Image via embraceoftheserpent.oscilloscope.net
I recommend seeing a film you know nothing about on a Sunday morning. I was the only person in one of Nova’s subterranean cinemas for this black and white Colombian journey into the Amazon and a history of cultural decimation. There are two overlapping stories, both of white scientists on a search for a rare healing plant, guided through the jungle by loner Karamakate and separated by 30 years. Continue reading
I love film festivals. The weekend I chose to be in Melbourne, the Iranian Film festival just happened to be on. As my loyal readers will know, I have a penchant for Iranian films – Rhino Season, Manuscripts Don’t Burn, Crimson Gold, The Past, A Separation, Radio Dreams, A Girl Walks Home Alone at Night. And at festivals you end up seeing films you know nothing about, that will probably never get a release in Australia. A risk, yes, but a risk worth taking for this surprising film that I chose only because of its time slot and the beautiful B&W image above. Continue reading
The what-a-people? Full of memorable, quotable lines that are all the funnier for being in a Kiwi accent, there is nothing really to dislike about this sweet New Zealand comic drama by Taika Waititi, director of What We Do in the Shadows and Boy, two of my favourite Kiwi films. You’ll recognise Taika as he also often features in his films – Viago in Shadows, Alamein in Boy and the minister in Wilderpeople. Continue reading
I’m a fan of Louis, in fact I’m booked to see him in Melbourne in September. Having said that, I was pretty sure what to expect from this feature length Louis-style documentary; an enjoyable and endearing ride that would teach me something but perhaps leave me feeling a little unsatisfied. And that’s just what I got. Let’s face it, Louis is not about hard hitting investigative journalism, what makes him special is his ability to hang around people without saying much which seems to provoke them to reveal more than they intend or realise. In this case, it is ex-members of the Church of Scientology and various current members who show their colours by their aggressive and bullying behaviour toward Louis and his team. Continue reading
What a beautiful and sad film. Set in Tibet, we first meet Tharlo (pronounced tarlo), or Ponytail as he is used to being called, as he recites the words of Mao Tse-tung that he learned by heart when he was nine. He speaks of death being inevitable but not all deaths being the same significance; death after serving the people is ‘heavier than Mount Tai’ but death after serving the fascists is ‘as light as a feather’. He is reciting this to the local police chief who remarks that, with such a memory, he had great promise as a child and his forty years as shepherd, building up a small living, is a waste. Continue reading
Gosh this movie sounded good. The synopsis used words like ‘breathtaking’, ‘existential odyssey’, ‘abstract allegory’ and ‘a political version of a Beckett play.’ It really wasn’t any of those things though it has an interesting topic and some nice moments. It is a film in two distinct parts: we see Nero, a teen of Mexican origin who grew up in LA but was deported with his parents, trying to cross the border back to the US. In LA he meets up with his brother but not before being picked up by the police for looking too Mexican in a wealthy area of Beverley Hills. Nero’s plan is to be a ‘Greencard soldier’ where he can join the US military in exchange for a Greencard. Continue reading
I have no idea what this Iranian film is about. It’s stylish, unconventional and full of beautiful moments and promise but ultimately I felt I was missing out on a cultural context that may have made sense of the story. It begins as a drama with a man, Babak, recounting to an investigator the events that had led up to that moment. We then see the events unfold; he is sent to make a report on a man who has killed himself on the island of Qeshm. He was an ‘exile’ living alone in a derelict boat in the middle of a desert cemetery and Babak can see that he was murdered. His investigations begin to reveal surreal and confusing facts. Continue reading
I cried at the end of this film, I’m not sure why. There is a quiet reverence to it and beauty that is at odds with its setting. By Singaporean director Boo Junfeng, the setting is a Malay maximum security prison where Aiman has just begun work as a guard. He seems kind, conscientious, though emotionally distant from his only sister. Soon he is taken under the wing of Rahim, the prison executioner, who teaches him how to ‘kill well’, with the least pain and the most compassion. Continue reading
I like to be shown rather than told and this Chinese documentary about the vast coal mines of Inner Mongolia did just that. Made up of dialogue-free footage, we are taken on an absorbing and sobering visual journey. The behemoth of the title refers to the monster of the Bible who devours mountains and, through a loose translation of Dante’s Divine Comedy, we journey through the Purgatory, Hell and Paradise of China’s insatiable appetite for industrial production. Continue reading
Not a MIFF film. I took a detour at ACMI this morning as I waited for my first film session of the day and watched Del Kathryn Barton’s sumptuous animation of Oscar Wilde’s short story, The Nightingale and the Rose. Continue reading
