Image via miff.com.au
Blending just the right amount of bleached Eastern European realness with surreal metaphor, Scary Mother is a dark and brooding tale of female autonomy. Continue reading
Scary Mother (2017)
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Lost in Paris (Paris Pieds Nus) (2016)
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Image via http://www.mfah.org
Jacques Tati lives on in this featherlight slapstick farce from duo Fiona Gordon and Dominic Abel. Continue reading
Pitch Perfect 3 (2017)
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Image via http://www.cosmopolitan.com
Better than Pitch Perfect 2, not as great as the original. That’s pretty much all you need to know. Continue reading
School Life (2016)
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Image via http://www.latimes.com
Like Hotel Coolgardie, this is a documentary that positions us as silent viewers, watching everyday life unfold around us. In School Life, there is no context nor narration, we are dropped straight into a day at Headfort School, a boarding school for primary kids in Kells, Ireland. Continue reading
Loving Vincent (2017)
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Image via http://www.cinemaclock.com
Like an episode of Midsomer Murders but painted, this misguided commodification of the art of Vincent Van Gogh is devoid of any real exploration of the artist or his art. Proudly stating upfront that each frame has been hand painted, the gimmick is at first intriguing but soon becomes a distraction. It can’t hide the insubstantial plot, dodgy accents and lack of drama. Continue reading
Professor Marston and the Wonder Women (2017)
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Image via cinemasiren.com
I’ll go out on a limb and say the best way to make a film about women is to have one direct it. The fact that the title and trailer of this film focused on William Moulton Marston, the creator of Wonder Woman and co-inventor of the lie detector, led me to suspect that this might be another hagiography of a bloke who supported women’s rights. Happily it is definitely not. It is a sexy tale that places the women firmly in the centre and has given me a new appreciation of Wonder Woman. Continue reading
Israfil (2017)
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Image via iran.britishcouncil.org
The second feature from Iranian director Ida Panahandeh, Israfil is a quiet exploration of the repercussions of the cultural oppression dealt with much more histrionically in Leila. Unlike Leila, where the thoughts of the protagonists were spelt out to us, Panahandeh lets us watch and feel and imagine. Continue reading
Sami Blood (2016)
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Image via miff.com.au
The Sámi, or Lapp, people of northern Scandinavia have long been subjected to discrimination in Sweden, Norway and Finland. In Sami Blood we see the story of one 14 year old girl, Elle-Marya (Lene Cecilia Sparrok), whose South Sámi family herd reindeer in rural Sweden. Continue reading
Marlina the Murderer in Four Acts (2017)
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Image via miff.com.au
My first Indonesian, feminist, spaghetti western. Marlina (Marsha Timothy), a young widow living alone, defends herself with cool insouciance against a rapacious gang. Continue reading
Glory (Slava) (2016)
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Image via miff.com.au
Glory grabbed me from its first realistic scenes to its devastating ending. Described as Capra-esque and a black comedy, this is anything but; intense, understated and bleak, it is a powerful drama about what is lost when corruption and greed win out over humanity. Continue reading
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