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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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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My MIFF BFF Ariel said I had to see this film as Barbara Hammer is the most important lesbian filmmaker ever. I’m glad I did.
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This had the pastel hued satire of Greener Grass (2019) but with the bleak and sobering reality (without the fever dream) of Sweet Dreams (2023).
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This seems to be a theme in the films that I am watching at the Melbourne Film Festival that when people have power they will abuse it, and by people I mean men.
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This cozy Irish documentary by Gar O’Rourke (Sanatorium (2025)) about the over tourism of the Cinque Terre sits with me slightly uncomfortably as I have been one of those tourists.
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The Melbourne Film Festival is doing a strand of films by Ulrike Ottinger this year and, not knowing anything about this director, I was drawn in by this one being set largely in inner Mongolia at a time where no western directors had previously been allowed to film there.
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Sad sad sad sad. I think I knew this was going to be about queer sorrow rather than joy, although I was drawn in by the period setting and Fiona Shaw.
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