1. Little White Lies is a monthly, British Independent film magazine that features writing,
photography and illustration related to cinema. It is published in London and the first
issue was released in 2005. Each issue features a cover illustration of the feature film.
Previous covers have featured films such as ‘Man on Wire’ (Marsh) 2008, ‘An
Education’ (Scherfig) 2009, ‘Black Swan’ (Aronofsky) 2010, and the 2010 American
crime drama ‘Drive’ (Refn).
Little White Lies would be an appropriate magazine
to feature our film ‘Malice in Manhattan’ as film noir
is no longer as popular as it once was, and
therefore film noir’s made today are aimed at a
niche audience. This being an independent
magazine, the content is focused on independent,
low budget films as well as bigger releases such as
‘Black Swan’, but compared to the other existing
film magazines such as ‘Total Film’ and ‘Empire’,
which tend to focus on the blockbuster releases,
our film fits better into the arty, independent side of
film.
Little White Lies tend to feature reviews of older,
classic films such as ‘Chinatown’ (Polanski) 1974 and
‘A Place In The Sun’ (Stevens) 1951. By doing this,
they are aiming their magazine at an audience who
have a keen interest in film or are students. This is a
magazine for people who understand genre
conventions, inter-textual references, and have
watched a lot of films. Little White Lies is similar to
‘Sight & Sound’, a film magazine with more intellectual
content and reads further into the films it reviews.
This is a cover I have designed for our film that would
feature on the cover of the magazine, by using a
posturized effect, the style fits in with previous covers,
and also works well in showing the modern style noir
we were going for.

2. M alice In Manhattan‟ opens with New York traffic,
accompanied with a brooding American narration
setting the scene. This film noir is different,
managing to incorporate elements of neo noir, yet
still in keeping with the classic genre conventions
such as the dominant femme fatale and the classic
1930‟s style typewriter.
The main protagonist, Gerald Lloyd is your typical
1930‟s American male. Dressed in a fedora hat and
braces, he sits at an office desk on the phone
showing signs of the famous Noir character Walter
Neff. He is calm, cool and collected, yet by use of
suggestive cinematography there is a cloud of guilt
hanging over his head, making a very interesting
opening scene.
Directed by AbbieLoosemore, and starring Jason
Garside, who has also appeared in several art house
films, and the 2010 award winning thriller „Sorry‟
elements of modern film making are clearly going to
be found. Subtle references to gambling, theft and
gangs, “I only took what they asked” suggest
certain elements of neo noir are being carefully This striking attempt at
crafted into a classic Noir era full of liquor and traditional film noir is a
seductive women. must see. Showing from
21.03.13 at „Arts
I should also mention the stunning debut Picturehouse‟ cinemas across
performance from up and coming star Anya Gritsenko the country, „Malice in
as the manipulative and sexy femme fatale, Lola Manhattan‟ is dark, sexy and
Odell. Throughout the film she remains the tragic, everything a film
independent, attractive, gun wielding noir should be.
temptress,capturing the attention of the men in the
audience, as well as Gerald himself.

3. THAT Anticipation: The first black and white
film noir to reach cinemas in a while, but
haven‟t we seen it all before –3
PROMISCOUS Enjoyment: gripping, and dark, Garside‟s
performance as the troubled lead is
outstanding –4
SMILE WOULD In Retrospect: A must see, thrilling and
captivating from start to finish - 4
BETHE DEATH “What was it about She is as Enigmatic as
this film that made
OF ME….AND IT
Gerald, which is
you agree to be a part whatmakes this such a
of it?” captivating relationship.
Gritsenko: The era of “What is the message of
WAS.
film noir is just the film?”
beautiful, and the
fashion aspect of Gritsenko: It‟s about
course! I love the trust and how people are
Anya Gritsenko stars at idea of having a
dominant woman in a
like dominos and it only
takes one person to start
the beautiful and film. It is something a chain reaction, causing
seductive Lola Odell. We that has always them all to fall down.
spoke to her about her interested me. I‟m
“And finally, what can we
time working on the film just so lucky to have
expect from you in the
and what it was like been a part of
future?”
taking on the role of a something like this!
femme fatale. Gritsenko: Well I‟m
currently working on a
Gritsenko: Working on „Malice “How would you describe short film in the US and
in Manhattan‟ was such a your character of then im coming back to
great opportunity. I have Lola?” London to start work on a
always loved film noir so new crime thriller, but I
having the chance to be a Gritsenko: Lola is can‟t tell you about that
part of one was amazing. everything a femme yet!
fatale should be,
“What was it like working seductive,
with your co-star, Jason manipulative,
Garside?” independent,
„Malice in Manhattan‟ is
showing at „Arts
malicious.She uses
Gritsenko: Being able to star Gerald, and when she Picturehouse‟ cinemas
alongside Jason was so much across the country from
finds out he has
fun, he is great to work with betrayed her, she gets 21.03.13.
and he is very talented. He her revenge.
captures the essence of an
anti-hero so well, so yeah,
it was really great.