I think there is a reason why I completely overlooked writing a review for this and only remembered a few days later. It is one of the few films at the Melbourne Film Festival that I have seen and being completely underwhelmed by.
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This evocative and gentle exploration of parenting, childhood memories, dislocation, and neurological difference by Sophy Romvari creates a compelling fiction around autobiographical elements of her life.
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It was with a small amount of trepidation that I saw this latest from one of my favourite directors Asghar Farhadi (or as Facebook autocaptioning calls him, Glasgow Harvey).
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This was perfect late night horror fare. The gore factor was excellent without being overwhelming and there were some great comedic moments and set pieces to balance it out.
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I’ve been pondering the title of this film by Valentina Maurel, as it has a resonance once the closing credits rolled that I hadn’t really considered at the start.
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This is my first Radu Jude and his first film set in France. I have it on good authority that it is perhaps significantly shorter than some of his other films and maybe not quite so anarchic.
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This is a mid-MIFF panacea. Gregg Araki switches the gender roles of an abusive workplace relationship and manages to provoke thought and also delight in its cheeky absurdity.
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I am finding two themes at this year‘s Melbourne Film Festival – people dislocated from their land and people abusing the power they have been given.
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This gentle and ominous fable rather remarkably won Idrissa Ouedraogo the Grand Prix at Cannes in 1990.
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Okay, I only went to see this because I know one of the ‘background talent’ – that is the term director, writer, producer and star Harvey Zielinski used in his introduction to the film.
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