Drama
On the set of “Lady in the Locket”
As I pulled up to the coordinates on my GPS in West Jordan Utah, a film crew was set up outside a small house at the dead end of a street.
“Roll Sound. Roll Camera,” came the call from set.
Quietly I made my way up the driveway to not draw attention from the actors performances. I had arrive on set at what appeared to be the end scene of “Lady in the Locket” with Scarlett Diamond, John Fricke and Kylie Rohead on the front porch.
After a few minutes, the scene was completed and the lunch was called. After a quick lunch I sat down with Rob Diamond on the same porch that they and previously finished filming to discuss his current film “Lady in the Locket”.
“Lady in the Locket is about a family secret that needs to come to light,” says Diamond. “She’s held on to the secret for selfless reasons. It has a lot of healing aspects for the little girl and her dad who lost their wife and mother.”
This film was an evolution in Rob Diamonds body of work. Diamond has a talent to write, direct and produce his own films. He also finds time to teach actors and run an acting agency. But this time he commissioned Kerry Stewart to write “Lady in the Locket” rather than write it himself.
“She’s worked with me diligently for a couple of years and is a fantastic writer. I told her what type of story I wanted: a small town, some sort of mansion, that sort of feel. And she came up with a really good first draft and I helped her develop it.”
As we explored the theme of “Lady in the Locket” the conversation took a natural turn to Rob Diamond’s upcoming film “Shadow of Vengeance.” Described as a vigilante film with heart, the movie explores societal issues through the lens of a Congressional Medal of Honor winner and school teacher.
“Think of an old school Charles Bronson vigilante film like John Wick or Batman stripped down to the heart,” said Diamond.
Throughout the interview, Rob Diamond emphasized his commitment to storytelling that is both entertaining and enlightening. “Story is story. I choose the ones that really speak to my heart. Lady in the Locket, Shadow of Vengeance, Lucy Shimmers and the Prince of Peace; I tell them because there’s something about those stories that I feel need to be told. I want that to be part of my legacy.”
Our conversation also touched on the local filmmaking community. Rob Diamond shared his belief that a filmmaker’s success doesn’t diminish the success of others and encouraged a supportive community within the filmmaking industry.
“Utah is in good hands with the cast, the filmmakers and the crew,” said Diamond. “A rising tide floats all boats. And if someone else is successful, that doesn’t take away from my success. There’s room for everybody.”
Initially I asked asked Rob what makes a ‘Rob Diamond film’ but later in the interview we discussed the tendency to categorize filmmakers into specific genres, with Rob expressing his preference for heartfelt stories over rigid genre labels. He cited personal experiences and inspirations, emphasizing the power of storytelling to deeply impact audiences.
“A pretty well known actor from L.A. found me after he watched my movies. I even labeled myself saying that I mostly make heartfelt faith based drama. He was he was like, ‘Why are you labeling it? I watched your films and it’s beautiful cinema.”
By the end of the interview Rob Diamond reaffirmed his dedication to creating films that resonate on a profound level, irrespective of genre boundaries. “Storytellers are storytellers. We could tell a story in any genre we want. I’m comfortable in any genre, but the ones that my heart tells me to make are the ones that I listen to.”
“And we’re back. We’re Back,” came the call from inside the house.
Lunch was over and it was time for Rob to get back to the last day of “Lady in the Locket” and it was time for me to head to the next set and hear what stories the filmmakers were ready to tell.
Drama
A Call That Changes Everything in Don’t Hang Up
WARNING! This review contains SPOILERS!
Don’t Hang Up tells a powerful story through one unexpected phone call. Elizabeth Holiday, played by Paula Jai Parker, starts her morning in rural Hayti, Missouri, when Jeremy, a former student portrayed by LT Hines II, reaches out after years of silence. The call disrupts her routine and pulls both of them into a conversation they’ve been avoiding for a long time.
The film moves with intention. Diamond Batiste focuses on honesty and emotional clarity, allowing the story to unfold through the rawness of their dialogue. The pacing feels natural, giving each shift in tone space to land without distraction.
The cinematography keeps the attention on Elizabeth’s experience through warm tones and close framing. The sound design supports the tension between both characters, letting the quiet moments deepen the impact of each line. Every element works together to keep the focus on the connection forming between Elizabeth and Jeremy.
Parker brings a grounded presence to Elizabeth, and Hines brings weight to Jeremy’s emotional state. Their performances carry the story, giving the conversation a sense of history without relying on exposition. The writing allows them to speak with honesty, and the emotions surface naturally.
Batiste brings a strong point of view to the film. His commitment to stories about connection and resilience is shaped by a career that is dedicated to elevating underrepresented voices. His background adds depth to the themes he explores, especially when addressing the pressures that shape communities like the one portrayed in the film.
Don’t Hang Up is a story about reaching out when it matters and finding the courage to confront the past. The film handles mental health with care and delivers an experience that stays with you. I enjoyed it very much.
Drama
The Quiet Rebellion of Sister Wives
WARNING! This review contains SPOILERS!
Louisa Connolly-Burnham’s Sister Wives is a haunting & heartfelt exploration of love, repression, and quiet rebellion in unexpected places. Set in a strict, polygamous community in 2003 Utah, the film follows Kaidence and Galilee—two young women as they discover something forbidden but deeply human: love for one another. Beneath its rural stillness, this film hums with tension and tenderness.
Sister Wives feels deliberate and immersive right from the start. The muted color palette mirrors the rigid life of the community—dull, restrained, and heavy with strict rules—while the women’s prairie dresses introduce just enough color to suggest individuality trying to break through. The cinematography captures both the beauty and isolation doing an outstanding job at enhancing the emotional connection. When the camera holds on moments between Kaidence and Galilee, these moments are where you can feel the emotion connection the strongest.
Connolly-Burnham, who also stars in the film alongside BAFTA-winner Mia McKenna-Bruce, directs with remarkable empathy. Her approach is not exploitative or sensational. She creates a world that feels lived-in, fragile, and real. The editing and sound design work in harmony, never too much to draw attention to it unless you are looking for it. Even the lighting feels symbolic—soft in moments of connection, harsh and cold whenever the outside world closes in.
Sister Wives is about two women reclaiming the right to have feelings. The performances are powerful while still being subtle as they are charged with emotion.
Connolly-Burnham’s direction shows a deep understanding of contrast—between faith, freedom, duty, desire, silence and voice. Her use of music, inspired by films like Drive and Lost in Translation, adds a pulse that modernizes the story. This kind of repression still exists, and her storytelling makes sure we feel that.
The production design captures the rustic isolation of its world and is spot on to transport audiences into this world. It’s easy to see why Sister Wives has been gaining recognition at Oscar, BAFTA, and BIFA qualifying festivals. Every aspect of its production, costuming, lighting, (well the whole thing just works) in service of the story’s truth.
What stays with me isn’t the setting or even the tragedy of the women—it’s the courage. The courage to question, to feel, and to dream of freedom in a world designed to suppress it. Sister Wives is quiet, brave, and unforgettable.
Drama
Can You Trust What You See Anymore?
WARNING! This review contains SPOILERS!
Iñaki Velásquez’s Danka Priscilla Danka is a sleek and unsettling political drama that digs into the growing unease surrounding artificial intelligence and power. Set against the high-stakes backdrop of a Chilean presidential race, the film centers on Priscilla, a campaign manager whose loyalty is tested when she discovers that the very technology fueling her candidate’s success may be built on deception. What begins as a story about deepfakes and politics slowly turns into something more intimate—a study of control, manipulation, and trust between two women whose relationship blurs the line between personal and professional loyalty.
From the opening frame, Velásquez makes his control of tone clear. The lighting is sharp and purposeful—each scene feels designed for the emotional temperature of the moment. Hotel rooms glow with uneasy warmth, police offices buzz under cold fluorescent light, and Danka’s balcony conversations carry the quiet weight of a woman performing both for the public and for herself. The cinematography captures Chile’s landscape in striking contrasts: the natural mountains towering over the geometric sprawl of the city. It’s an image that mirrors the story’s central question—what happens when something human becomes overshadowed by something manufactured?
The performances are gripping. Tamara Acosta brings depth and precision to Priscilla, grounding the film’s moral tension in every look and pause. Katty Kowaleczko, as Danka, balances charisma and menace with a politician’s grace—her smile hiding a thousand motives. Their chemistry makes each exchange electric, turning even the smallest gesture into a battle for power.
Technically, the film is top-tier. The camera work is confident, the framing consistently intentional, and the editing tight enough to maintain suspense without ever feeling rushed. The sound design amplifies every shift in mood—especially the use of ambient noise during confrontations, which keeps the audience alert to what might happen next. While the background score occasionally enters a moment too early, it hardly detracts from the film’s overall polish.
Velásquez, already an Academy-qualified filmmaker for his short Victoria Rosana Maite, proves again that he knows how to build worlds that feel both cinematic and urgent. His direction balances spectacle with substance, never letting the technological themes overpower the human story at its core. In his director’s statement, he calls the film “about the nature of power and abuse in a relationship between two women,” and that focus is exactly what gives Danka Priscilla Danka its bite. It’s not just about AI—it’s about how control manifests, both digitally and emotionally.
By the end, I found myself thinking less about algorithms and more about people—the ones who hide behind them, and the ones who suffer because of them. Velásquez’s film feels timely yet timeless, a warning and a mirror all at once. Danka Priscilla Danka doesn’t just explore deception in politics—it exposes how easy it is to believe the lies we want to be true.
