After a 3 month pandemic layoff, Luna
re-boots with a delicious, lightweight treat.
an attractive romantic comedy that
delivers a sugar high but little substance
Mimi (Celia Imri) preparing to open the shop in Love Sarah
U.K. : 97 mins : CTC : 3/5
With an international reputation for baking excellence, Sarah herself (Candice Brown, in a brief appearance) sets up the storyline of director, Eliza Shroeder’s debut feature, Love Sarah, when she’s about to open her own cake shop in London but meets with a fatal (but well-flagged) accident, just after the opening credits have finished.
And so begins an inter-generational tale of three women who come together to fulfil Sarah’s dream – Sarah’s daughter Clarissa (Shannon Tarbet) who was the main instigator, Isabella (Shelley Conn), her best friend and business partner and Sarah’s estranged mother, Mimi (Celia Imri, The Best Exotic Marigold Hotel) who is guilt-stricken at her refusal to help finance the project when her daughter was alive. Introducing a male chef, Matthew (U.K. heart throb, Rupert Penry-Jones) neatly offsets the female-dominant cast but also adds a note of mystery about his motives. We soon discover that he was the late Sarah’s ex-lover and what he refers to as ‘unfinished business’ was that he could, in fact, be the father of her daughter, Clarissa.
Writer, Jake Brunger, has given each of the characters a romantic sub-plot – Isabella jumps into bed with Matthew (tepid and unconvincing); Mimi latches onto Felix, an elderly, eccentric inventor (U.K. veteran, Bill Paterson) while Clarissa has the matter of her relationship with Matthew, to be decided by a paternity test, although neither of the two seems overly concerned about it. Although amiable, these plot-contrivances are not particularly engaging and they’re outshone by the real stars of the film – the cakes themselves. Originating from all corners of the globe (so adding a multicultural thread) they come in all shapes, sizes and colours and they look gorgeous – with the camera lingering long and lovingly over their making and presentation.
Within the limitations of the material, the performances are all solid, with Celia Imrie’s as a flinty, insular senior, beginning to open up to people, being the strongest. In fact, you may feel a rare tweak of the heart when her Mimi mulls over a card that she wrote to Sarah, but which her daughter never got to read.
Foodies and followers of Master Chef should be attracted to Love Sarah. In fact, it would not be surprising to find some of its international recipes being sought after on Google. It’s one of the few films to showcase food since Chocolat did, some twenty years ago.
phil. 14.06.20. email@example.com
a striking, confronting film of juvenile guerrillas
Doctora (Julianne Nicholson) in the hands of the Monos
COLOMBIA/U.S.A. : 103 mins : MA15+ : 4/5
Monos, directed by Alejandro Landes (and co-written with Alexis Dos Santos), is a visually striking, fictionalised feature of armed, juvenile guerrillas, training under the command of a man known as ‘the messenger’ (Wilson Salazar), atop a jungle-clad mountain in remote Colombia. The small group of young people of both genders, are referred to by their nicknames – Bigfoot, Lady, Rambo, Smurf, Dog and their leader, Wolf and hold a captured woman as hostage, referred to as Doctora. Landes was inspired by the novels, Lord of the Flies and Heart of Darkness and the influence of both is very much in evidence. It is a tale of anarchy, of primitive and violent forces and of the destabilising effects of power in the hands of the young.
In spite of lacking details about the conflict, Monos could be happening in one of many tropical regions in the world. It’s a convincing and highly disturbing film, with the Monos movement requiring young people to die for an ideological cause, in the manner of today’s ‘radicalisation’ of young people being carried out by terrorist organisations.
In a non-professional cast, who all play physically demanding roles, Julianne Nicholson is outstanding in the gruelling role of the hostage, Doctora, while the film itself took off the top award at the Sundance Film Festival. Cameraman, Jasper Wolf, received acclaim for the film’s arresting and, at times, breathtaking, cinematography.
Monos is an exciting film, a heady mix of brutality and beauty, full of tension and visceral thrills as the young soldiers are put to severe tests of honesty, loyalty and bravery. But it’s not escapist fare. Unlike his namesake (who never dies on screen) Rambo and his cohorts face death, on a daily basis, both from the dangers of the natural world or being hit by an enemy bullet. It’s a sobering prospect which will leave an indelible impression.
phil. 18.02.20. firstname.lastname@example.org
Monos opens at Luna Leederville on March 26 and will also screen at Luna Outdoor. Check lunapalace.com.au or the press for details.
]ADVANCE SCREENINGS THIS WEEKEND AT LUNA
in this powerful, BAFTA winning doco
the horrors of Aleppo are almost unbearable to watch
Waad and her baby, Sama, in the war-ravaged streets of Aleppo
U.K./U.S.A./SYRIA : 100 mins : documentary : MA15+ : 5/5
In the Syrian city of Aleppo, its inhabitants were terrorised by the onslaught of the brutal Assad regime in its attempt to end the bloody Civil War that raged for five years, with conflict continuing to the present day. For Sama began as a personal record, by Aleppo resident, twenty-six year old Waad Al-Kateab, to explain the actions of herself and her husband, Hamza (one of the few doctors left in the city) to their baby daughter. But, while having the feel of a home video, the film developed into a devastating documentary (with a rare female point of view) that took off the top award in the 2019 BAFTAs and gained a nomination for the Best Documentary in the 92nd Academy Awards.
News footage, in this PBS Frontline/Channel 4 News/ITN production is confronting enough. But, as film directors, Waad and Edward Watts take us back and forth between 2012 and 2016, Waad’s intimate coverage puts us in the midst of family and friends and their terror and heartache have an overwhelming sense of tension and urgency.
Suddenly, in a deliberate hit on civilian targets, a bomb explodes in the hospital where Hamza works frantically to cope with the tide of casualties and the air is filled with smoke. Children covered in blood lay dead or dying on the floor. More of the injured, with broken bones and twisted limbs are rushed into the building. The scene is chaotic and the despair is heart-wrenching.
But amidst the death and destruction, there’s a defiant show of resilience. For Sama gives us not only tears but laughter and song and, unbelievably, tells the personal love story of Waad and Hamza themselves, their marriage and the birth of their daughter. But, even more than most, their lives hang by a thread. Both have posted criticism of the regime on social media and both are personally targeted.
While concentrating on the strengths of this extraordinary film, it’s easy to overlook the fact that Waad Al-Kateab discovered a natural gift for photo journalism which has brought her film to the screen. With screams of anguish ringing in her ears, like a seasoned professional, she continued to film.
For Sama is exceptionally hard to watch. But it offers crucial insight and is one of the most profoundly intimate depictions of the Syrian conflict ever filmed.
phil. 07.02.20. email@example.com
For Sama will have advance screenings on February 8 and 9 at Luna Leederville. Check lunapalace.com.au or the press for details.
an all-female crew sails their yacht
around the world and strikes a thrilling blow for gender equity
Tracey Edwards and crew member at the start of the Whitbread Round the World Yacht Race in Maiden.
U.K. : 97 mins : CTC : 4/5
In 1989, offshore yacht racing was very much a male preserve. In Maiden, the documentary, writer and director, Alex Holmes, makes it clear that the first-time entry of an all-female crew in the Whitbread Round the World Yacht Race was considered either of novelty interest only or extremely foolhardy. But they weren’t to know of the courage and resolve of the skipper – a young Tracey Edwards who was hell-bent on proving them wrong.
Losing her beloved father at ten years of age, the physical abuse Tracey suffered at the hands of her step-father, welded an anger and hatred onto the already pugnacious and rebellious personality – an abhorrent but effective preparation for defying the odds.
After finding a fifty-eight foot aluminum yacht, Tracey looked to assemble a crew of nine females to fit the various roles necessary to sail her. Childhood friend, Jo Goodall, was an obvious starting point and one which proved invaluable when she brought aboard a home cine camera. Without that, there would have been no documentary.
While Holmes’ doco. neglects the details of Tracey’s navigational training (which was critical in those days of ‘old-school’ skills of using compass, sextant and dividers), it covers, comprehensively, the biggest problem of finding sponsors.
Sexist comments aside, such as referring to Tracey’s yacht as ‘a tin can full of tarts’, nobody was interested in financing an entry that most thought would not even complete the first leg to Uruguay, let alone finish the race.
Holmes’ treatment of the film is refreshingly simple and linear. While Tracey and her crew members, now almost thirty years older (plus an assortment of men associated with the race at the time) speak direct to camera, archival and crew-shot footage tell their own tale. Grainy images show mountainous seas, sub-zero temperatures when the boat is covered in snow, as well as periods of flat, windless ocean. Even for those uninterested in sailing, it’s an incredible tale of human perseverance.
While Tracey Edwards didn’t start with any deliberate feminist agenda, she admits to being converted during the nine month’s passage. When Maiden arrives to a tumultuous welcome at Southampton, there is a sense, among the crew, not just of jubilation but almost euphoria.
Maiden is that rare filmic creature – one that’s enthralling on its own terms but which can also be the source of inspiration for women everywhere. While the only word they may have heard was ‘no’, Tracey and her indomitable crew have answered with a thrilling, emphatic ‘yes!’
phil. 27.02.19. firstname.lastname@example.org
Maiden will open at Luna Leederville and Luna’s The Windsor on October 17. Check lunapalace.com.au or the press for details.Maiden first screened in the 2018/19 Perth Festival, Lotterywest Film Programme.
Here’s a film that has caused a stir. Some have found it a little hard to stomach and there have been walk-outs. It’s a tough watch, even as the director admits but it needed to be.
See you in the dark, phil.
a tale of rape and murder
in Colonial Van Diemen’s Land
is such a ghastly song for a pretty bird to sing
Billy (Baykali Ganambarr) and Clare (Aisling Franciosi) in The Nightingale.
AUSTRALIA : 136 mins : CTC : 4/5
Towards the end of Jennifer Kent’s film, The Nightingale, there is a fascinating reversal of narrative primacy. Her follow-up to the horror film, The Babadook, is the bloody, revenge tale of Clare (Aisling Franciosi), an Irish female convict in Tasmania in the 1820’s who was brutally abused by a British Officer by the name of Hawkins (Sam Caflin). At a critical point, the secondary narrative, of the Aborigine, Billy (Baykali Ganambarr), who Clare enlists to find Hawkins on his bush trek to Launceston, suddenly swaps places with that of Clare, as Billy takes control and Clare recedes into the background. Is this Jennifer Kent’s admission of Clare’s defeat against impossible odds? Or is she calling a halt to Clare playing a revenge role traditionally reserved for men?
There is an overpowering sense of helplessness in The Nightingale, by anyone not part of the British military. Native Aborigines (referred to as ‘Blacks’) were considered little better than vermin – of some value as physical labourers, trackers or (if female) of an ‘interesting’, alternative sexual experience. In spite of Billy sharing Clare’s hatred of the British, Clare, herself, buys into the hierarchical power-play by addressing him as ‘Boy’. While violence, in The Nightingale is graphic and abundant, its historical authenticity justifies it, providing much to fuel Jennifer Kent’s volcanic sense of outrage.
Much of The Nightingale’s imposing tone is owed to cinematographer, Radek Ladczuk, who portrays (in claustrophobic square format) a hard, austere landscape, of pallid colours, skeletal trees and granite outcrops, far from the lush, welcoming greens of a travel brochure. Clare’s a cappella rendition of the titular song is the only music to grace the soundtrack and every shot is deliberately filmed in deep cloud cover, mist or rain – only in the final frames, does a redemptive sun flood the screen with light.
But, through the couple’s torturous journey, the down-to-earth Billy (played with an impish sense of humour by Ganambarr) grows in dignity and spiritual depth as he closes in on his birthplace. And, by degrees, there’s a reconciliation – the pale hand of the white ‘Nightingale’ is finally clasped in that of the black ‘Mangana’ (Billy’s tribal name, meaning ‘Blackbird’).
The Nightingale is courageous and disturbing, with much to admire rather than enjoy. Baykali Ganambarr is impressive and provides some comic relief. But Aisling Franciosi is mesmerising, with a palpable sense of rage that takes the audience with her to the moment of exacting the final revenge – when she falters and leaves a tantalising question mark hanging in the air.
phil. 18.08.19. email@example.com
The Nightingale opens on August 29 at Luna Leederville and Luna SX. Check lunapalace.com.au or the press for details.
THE AUSTRALIAN DREAM
this is a film that debates Australia’s endemic racism but welcomes the winds of change
The premiere was sold out.
‘Civilization did not begin in Australia until the last quarter of the eighteenth century.’ – the opening sentence of acclaimed Historian, Manning Clark’s A History of Australia (in six volumes).
AUSTRALIA : 109 mins : DOCUMENTARY : MA15+ : 4.5/5
After The Final Quarter (which also had a tv screening), there was understandable confusion when another film arrived, shortly after, also featuring former Australian Rules Footballer, Adam Goodes and his stand against racism. But, while still using Goodes as its focal point, writer, Stan Grant and director, David Gordon, have gone beyond the footballer’s personal demise to canvas the wider issue of racism itself. This is why their film is not called Adam Goodes’ Dream but The Australian Dream.
In 2015, Adam Goodes finally gave in to the abuse he faced and left the game in which he was honoured as one of its great players. But when he took a stand, his story became a crucible for the whole notion of what racism is (and suggested that many Australians didn’t even recognise certain language and behaviour as racist). Both Adam Goodes and Stan Grant are given extensive screen time and come across as moderates. But while Goodes is the heart of the story, Stan Grant is the voice. Drawing on an extensive background of journalism and public speaking, he’s a natural spokesperson. And, between them, their integrity and passion make them a formidable duo.
Though skimming over some fairly meaty issues, the film has some telling interviews and voice-overs by a host of former sports stars such as Nathan Buckley, Paul Roos, Nicky Winmar and Nova Peris – and most are supportive. But even though commentators Andrew Bolt and Sam Newman attempt to justify or to trivialise vilification, in the end, whether positive or negative, they all help to hold a mirror to the Australian public. And much of what they see isn’t easy to stomach.
The story of the Australian Aborigine, as told in The Australian Dream, is one of official non-recognition (Manning Clark summarily ignored their presence in his six-volume history of Australia), an assimilation programme that tore children away from their families and finally, a grudging recognition of their existence, as long as they kept quiet and maintained their invisibility. Adam Goodes changed all that when he uttered a howl of anguish that reverberated around the country and opened up the debate.
Most of the audience, having been moved, perhaps to sadness, frustration and anger, will be uplifted by the conclusion of The Australian Dream. But, most of all, they may find it impossible to leave the debate at the cinema door. And that’s not a bad result for a film as important and timely as this.
phil. 13.08.19. firstname.lastname@example.org
The Australian Dream opens on Thursday, August 22 at Luna Leederville. Check lunapalace.com.au or the press for details.
BENEFACTOR SUPPORT CONTINUES WITH MADMAN DONATING
10% OF WA OPENING WEEKEND BOX OFFICE TO
THE INDIGENOUS PLAYERS ALLIANCE
Following a sell-out Perth Premiere last night, Monday 12 August, at Luna Cinemas Leederville – which saw over 450 people attend a fundraiser screening for the Wirrpanda Foundation, Madman Entertainment is pleased to announce the benefactor support will continue across the opening weekend of The Australian Dream, with 10% of the WA Box Office donated to the Indigenous Players Alliance (IPA).
“On behalf of all those who worked on the production, we recognise the important work the IPA is doing and this is a wonderful opportunity to walk together,” says Paul Wiegard, Managing Director Madman Entertainment.
Established in late 2018, the IPA is the peak body in Australia supporting Aboriginal and Torres Strait Islander peoples in football and beyond. Formed to provide a coordinated approach to enable the AFL industry to establish better recruitment, retention and transition of Aboriginal and Torres Strait Islander players who are current and/or previous players, the IPA works with both the AFL and AFLW.
Board members include former Fremantle Docker and Brisbane Lion, Des Headland (chairman); former West Coast Eagle, Fitzroy and Brisbane Lion, Kevin Caton; former Essendon and Port Adelaide players Che Cockatoo-Collins and Gavin Wanganeen and former Sydney Swan Michael O’Loughlin (who features in The Australian Dream).
The IPA provides past players with a support network, advocacy, women’s research as well as financial education for players and their families.
“The Indigenous Players Alliance welcomes the resources The Australian Dream will donate to us from the screenings, as a fledgling organisation we are striving hard to improve the situation many indigenous players, both past and present, face during their journeys playing and post career,” says Chairman Des Headland.
Previous financial support of the IPA has come from a range of sources including Indigenous Business Australia and the AFL.
Madman Entertainment will donate 10% of gross ticket proceeds of the box office from opening weekend in Perth (Thursday 22 August – Sunday 25 August) at the following WA cinemas screening the film:
Luna Palace Cinemas; Leederville and SX
Palace Cinemas; Raine Square
Event Cinemas; Innaloo and Whitfords
Ace Cinemas; Midland and Rockingham
A documentary that uses the remarkable and inspirational story of Indigenous AFL legend Adam Goodes as the prism through which to tell a deep and powerful story about race, identity and belonging, The Australian Dream is essential viewing for all Australians.
For the first time, Adam reveals his profoundly emotional journey in his own words and asks fundamental questions about the nature of racism and discrimination in society today. Walkley award-winning journalist Stan Grant and BAFTA award-winning director Daniel Gordon join forces to tell this remarkable story of one of the most decorated and celebrated players in AFL history. A man who remains a cultural hero; the very epitome of resilience and survival, who continues to fight for equality and recognition.
The Australian Dream officially lands in cinemas August 22.
Here’s the hot film of the moment and it’s outstanding in all departments – a must-see.
See you in the dark with Parasite. phil.
Bong Joon ho’s Palm d’Or winner is
a shattering commentary on South Korea’s social inequity
SOUTH KOREA :132 mins :MA15+:R.T.98% : 4.5/5
Even though Bong Joon-ho’s Snowpiercer (2013) was science fiction, yet it featured the inequities of social stratification that are the real-life subject of his latest, most accomplished work. Parasite, which he directed and co-wrote (with Han Jin-won), became the first Korean film to win the coveted Palm d’or at Cannes. Spanning the full spectrum from laugh-out-loud comedy to tragedy on a Shakespearian scale, his film shows a level of mastery, unlikely to be surpassed this year.
‘the brilliant screenplay… twists and turns in breathtaking ways’
With an unerring eye for symmetry and repetition, it is, literally, an upstairs/downstairs tale. The Ki-taek family of four, crammed into a subterranean tenement, make a minimal living from folding boxes for a pizza delivery company, while the Park family (also of four) live in a luxurious town house with all amenities. There are many scenes, shot through the respective windows of the two houses – the Ki-taeks, with their window at street level, look out at the detritus of the city while the Parks have a panoramic vista of a lush garden flooded with sunlight.
When Ki-woo (Choi Woo-shik), Ki-taek’s son, is recommended by a student friend as his replacement tutor to Mr. Park’s daughter, the two families collide in ways nobody could have anticipated.
While the Ki-taeks show extraordinary resourcefulness and attention to detail in planning the unqualified Ki-woo’s acceptance by the Park family, is their duplicity, in creating fake credentials, justified by belonging to Korea’s vast number of those with virtually zero employment prospects? This question becomes exponentially more desperate as, not just Ki-woo but each of the four members of the Ki-taek family is inveigled, one by one, into the Park household, raising concerns, also, for the welfare of the ousted employees. Not just the daughter’s tutor but Mr. Park’s chauffeur, the young son’s art teacher and the family’s housekeeper – all fall victim to the Ki-taeks’ stratagems, including the nefarious use of a pair of used panties and the skins of a bowl of peaches.
But, apart from Mr. Park referring to the Ki-taeks’ odour (the ‘stench of poverty’) as ‘offensive’, Parasite is careful to show the Parks as undeserving of such deceit (or of their tragic demise), for the film has a broader target than one specific family.
While the ensemble cast is in complete control of the black humour, Parasite’s brilliant screenplay twists and turns in breathtaking ways, gradually developing white-knuckle tension, before a spectacular explosion of simmering rage.
phil 23.06.19. email@example.com
Parasite opens at Luna Leederville on June 27. Check lunapalace.com.au or the press for details.
For a long time, Never Look Away was something of a mystery. It was one of the 5 foreign films nominated for an Oscar – Roma, Cold War, Caphernum, Shoplifters and Never Look Away. But nobody in the West had seen it. Now, it’s surfaced to almost universal acclaim. It was worth the wait.
See you in the dark, phil.
NEVER LOOK AWAY
a riveting epic of inspiration and ideology
Kurt Barnert (Tom Schilling) works on a painting in Never Look Away
GERMANY:188 mins : M : 4.5/5
At a running time of over three hours, writer/director, Florian Henckel von Donnersmarck’s Never Look Away would seem to demand an intermission. But such is the craftmanship of the film maker (The Lives of Others, Academy Award winner for Best Foreign Film, 2006) that to do so in this artist’s biopic (loosely based on the now 87 year-old Gerhard Richter but disavowed by him) could be deemed the equivalent of running a Stanley knife across one of the painter’s canvasses.
Full of unforgettable images, this chronicle, spanning thirty years of the life of (the re-named) Kurt Barnert (Tom Schilling), begins in Nazi Germany, with a small boy staring in awe at his young, eccentric and naked aunt Elisabeth as she sits at a piano, playing a Bach cantata. ‘Never look away’ she tells the boy, for in truth there is beauty (a simplification which excludes the ugliness, some of the most horrific being revealed in von Donnersmarck’s film).
Saskia Rosendahl is wonderful as the whimsical but tragic Elisabeth, whose hint of schizophrenia ultimately attracts the attention of a physician, the duplicitous Professor Carl Seeburg (Sebastian Koch, who hides a diabolical malevolence behind a bland exterior) a supporter of the Nazi regime and its horrific eugenics policy. While Elisabeth is an enduring memory for Kurt, the name itself becomes a central motif, as von Donnersmarck weaves (on many occasions) the most savage irony into the narrative fabric – Elisabeth is also the name of Kurt’s lover and future wife. But, an even more devastating truth, though revealed to the audience, is yet to be discovered by her husband.
While following Kurt’s progress, Never Look Away delivers a compelling lesson in the latter-day history of art. The Nazi regime referred to the emergence of modern art as ‘degenerate’ and Kurt is initially called on to produce works of social realism to promote its ideology. But his talent soon takes him into mixed media and abstract art and, finally, to the original union of photography and painting, which brought him fame. It’s here that the film’s original title,Werk ohne Autor (Work Without Author) is fully realised as the artist himself insists that he has no personal connection with the source photographs – a ruse which keeps his distance and hides his deepest secrets.
It’s only in the middle act that Never Look Away suffers from its overlength. For the rest, it has a breathtaking intensity and freshness of vision. For Gerhard Richter, it seems that the painter who, in real life, took shelter from the trauma of his troubled past and who embraced the anonymity of ‘work without author’, could only countenance a film with a fictitious painter. It’s not hard to see why.
phil. 10.06.19. firstname.lastname@example.org
Never Look Away opens on June 20 at Luna Leederville, Luna on SX and The Windsor. Check lunapalace.com.au or the press for details.
From the Spanish Film Festival, this cracker of a political thriller has been plucked for a run at Luna Leederville. Thanks to Luna for the screening.
See you in the dark, in the kingdom of crime. phil.
a power house performance drives this
political thriller of high-level corruption
Antonio de la Torre is Manuel, in The Realm
With:Antonio de la Torre, Monica Lopez, Jose Maria Pou, Nacho Fresneda, Ana Wagener,
Barbara Lennie, Luis Zahera, Francisco Reyes, Maria de Nati, Paco Revilla, Sonia Almarcha, David Lorente, Andres Lima.
SPANISH : 132 mins : M : 4/5
Director Rodrigo Sorogoyen says little that is new in The Realm (which he co-wrote with Isabel Pena), a film about systemic corruption in political and government circles. While the setting is Spain, its tale of nepotism, money laundering and backhand deals could have happened anywhere in the civilised world. But it’s not often that the subject has been treated with such skill and tension or with a performance as dynamic as that of Antonio de la Torre as Manuel, at the centre of its web of corruption.
The film opens with some incriminating disclosures in the media. Manuel, an assertive, fast-talking, high-profile politician, who confides none of his business deals with his wife Ines (Marion de Nati) or his adult daughter, feels a twinge of anxiety that his luxurious life-style of wining, dining and corporate trips may be threatened. His fears are confirmed when he’s fired by his political party in a bid to make him, hopefully, the only casualty in the scandal.
La Torre delivers a tremendous performance as Manuel, who turns from scapegoat to whistle blower with ferocious determination to dig up some dirt on his colleagues – Cabrera, Bermejo, Gallardo and Fernando. Desperation spreads like wildfire amongst his associates as secret journals and confidential files are unearthed and lives put at risk. In a moment of extreme irony, Cabrera, one of Manuel’s corrupt cronies, finds that his office is bugged and asks vehemently “What kind of shitty country is this?”
While Sorogoyen has his foot firmly on the accelerator, he builds tension with total control of the film’s pacing. Some blistering dialogue probes Manuel’s composure time and again, but, even though he’s crushed with despair, it fails to find a conscience or even a hint of guilt.
The Realm is an exciting meld of political fireworks, thriller and action that moves at breakneck speed towards a cliff-edge climax. With production values that have the high sheen of polished steel, its style and the audacity of its disclosures may take your breath away, especially as it all feels uncomfortably close to home.
phil. 15.05.19. email@example.com
The Realm opens at Luna Leederville on Thursday, May 16th. Check lunapalace.com.au or the press for details.
2019 Art Series Celebrates The World’s Greatest Artists EXHIBITION ON SCREEN Launches New Season in Cinemas Across Australia: Five Films in Cinemas Nationwide
EXHIBITION ON SCREEN
EXHIBITION ON SCREEN, the pioneering series of gallery and artists films for the cinema, returns for a sixth season from June 2019, featuring three brand new feature films celebrating art masters Degas, Picasso and Van Gogh. Providing access to the world’s greatest art and artistic institutions, each film offers a cinematic journey into the personal and creative lives of history’s best-loved artists.
The new films in Season Six will reveal the story behind Degas’ obsessive pursuit for perfection; how Picasso’s lesser-known early years shaped his rise to international fame; and the profound influence of Japan on the work of Van Gogh. Meanwhile Rembrandt will return to screens marking the 350th anniversary of the artist’s death. Since being launched in 2011 by filmmaker Phil Grabsky, EXHIBITION ON SCREEN has released 19 films which have been shown in more than 60 countries across the globe.
Phil Grabsky, Executive Producer & director, comments:
“My team and I are delighted to give viewers behind-the-scenes access to some of the world’s greatest galleries and museums and to tell the stories of history’s most influential artists. I hope these three new films inspire viewers to continue discovering the lives of artists who have shaped our cultural heritage, and will continue to do so for many years to come.”
This film journeys from a superb exhibition at The Fitzwilliam Museum in Cambridge, whose extensive collection of Degas’ works is the most representative in Britain, to the streets of Paris. It tells the fascinating story of Degas’ obsessive pursuit for perfection through both experimentation with new techniques and lessons learnt from studying the past masters. Using written accounts by friends and commentators, and the narration of letters written by Degas himself, this film reveals a darker truth behind one of the most influential French artists of the late 19th-century and serves as an exploration of the complex workings of Degas’ artistic mind.
Directed by David Bickerstaff
Running time: Approx. 85’
The interview was done with Phil Grabsky – the director and producer of the film. The interview was done by Malti Elliott.
This film is a challenge. It’s an independent biopic, made on a shoestring but with something valuable to say. It’s a raw, unglamourised portrait of an artist who shot to prominence when he won the Archibald prize for portraiture in 2000. Adam Cullen was a complex, disturbing character and Daniel Henshall (Snowtown) gives a brilliant performance.
See you in the dark, phil.
a stunning portrait
of the late Adam Cullen –
a brilliant artist who lived life on a knife edge
AUSTRALIA : 91 mins : MA15+ : R.T.83% : 4.5/5
Incisive. Hypnotic. As scary as a rattlesnake – director Thomas M. Wright’s debut feature, Acute Misfortune, is a biopic of the late Adam Cullen, concentrating on the artist rather than his art. Co-written by Wright and Erik Jensen and based on Jensen’s biography, Acute Misfortune:The Life and Death of Adam Cullen, it features a riveting performance by Daniel Henshall as the besieged painter.
Gaining international prestige in 2000 when he won the Archibald prize for portraiture, Cullen battled a list of complaints (including bipolar disorder) plus some that were self-inflicted. Henshall, bald and bushy-bearded, with eyes that pierce like laser beams, conveys an unnerving sense of constant mental volatility. A low-grade drug user, guns proved a greater intoxicant for Cullen (he owned a small arsenal). There’s an edgy tension about his presence, as if violence is always about to erupt, enhanced by some eerily atmospheric music from Evelyn Ida Morris. And as he admits, ‘People are afraid of me’.
‘To get close to Cullen … is to look into a deep well… of anger, pain and uncertainty…’
The film begins in the final phase of Cullen’s life, when he invited a nineteen year old journalist to be his biographer. But Erik Jensen (Toby Wallace) had no idea that he was about to get drawn into a bizarre, symbiotic relationship, suffering abuse and constant danger. Surprisingly, Jensen stuck it out and became one of the artist’s few friends and only confidant.
Toby Wallace is tremendous as Jensen – the very opposite of Cullen. He’s tight-lipped, dogged and controlled and he’s a rock for the artist. When he’s not scribbling shorthand notes in his pad, he’s looking after Cullen, dragging him off to the hospital or getting him out of jail.
Acute Misfortune is as raw and uncompromising as the work of the artist itself and one of the qualities that elevates it is its very refusal to soften the image. Cullen’s talent (and his medical conditions) made him not only a complex person but a discomforting one to be around. To get close to Cullen, as Wright invites the audience to do, is to look into a deep well, not just of creativity but of anger, pain and uncertainty, with the final sticking point being Cullen’s own, seemingly unstoppable urge to self-destruct.
This beautifully made and powerful film is a remarkable debut and is likely to haunt viewers for days afterwards, perhaps with questions about what type of art and artist we should celebrate and whether we can love the art but also whether we can accept the artist without judgment. If Acute Misfortune does that, it will have succeeded in being more than just an interesting watch.
phil. 06.05.19. firstname.lastname@example.org
Acute Misfortune will screen at Luna Leederville and Luna on SX from May 16. Check lunapalace.com.au or the press for details.
Five or six years ago, Gloria was a highlight of the Perth Festival programme. It was something quite unusual – a film that shone a light on the mature female and treated her with a sense of exuberant fun.
Sebastian Lelio has re-worked the film in English, joining the ranks of the few directors to re-make his own film (Alfred Hitchcock did it with The Man Who Knew Too Much).
See you in the dark, phil.