Levan Akin (And Then We Danced (2019)) gives us an engaging story of familial regret and redemption with a glimpse into lives on the margins between country, family and gender.
Continue readingCrossing (2024)
StandardThe Golem (1920)
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Dark Mofo is a space for oddities and the screening in the Hobart Town Hall of this 1920 silent, German horror with live music score by electronic artist Lucrecia Dalt is a good place to start.
Continue readingNever Look Away (2018)
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The credentials of Florian Henckel von Donnersmarck (The Lives of Others (2006)) were enough to get me to this 189 minute German epic at its first session. Fortified with a strong coffee and a stash of dark chocolate and mandarins, I felt confident that I could stay the course.
Continue readingTolkien (2019)
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JRR Tolkien was my first major literary crush. Watership Down was a first love and paved the way for 17 years as a vegetarian and refusal to ever eat rabbit but reading The Lord of the Rings in my teens began a long-lasting love of epic fantasy. I read and reread it many times in my teens and 20s and owned pretty much every published book by or about Tolkien until his estate began churning out unpublished, and unfinished works.
Continue readingPoms (2019)
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Charming and mostly predictable, Poms is like spending a cosy afternoon with wine and a good friend.
Continue readingWild Rose (2018)
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Rose-Lynn Harlan (Jessie Buckley) is a largely unlikable hero but we can’t help hoping she finds her way to success.
Continue readingThe Heiresses (Las Herederas) (2018)
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Only the first feature of Marcelo Martinessi, this is an assured exploration of a difficult and contemporary topic.
Continue readingTop End Wedding (2019)
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This is a heartwarming romcom about falling in love with Country, culture and family.
Continue readingAll is True (2018)
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There have been a few decent British biopics of late (I wrote this in 2019). Well-crafted, character-driven and largely sympathetic toward the subject – The Chaperone (2018) and Red Joan (2018) come to mind.
Continue readingThe Holdovers (2023)
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Like tragic little rich boy Tully (Dominic Sessa), Alexander Payne traps us in a weirdly quaint version of 1970s white America with little contemporary insight.
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