Inside

“Inside” is a small and constrained prison drama, even by the inflexible standards of its genre, and yet Williams’ debut is so replete with such moments of raw compassion that it almost invisibly accumulates a deep well of emotion.

The superbly acted drama yields rewards, making astute observations about mental health, inherited trauma, self-determination and absent or unfixable fathers.

While Inside offers a suffocatingly powerful instance of the Australian prison drama, it is also about something far greater than the country’s oft-demonstrated fascination with its own penal past

Charles Williams’s feature-length directorial debut, Inside, centers on a trio of dangerous men who are forced into each other’s orbit, leading to an outcome that’s both violently chaotic and tragically predictable.

[Inside] marks [Charles Williams] as a filmmaker to watch.

[Charles Williams'] style has a comparable heaviness, with pointed cutaways to symbolic objects, brief flashbacks to scenes better left to the imagination, and more brooding music than is needed.

It is a production focused on the psychology of its characters, and therefore, on the internal conflicts that allow them to take action, doubt, regret, react and, finally, find some kind of redemption. [Full review in Spanish].

Not only is it the best feature of the festival&#59; it's one of the best of the year.

Inside is a riveting, visceral and potent work with a star-making performance by Miller and a seriously Oscar-worthy turn by Jarvis.

One of the most authentic feeling prison movies I’ve ever seen.