About Me

Hi, my name is Max Bradley-Cole and I graduated from the University of Bristol with a BA Hons degree (first class) in Film and Television. In my final year, 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 film watcher, prolific reader, and budding writer. I keep an extensive Goodreads catalogue, post articles on my Substack, and I am currently enrolled in photography and creative writing classes at The Guildford Centre.

Below is a showcase of the film work I have created, 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.

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 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. My friend Isabelle and I worked many, many late nights editing this, and I believe it is my editing-magnum-opus.

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 me with the animating. We used the stop-motion 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 this journey, he may just find the friends he has been dreaming of.

This is a montage I created for our second-year Film History to 1960 module. My group and I were tasked with creating a montage using only footage recorded before 1960, and we paired this with Weyes Blood's song 'Movies'. We began the montage with colour films that depict women as objects of the male gaze, and as the song crescendos, we transitioned to black-and-white footage, highlighting 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. 

This is a film my group and I created on our Political Film module in second year, the focus of the module was on the politics of technology. We decided to focus on the alienation felt when trying to find connections on dating apps. It's still a bit rough around the edges, but I am proud of the editing and the datamoshing effects at the end, which were difficult to figure out. 

This is a video essay I edited for my British Cinema and Television module. Our assignment was to explore the representation of British identity in quintessentially British programming. We received great feedback for this video essay from the unit convenor Helen Piper, saying it was "exactly what she wanted to see". She went on to use this as an exemplar for future students.

This is a rather amateur 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, so forgive its rudimentary qualities. 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 tension builds and one of them makes a bold move.

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