene (here) as well as the opening to Pulp Fiction for example with Jules and Vincent's dialogue interaction.
And very quickly it becomes clear how important it is to adhere to some established cinematic rules. Doing your homework on other filmmakers is key to see how meaning is created, how visual choices connote important aspects of story and to finally ensure the technical levels are up to scratch.
There’s YouTube guides (here
and here) to help along the way and it’s recommended any budding filmmaker should study such resources to help them hone their skills and efforts in the right direction.
Being slightly shorter and more focused will help coalesce these interesting ideas into something more impactful . But as it is, Mind loses its important messages about dealing with (and living with) mental health conditions with under-performing filmmaking techniques.
But although it suffers from a hurried approach, probably not helped by additional pandemic limitations, a few clumsy mistakes can be easily rectified for the filmmaker’s next projects. This will improve everything across the board because they touch upon all other parts of filmmaking themselves and will no doubt keep the director on the right path in their creative career.
Michael Sales
As part of our Midlands on the Move features, we speak to Carl Staples, a Midlands storyboarder and filmmaker with a wide range of regional experience who went on to be involved in the Oscar-winning short film The Silent Child. Find out more about Carl's work...
Our resident local film critic @_jacob.holmes headed off beyond the region's boundaries to the BFI London Film Festival. In our latest Midlands on the Move feature, Jacob shares some helpful hints for first timers, as he provides a guide for local filmmakers and film fans as to what to expect when visiting events further afield... In 2025 I had the honour of attending the 69 th BFI London Film Festival for a week, I attending premieres for some of my most anticipated films of the year. And even grabbed a press pass too. This wasn’t my first film festival, but this was my first London Film Fest and to be brutally honest, in the build-up, I was nervous! Sadly, I found the BFI and Accreditation websites not very intuitive and quite confusing. So this this article hopes to give some peace of mind and let people know what they can expect when attending such UK festivals - both as a regular guest and as press. Tickets Getting regular tickets can be stressful, akin to a big concert. And in a way it's like the Hunger Games, a survival of the fittest type of vibe. First off, BFI advertise tickets go on sale at 10am in September, which is true but not wholly accurate. Instead, at 9am you head to the website and get put in a waiting room with a random allocated number for when the actual sale start at 10am. At that time it tells you where you are in the queue. If you get lucky, you could wait 15 minutes, but often the wait can be an hour plus. Finally when you can make a purchase, you are let in and can put all tickets into your basket. I have two years of experience with this queue! The first time, I failed completely and all movies I wanted to see were sold out. But this year I had a plan! The key to success is knowledge to how to play the game. Tip 1: For the best possible chances, subscribe to the BFI and become a member. The year membership was £35 at its cheapest. And if you're in the Midlands like I am, outside the festival a membership can be fairly useless unless you go to London often. But what this membership gives you is important. A week before general release there is a presale for BFI members. Not only is this a benefit, it also gives you a crucial second chance. By that I mean if things don't go your way the first time, you can try again in the general sale. And I had to do exactly this. When general admissions came out, I tried again for tickets for Wake Up Dead Man and got my ticket! Tip 2: Quantity. There's nothing against the rules saying you can’t enter the queue on multiple devices! I was placed very low down in the queue in my first year on one laptop, but this year I used my phone, PC, laptop, my friend's laptops AND my friends' devices! But it all paid off. Devices can take 2 hours or only 30 minutes. More Devices = Higher chance of getting tickets. Tip 3: Know the films you want to see beforehand. If you don’t know what films you want to see or when they screen you will be completely lost. Write a timetable - and furthermore, have back up plans. Sometimes you'll click on what you want and it will be sold out, but having a backup plan will be much easier overall. Tip 4: Even if you don’t get tickets, it's not the end of the world. There are plenty of second-hand ticket websites selling tickets at normal (or sometimes cheaper) prices. Websites like Twickets, social media accounts like @LFFstubs on X or the r/londonfilmfestival on Reddit will have second-hand tickets. In fact, I sold one of my tickets on Twickets and had no complaints either. Press passes As you can imagine, this process is very different for industry passes. The biggest issue is tickets go on sale in waves each day. Instead of one go, pass holders book their tickets day by day. Tickets go on sale at 8am two days before, usually taking place on the accreditation app or website. In some ways this is easier, but it's also a gigantic pain. Although it's MUCH easier to get a ticket, do have to wake up every single day to go onto a laggy website and book a few tickets. You may even have to book tickets in the cinema. Another issue can be if you plan to see both general and press screenings. One you book way in advance, but press screenings are booked during the fest. Ticket prices for public screenings vary, but the gala/premiere screenings are usually £30-£40. Whilst the press screenings are completely free, you just have to pay for the pass itself which is around £55.
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