It’s been roughly 20 years since I last watched Terminator 2. And it's been a decade since I last stepped into a Hear My Eyes presentation, back when they paired Xavier Dolan’s Heartbeats with an amazing live score by Melbourne’s GL. Both unforgettable. Both somehow left sitting in the “I need to revisit that” pile. Well, consider that rectified. Hear My Eyes have resurrected Terminator 2 and strapped it to a live, pulse-rattling score by Belgian electronic heavyweight Peter Van Hoesen. What this evening offers isn't just a rewatch, it’s a complete sensory overhaul. It's a blockbuster icon colliding with brooding, atmospheric techno. Propelled by electronic sound and framed by a laser show, it gives the film a new intensity and presence.
Terminator 2 is a classic, but this isn’t about revisiting it, it’s about the experience Hear My Eyes have built around it, starting with the music. Van Hoesen brings over four decades of expertise to the performance. Generally a solo artist, for this event he is joined by the Melbourne Electronic Sound Studio (MESS) Synthesiser Ensemble, gathered around a purpose-built liquid metal style table, where they, alongside lighting artist Robin Fox, perform and shape the sound and light in real time.
Perth-based theatre company The Last Great Hunt returned to Melbourne with Night Night, a visually arresting, emotionally resonant piece that speaks volumes without uttering a single word. It is another example of the stunning innovation they bring to their work; in this instance, as we are transported to the vast isolation of Antarctica and probe the depths of human curiosity and connection. A bold, imaginative, and quietly profound story, it further cements The Last Great Hunt as one of Australia’s most inventive and affecting contemporary performing arts makers.
Co-created
and directed by Arielle Gray, Luke Kerridge, and Tim Watts, the show
stars Gray as Pip, an Antarctic scientist on a quest to uncover the
origins of life. Her path takes a surreal turn when she encounters a
lone albino penguin, leading to the discovery of a mysterious glowing
entity, played brilliantly by Watts' hands. (Yes, his hands).
It was a much welcomed return for live shows in 2023. The intimacy, connection, and engagement with a variety of works was much needed after the last couple of years. From theatre to dance to live art, from satire to comedy to drama, it was an exciting time once again for the Melbourne independent performing arts scene. This year I managed to attend 141 shows and the below ten are the ones that left an impression on me. If I reviewed the show, a link to the review is provided.
And as I always like to remind people, sometimes the show that you remember for a long time after is not the big splashy extravagant piece with recognisable names and a huge budget, but the one that was on for four nights with ten people in the audience. Support your independent theatre makers and venues - some shows can cost you as little as $20 and can be one of the most original, inspiring and though provoking performances you might see.
As I request of you every year, take a risk, seek something new, unknown and different in the new year.
In February 2020, while dealing with bushfires and the looming pandemic, Michele Lee called her parents every day for 30 minutes. How Do I Let You Die? is a culmination of those conversations resulting in a gentle interrogation of life and death through the perspective of her Hmong parents and Lee's relationship with them.
As we take our seat, actor Alice Qin sits at a desk covered with post-it notes and politely acknowledges us. She introduces herself as writer Michele Lee, and begins to share with us the conversations with her parents, what brought her to that point and where these conversations led her.
Hilary Duff may now be starring in the highly popular TV comedy Younger, but the American actress, singer, songwriter and author has had her fair share of movies and TV appearance that are probably best left forgotten. However, as part of the Melbourne International Comedy Festival, Nicola Macri is bringing awareness to three of these films with The Hilarious Duff Film Parody Festival. Throughout the two week run of her "festival", Macri will be performing Not The Lizzie McGuire Movie, An Cinderella Story and Cadet Who?, all through a queer and feminist lens. The question of why Duff was singled out for this festival - and why these films - is a no-brainer for Macri. "There’s
something about Hilary Duff that has burrowed into the souls and
psyches of my generation. The idea for the show sprung up spontaneously when
I saw a GIF that reminded me of Cadet Kelly and thought “I want
to do a show that is just re-enacting a bunch of Hilary Duff movies.” It
just felt right in my heart. Give the people (a niche but passionate
group of millennial women) what they (you) want."
Released almost 15 years ago, Love Actually is a romantic comedy film that has acquired universal adoration with its look at a group of people living in London and the relationships they have had, currently have or seek. Or has it? Over the years, a growing number of people have come out against the film due to its perceived sexism and problematic storylines. Well the feud is about to be settledthis Melbourne Fringe Festival with Love/Hate Actually.
Performed and written by Amy Currie and Natalie Bochenski, Love/Hate Actually is a sketch comedy where the two try and convince the other (and the audience) to join their side. "Nat and I have an argument every year over the merits of Love Actually. In our two-woman show, we take the grudge to the stage," Currie says. "It’s a comedy showdown full of sketches, persuasive arguments and silly voices that ends with an extremely democratic (if somewhat unorthodox) audience vote."
Currie and Bochenski
have worked together for over a decade, and it was during one of their shows that the two began to have a discussion about Love Actually which sowed the seeds for their show. "We
were in Canberra to do some Regency-themed improvised comedy at the
Jane Austen Festival (we are suckers for bonnets). Obviously, we were
thinking a lot about Colin Firth that day," she tells me. "Over some very ambitious
freakshakes, Nat was musing that a cruel, one-sided article she’d
written about her hatred for Love Actually might make for a (cruel,
one-sided) one-woman show. I insisted at once that balance was
necessary, and we started scribbling."
So
two and a half weeks of craziness come to an end yet again! With work
and study commitments, I was only able to attend a dismal 34 films this year.
Of those 34, I now present you my Top 10 movies from the 2017
Melbourne International Film Festival.
I will preface this by saying that while I am not 100% smitten by Armie Hammer, his charisma throughout this film and the intense chemistry between himself and Timothée Chalamet made watching Call Me By Your Name an incredibly emotive experience. James Ivory's screenplay of André Aciman's novel poignantly captures the intimacy and the heartbreak of these two lovers during the summer in Italy 1983. Luca Guandagnino's direction creates some amazing aesthetics, although it's probably not hard to do that with the location but credit given where credit due. My only criticism would be the decision to have the final scene with the credits rolling by, as it really took away the powerfulness of that moment.
There is much to experience during the inaugural Asia TOPA Festival, a festival which celebrates the artistic and creative talent of our neighbouring Asian countries and Australia's connection with these countries. One such event is The Bombay Talkies exhibition that is currently on at ACMI, which offers a glimpse into a movie studio that changed the film industry in India.
Founded in 1934 by Himanshu Rai - a pioneer of Indian cinema - and Devika Rani - an actress who has been widely acknowledged as the first lady of Indian cinema, The Bombay Talkies produced 40 films in 20 years and lifted Indian films to that of international standards.
This free exhibition consists of over 3,000 cultural artefacts once owned by Rai and highlights the impact that the studio had on the country during this time. The multitude of newspaper clippings, letters, invitations, stills and photographs all show the fascination (and even obsession) that audiences had for its films and actors, including Ashok Kumar, who became the star of the studio and an icon of Indian cinema.
Admittedly, I did walk in to Terror Australis not knowing what to expect at all, and I am so glad I did because the delights it unearthed are so much richer if you have no idea what’s to come (so either go see it now, or read on at your own peril). Through a clever mix of cabaret, burlesque, live art, dance and comedy, the show looks at the dark culture of Australia with gobsmacking flair.
The set design is true Australiana with a hills-hoist used for makeshift pole-dancing, resulting in some pretty slick and sexy routines. Added set pieces such as goon bags, knives and dingo masks further enhance the strong feelings of ambiguous national pride, and while these items are enough to infer what performer Leah Shelton may be referencing, watching as these allusions comes to life takes it to a magnificent other level.
So
two and a half weeks of craziness come to an end yet again! With work and study commitments, I was only able to attend a dismal 48films this, one less than last year! SoI now present you my Top 10 movies from the 2016
Melbourne International Film Festival. 1. The Neon Demon Probably one of the most divisive films of the festival with strong opinions by all, and all with valid reasons, but I loved the way it was filmed, with some beautiful camera work and editing. The soundtrack by Cliff Martinez is incredible and I am still listening to it pretty much on a daily basis. The cast are great - especially Elle Fanning and Jena Malone - and direction by Nicolas Winding Refn is slick and effective.
My only criticism is that it could have ended a little sooner than when it did. People who've seen the film will probably be able to guess as to which scene should have been the final scene, as it is a very strong scene.
There is, and always has been, a constant drive to enhance people's movie watching experience, including IMAX and 3D screens and even 4D (Smell-O-Vision) screenings. Melbourne based arts organisation, Hear My Eyes, however, has taken a different approach in creating a unique experiences for audiences by incorporating live scores to accompany the film screening.
Canadian director Xavier Dolan's 2010 film, Heartbeats, which follows the story of two friends
who fall in love with the same man, has been chosen for this project's screening."The creative process varies for each project. On some occasions we
choose the band first, and then it’s a matter of searching high and low
for the perfect film that will suit their taste. On other occasions we
choose the film first, then pitch the idea to a select few bands whose
sound will complement the film," explains Creative Director, Haydn
Green. "In this case, Heartbeats was chosen first and from there we focused on the band. Because Heartbeats is such a sexy, stylized film with a lot of energy and emotion, we chose local Melbourne band GL, (aka Ella Thompson and Graeme Pogson) whose 80's analogue synth pop possess the same characteristics."
Presented as part of the Big West Festival, filmmaker and photojournalist, Melissa Davis has two short documentaries screening, Dumpster To Dinner Plate and End Sexism Now. The latter delves into ‘ordinary sexism’ and institutionalised misogyny that is so prevalent in our society. Dumpster to Dinner Plate on other hand, looks at one household’s approach to shared meals and "dumpster diving." While dealing with two different social issues, they are equally passionate issues that Davis has. "End Sexism Now is from a much larger documentary I intend to make. The grabs you hear from speakers come from quite meaty, longer interviews, which cover a range of subjects from Tony Abbott, to men's rights, to the importance of language, to the right for a woman leader to be just average instead of exceptional," she says.
So two and a half weeks of craziness come to an end, and after getting to watch a mere 50 films, I now present you my Top 10 movies from the 2015 Melbourne International Film Festival. 1. Mustang Admittedly, when I think of countries creating brilliant cinema, Turkey is not one of the first countries I think so, but this will change with Mustang. Similar to that of Sofia Coppola's The Virgin Suicides, five sisters are locked inside their house by their uncle and grandmother after they are seen rubbing their legs against boys' necks in the beach. The girls are subjected to virginity tests and systematically married off to local boys with devastating results. The five females are incredible in this, and worth noting this is the first time any of them have acted in a movie. Gunes Nezihe Sensoy, who plays the youngest sister Lale, in particular has such a strong screen presence, that it would be a shame if we never saw her on the big screen again. The suspense builds up in this tragic but uplifting story about the suppression of female sexuality by the patriarchy and how in many cultures women are still being seen as just a mother or wife. The film also boasts a beautiful score by Warren Ellis. The trailer is in Turkish still but I think you can see the brilliance of the film beyond the language.
Alfred Hitchcock was a genius when it came to creating cinematic experiences. Very few directors, if any, have been able to recreate the tension and anxiety that Hitchcock managed to conjure up in scenes such as Janet Leigh's shower death in Psycho and Grace Kelly's attack in Dial M for Murder. However, behind the scenes, things weren't always so "great" for his leading ladies. In Hitchcock's Birds, Laura Johnston explores what it really meant to be a woman in one of Hitchcock's movies. Johnston portrays a number of these Hollywood legends, including Leigh, Kelly, Doris Day and Tippi Hedren and while many of the stories are not exactly new to anyone who has an interest in the man behind the camera or the women in front of it, the way Johnston tells these stories is what draws you in. Johnston uses verbatim interviews and speeches from these stars, which builds on the authenticity of Hitchcock's Birds. This is also supported by her portrayals of the eight actors, where with some simple but highly effective mannerisms and expressions she captures the elegance of Kelly, the liveliness of Day, the frustrations of Hedren and so on and so on.
Everyone has an actor, singer, athlete or performer of some sort that they idolise and dream of being. As people get older, they generally grow out of the fantasy but not 17-year old Alexandra Keddie. She wants to be Hollywood actor, Meryl Streep, or at least be just like her. Welcome to cabaret show, I See Me; and Meryl Streep. The stage immediately reminded me of when I was a teenager and my bedroom was adorned with posters, and memorabilia from Buffy the Vampire Slayer. From what I can see, Keddie appears to have every single film Streep has made, photos and posters, cushions and clothing with her face printed on them, and a signed frame image of her too. The finishing touch is the "Mountain to Meryl" chart, where she has a picture of Meryl's face at the top of a mountain and her own at the bottom. Each time Keddie perfects a new skill or accent, she climbs up the mountain, inching closer to her idol.
Another year, another Melbourne International Film Festival. Bought myself a passport and managed to surpass last year's effort of 37 films to 51 films.
This included films from Spain, USA, Germany, Australia, France, Taiwan, Georgia, India, China, South Korea, UK, Japan, Norway, Brazil, Iran, Austria, Canada, Finland, Mongolia and Italy
I don't think Xavier Dolan can do any wrong. He gets such amazing work from his actors - in this case Antoine-Olivier Pilon, Suzanne Clement and Anne Dorval, who just about steals every scene she is as the mother to Steve, a troubled, violent youth who returns home.
The writing is flawless and Dolan creates a story that demands your attention. Some beautifully shot scenes including the "dream sequence" and a soundtrack that supports the development of the story. Cleverly filmed aspect ratio comes into effect at pivotal moments of the film too.
It reminded me a little of I Killed My Mother but (and not wanting to take away from its greatness either) much stronger all round.
So two and a half weeks of craziness come to an end, and after getting to watch a mere 37 films, I now present you my Top 10 movies from the Melbourne International Film Festival.
This French thriller takes place at a quiet lake where men spend the day swimming naked and cruising the neighbouring forest. When Franck witnesses a murder at the lake, it turns into a deadly infatuation with the killer and from there the tension builds to an intense final few scenes.
At times quite Hitchcockian, the story is engrossing and the character development of the three leads was done quite well. I really enjoyed the lack of music on this film and how the natural sounds were used to really amplify the suspense.
Despite it's graphic gay sex scenes, it would be a shame to consider this film as a "gay" movie, as it really is just a film where the characters happen to be gay.
Looking at the Israeli-Palestine conflict, Hany Abu-Assad's film is, at its core a love story. Omar and his friends retaliate against the Israel army which results in Omar getting arrested and forced to either betray his friends or stay locked up whilst trying to keep the girl he loves and risks his life for every day.
The filming of this was absolutely amazing and the way the environment and people were shot really drew my breath away. I liked how the clean the cuts were and the polished look of the film was in direct contrast to the actual violence and life situations that were being presented.
It took me a bit to warm to this quirky, whimsy film directed by Bob Byington but once I did, I absolutely fell in love with it. It's a romantic comedy but not quite romantic and not quite comedy.
Over the span of 35 years, we see the life of Max Youngman and the people who come in and out of his life. There is a surreal atmosphere to this film and sometimes you have to forget logic and accept what you are seeing, but this is a movie after all so it shouldn't be hard to.
The acting is spot on and includes Nick Offerman from Parks and Recreation and Megan Mullally.
There is a strong philosophical tone to this film but it is not shoved down your throat, so you can appreciate it on face value or you can delve a little deeper into the thoughts and experiences of the character and yourself.
A group of children are playing "I Capture the Flag" in a nearby forest, and despite this being just a game, it becomes a whole lot more to these kids, with loyalties tested, betrayals, mutiny and death. With their imaginations working on overload, paint-filled balloons become bombs, trees become control towers and sticks become guns and everything is at stake.
Firstly, these child actors do an amazing job - Michael Friend is the top of the list here and is very convincing as the despicable and power hungry Skinner. You do forget at times they are indeed playing a game and these are children and not men fighting in the war. The imaginary scenes between Jess and Quinn were quite tender and I really appreciated how directors, Jason Lapeyre and Robert Wilson didn't allow this film to go into Lord of the Flies territory.
Ok, so I will admit, I did shed a few tears in this one. This Belgian film looks at the relationship of tattoo artist, Elise, and banjo playing cowboy Didier. The story unfold in a non-linear structure, constantly going from the past to the present until the (for me) very unexpected conclusion.
The two leads - Veerle Baetens and Johan Heldenbergh - have such strong chemistry together and you get a very good sense of their desperate clinging of the past whilst trying to move forward with their lives after they find out their young daughter has a terminal illness.
But don't worry, this is not some Jodi Piccoult-like story, it's a very real, emotional and moving but not melodramatic look at two people's lives together and love for each other.
I was very cautious of seeing this, especially as Nicole Kidman seems to be the kiss of death in films lately but I was pleasantly surprised. Maybe it's because Kidman is more of a supporting actor here and it is really Mia Wasikowska and Matthew Goode's time to shine.
When India's (Wasikowska) father is killed in a car accident, his brother Charlie (Goode) comes to stay with them. The mystery surrounding Charlie slowly and intensely builds in this very clever script written by Prisonbreak's Wentworth Miller. There is a very strong Hitchcock influence in this film with luscious visuals and doubt and suspicion being cast everywhere.
Goode is perfect as the questionable villain and you can clearly see him relishing playing Charlie. I did find Wasikowska's India every so slightly annoying and reminding me of Wednesday Adams but I am willing to overlook this in an otherwise near perfect film.
In an unnamed war-savaged Middle Eastern country, a woman tends to her husband who has been comatose for the last 16 days. She begins to speak to him and fill him on the dissatisfaction she has felt in life and reveals secrets she would never dare tell him otherwise. Whilst tending to her husband she must also provide for her two daughters and protect themselves from the daily bombings and shootings they face.
Golshifteh Farahani portrayal of the unnamed woman is heartbreaking but also uplifting. I was captivated by everything; her looks, her clothes, the way she waked and talked. A strong woman who does everything she can to survive whilst still abiding by the restrictions imposed on her for being a woman.
The country is unnamed, there are no names mentioned, thus reinforcing to us that this situation could be happening anywhere at anytime and bringing to the surface the struggles women face in many many countries such as this.
Atiq Rahimi's has directed a beautiful story where not much happens but at the same time so much happens.
My favourite documentary of the festival and one that was seen by pure chance, this is another look at women being seen as second class citizens but in a very different way.
Miss Nikki is responsible for creating the first ever female pop group in Myanmar: The Tiger Girls.
This isn't some Popstar/Australian Idol documentary though, as the five members of the groups share with us their thoughts, ideas and dreams of what they want to do with the rest of their life.
There are the universal issues here with image, celebrity and marketability but at the heart of this story is the oppression these girls face on a daily basis but also the excitement of the future once Aung San Suu Kyi is released from house arrest.
Another film that looks at women and gender limitation and expectations - this time in the 1950s. A group of schoolgirls form a gang, Foxfire. Initially, they do small things such as spray-painting a teacher's car and painting their symbol on public property but things eventually escalate and ideals and dreams are questioned by all as they try to determine what is is they want.
Just as in "I Declare War", the young actors in this are impressive and do well in capturing the joys, frustration, fear and anger of being a young female in this era. The story develops along nicely and consistently but at 2.5 hours, it runs a little bit long and making it even 20 minutes shorter would have made such a bigger impact and statement to the audience.
Another film I watched by pure chance and wow...there was so much crazy in this and such a bizarre story I can't even explain it. The world is being taken over by aliens (or something) and there's a drug derived from soy sauce that let's you see dead people (or something) and something about parallel worlds and time travel and talking dogs (or something). It made perfect sense at the time though.
I really can't say much else about this film, except that it is highly enjoyable and despite all the vagueness of my review, I did find the story quite easy to follow just so long as you're willing to suspend all belief and just agree with what is happening.
I would also like to give some honourable mention to the following:
Presented as part of the Big West Festival, filmmaker and photojournalist, Melissa Davis has two short documentaries screening, Dumpster To Dinner Plate and End Sexism Now. The latter delves into ‘ordinary sexism’ and institutionalised misogyny that is so prevalent in our society. Dumpster to Dinner Plate on other hand, looks at one household’s approach to shared meals and "dumpster diving." While dealing with two different social issues, they are equally passionate issues that Davis has.
