About Me

Hi, my name is Max Bradley-Cole and I am a first-class graduate in Film and TV at the University of Bristol. Additionally, I was the Film and TV editor for Epigram, the University of Bristol's student-run newspaper.

If people don't remember my cackle of a laugh, they'll probably remember me chewing their ear off about a plethora of topics. I am an avid consumer of film and literature. I personally keep my local cinema, The Watershed, as well as Bristol City Library alive with the amount of time I spend there. 

Below is a showcase of the film work I have created, both on and off my course, as well as some articles I have written. 

To get in touch, please email me at mbc.31jr@gmail.com or message me via social media.

This is the animation my group and I created for our second-year Animated Film module. I designed and crafted the clay and crochet characters and worlds, and my group assisted with animating using stop-motion with the software Dragonframe. The story follows Mr. Grumpy, a lonely blob who dreams of having friends. When a caterpillar disturbs him watching TV, he begins chasing it through different worlds, and on the journey, he may just find the friends he has been longing for.

This is the documentary my group and I created for our second-year Documentary: Histories and Practices module. It explores the role of Street Art and Graffiti in Bristol, and examines whether it is still an effective form of protest that carries significance in today's culture.

This is a montage my group and I created for our second-year Film and History to 1960 module. We were tasked with creating a montage using only footage recorded before 1960, and we paired these with Weyes Blood's song 'Movies'. We began the montage with colour films that depict women as objects of the male gaze. As the song crescendos, we transitioned to black-and-white footage and highlighted the consistent depictions of women as victims of abuse. Our aim was to show how, in early Hollywood, women were subjugated and confined to these two roles. 

Fingerbib tells an absurdist story of a director obsessed with his vision. Encompassing the tenets of non-cinema, an academic and filmic framework we learnt about on the module, Fingerbib encourages people to embrace the process of art, not the product. To let things look bad, be silly, and make little sense. To take from art whatever you can, and to put AI in the bin and embrace imperfection. Its trite, sincere, farcical, and heartfelt and it's my favourite thing I've made on my course. 

This is a film my group and I created for our second-year Fantasy Film module. It follows Adam, who attempts to travel back in time through photographs of his past, in a desperate bid to save the love that he lost as a result of his own negligence. It is only 90-seconds as it was inspired by Bristol's 90-second film festival, DepicT!

This is the first film I made on my course in my first-year module, Filmmaking Fundamentals. It tells the story of two friends who secretly like each other but are unsure of the other's feelings. Their relationship is left ambiguous in the beginning until the subtle tension builds and one of them makes a bold move leading to a romantic resolution.

I acted in a Father's Day Advert for Moonpig in 2018. Watching from behind the camera and seeing how a set operates was a key turning point for me and helped spark my passion for film. I think it set me on the path to studying it.

This is my final project that I created on my foundation course. While it is quite rudimentary and and I now see many areas for improvement, it is a significant point in my creative journey. It begins with old home footage of my childhood and my family, it then transitions into people sharing their most memorable moments from their childhood, accompanied by footage from the same camera used to film my childhood. My goal was to explore how small, seemingly insignificant moments can profoundly shape our adult lives. 

Weyes Blood