The Bite Magazine - Autumn/Winter 2022 - Issue 32

bitefilmreview The film antagonist, Russell Douglas or Russell-D, repre- sents a darker side of the music industry and the potential dangers of deceptive music producers. His character is the classic archetype of toxic masculinity - loud, arrogant and abusive, coercing her to sign a contract mainly to benefit his production company. If that wasn’t enough, Russell-D tries to seduce SJ, but to his disappointment, she rejects his advances. Unbeknownst, she is slowly being drawn into the world of drugs by her producer, who never lost the idea of poten- tially having a more intimate relationship with his talented client. Overnight, she becomes an addict and starts losing her loved ones through her careless and erratic behaviour caused by narcotics. Without spoiling it too much, the film’s heroine manages to find her way out of the maze of drugs, fake friendships, and chaos by reconnecting to her roots back on the South Coast. Izzy Jones gives an excellent performance as an actor and singer. Her voice is soulful, and her acting is brilliant. The British Asian actor trained at Mountview Academy of The- atre Arts in Peckham and has worked in theatre as a crea- tive practitioner and a performer (Le Bossu, The Duckpond, Hunchback of Notre Dame , The Invitation) . Her recent screen credits include Mia in Distant by filmmakers Will Speck and Josh Gordon, due for release this year. Clock was the actress’ first lead in a feature film, and direc- tor Lola created a vehicle and a push for Jones to get a re- cord deal or, hopefully, a breakthrough role in the industry. Izzy’s character is well-written, allowing the audience to follow her journey of ups and downs. Despite the mistakes and setbacks, I always rooted for her character, hoping she would get out of the toxic underground music scene. She and Dedee portrayed a beautiful female friendship with a lovely sister-like connection on the screen. Erika Alexander, a London-based actor, studied at the New York Film Academy. With her previous work, including Jenny Craven in Abattoir (2020) and Stella in All The Wives In The Attic (2021), she was the best supporting cast an actor could wish for in an independent film. Lola Atkins' award-winning short film, Hush (2003), was screened at the Short Film Corner in Festival De Cannes and The BFM International Film Festival. After taking some time off from filmmaking, Lola returned in 2019 and created The Likelihood and Beats ; the filmmaking commu- nity received both short films well. And, of course, Clock (2022) is her directorial feature debut. Early in her career, Atkins launched a production house, EWAV WORKS and has executive produced several pro- ductions, including the psycho-thriller Stalker, the anima- tion Being Red , the thriller Bind Us Together and the doc- umentary Citizens Today. She was born in Hackney, east London and majored in Microbiology and Immunology at King's College, London. While working within the pharmaceutical industry, she teamed up with a producer and joined the newly estab- lished SKY TV broadcast channel Babe TV. She developed/ produced new content and worked within the camera de- partment. She also enrolled at the Raindance Film School, where she discovered her artistic abilities and passion for writing and filmmaking. Credits for the film's visuals go to cinematographer Vio- letta D'Agata who undeniably is the director's right hand. After studying at the Massana School of Art and Design in Barcelona, her narrative, commercial and documenta- ry work made it into internationally recognised festivals that kickstarted her career in filmmaking as an editor and camera operator for the Rome-based production compa- ny Scarfilm. Six years later, she moved to the USA and en- rolled in a one-year filmmaking course at the New York Film Academy, where she discovered her talent in cine- matography and directing.