On Sunday I screened Top End Wedding, starring Miranda Tapsell and Gwilym Lee.
Lauren (Tapsell) and Ned (Lee) are in love and planning a whirlwind ceremony for their nuptials in 10 days, hut there's a complication—Lauren's mother is missing. They must find her or their perfect Top End Wedding will not happen.
What starts as a plane trip becomes a road trip and a journey deep into family dynamics and secrets from the past emerge, as if on cue. It's all executed in a comedic, fun way, but the real themes that anchor the story keep the film grounded enough to have meaning.
It's also an exploration of the merging of cultures (the bride's mother comes from an indigenous Australian tribe) and the traditions that come along with being part of something so sacred.
I very much enjoyed the fast-paced vibe of this film set in gorgeous remote areas of Australia. The characters were likeable (even those who were specifically supposed to serve as the opposite) and
the scenery breathtaking.
A satisfying romp with genuine roots.
~~~
Top End Wedding screened at the 45th Annual Seattle International Film Festival.
Showing posts with label Australia. Show all posts
Showing posts with label Australia. Show all posts
Wednesday, May 29, 2019
Tuesday, June 02, 2015
The Little Death
Tonight I screened The Little Death, starring Josh Lawson and Kate Box.
There are many ways to participate in and enjoy sex—the couples in this film give several methods a lighthearted spotlight in this story about relationships.
In a suburb of Sydney, a community seems to be plagued by various 'issues' in the bedroom. One pair has tried desperately for three years to conceive, making sex more routine than pleasurable; another sees a counselor for their lack of communication and begins role play as a homework assignment.
Perhaps less conventional, there's a man who wants his wife primarily while she's sleeping and another couple who promises to nurture the fetishes of the other only to discover one of them is horrific.
Add to that a deaf man who asks a sign language interpreter to translate phone sex and a cookie-baking sex offender who has just moved into the neighborhood and you have quite a tale to tell.
I laughed throughout, and so did the rest of the audience.
The way these men and women are portrayed is comical, but not too far-fetched to be real. From their difficulties come real challenges and the absurdity of how they're presented makes them accessible.
I hope to see more from director Josh Lawson (who also stars in the film) because he's found a refreshing new way to tell a story.
~~~
There are many ways to participate in and enjoy sex—the couples in this film give several methods a lighthearted spotlight in this story about relationships.
In a suburb of Sydney, a community seems to be plagued by various 'issues' in the bedroom. One pair has tried desperately for three years to conceive, making sex more routine than pleasurable; another sees a counselor for their lack of communication and begins role play as a homework assignment.
Perhaps less conventional, there's a man who wants his wife primarily while she's sleeping and another couple who promises to nurture the fetishes of the other only to discover one of them is horrific.
Add to that a deaf man who asks a sign language interpreter to translate phone sex and a cookie-baking sex offender who has just moved into the neighborhood and you have quite a tale to tell.
I laughed throughout, and so did the rest of the audience.
The way these men and women are portrayed is comical, but not too far-fetched to be real. From their difficulties come real challenges and the absurdity of how they're presented makes them accessible.
I hope to see more from director Josh Lawson (who also stars in the film) because he's found a refreshing new way to tell a story.
~~~
Saturday, November 29, 2008
Australia
Yesterday I saw Australia, starring Nicole Kidman and Hugh Jackman.
Baz Luhrman brings pre-World War II Australia to life by telling the story of Lady Sarah Ashley (Kidman), a British widow who has to relocate to the continent to save her husband's business and property after he is murdered. After many doses of typical movie-romance banter, she enlists the help of Drover (Jackman), a morally sound cattle rancher, who successfully assists her while consequently falling in love with her.
They also unofficially adopt Nullah (Brandon Walters), an aboriginal boy, who often appears to be the most resourceful and clever member of this dysfunctional, yet loyal, family.
To call the film a romance isn't really being honest—sure there are elements of it surrounding the main characters. And yes, Kidman and the ever-appealing Jackman have a respectable chemistry opposite one another. But the basis of the story is not merely their love; in fact, that part feels like more of a side dish in a meal that's more Western/war than anything else.
Because Director Baz Luhrman is in charge, that's all okay, though.
His stunning landscapes make for such a beautifully lit narrative, somehow even the hellish fires of war come out looking magical.
He also commands an almost supernaturally good performance from his youngest star, Walters, who brings so much character to Nullah, he steals the show.
Australia has all the elements of a traditional epic: deaths, rivalries, lovers torn apart, orphans, war and aristocracy, and each delivers in a satisfying, if not overwhelming way.
Many of the scenes and outcomes are predictable, but nonetheless well executed. Overall, it's an entertaining and attention-keeping film.
The biggest criticism I have is in the work's length—at nearly three hours long, I couldn't help but make mental notes along the way of portions that should have been cut.
But I'll forgive an artist as great as Luhrman for seeing his vision through to the end. Despite its flaws, the movie is still a suspense-filled visual marvel, and for that reason alone, audiences should see it on the big screen.
Baz Luhrman brings pre-World War II Australia to life by telling the story of Lady Sarah Ashley (Kidman), a British widow who has to relocate to the continent to save her husband's business and property after he is murdered. After many doses of typical movie-romance banter, she enlists the help of Drover (Jackman), a morally sound cattle rancher, who successfully assists her while consequently falling in love with her.
They also unofficially adopt Nullah (Brandon Walters), an aboriginal boy, who often appears to be the most resourceful and clever member of this dysfunctional, yet loyal, family.
To call the film a romance isn't really being honest—sure there are elements of it surrounding the main characters. And yes, Kidman and the ever-appealing Jackman have a respectable chemistry opposite one another. But the basis of the story is not merely their love; in fact, that part feels like more of a side dish in a meal that's more Western/war than anything else.
Because Director Baz Luhrman is in charge, that's all okay, though.
His stunning landscapes make for such a beautifully lit narrative, somehow even the hellish fires of war come out looking magical.
He also commands an almost supernaturally good performance from his youngest star, Walters, who brings so much character to Nullah, he steals the show.
Australia has all the elements of a traditional epic: deaths, rivalries, lovers torn apart, orphans, war and aristocracy, and each delivers in a satisfying, if not overwhelming way.
Many of the scenes and outcomes are predictable, but nonetheless well executed. Overall, it's an entertaining and attention-keeping film.
The biggest criticism I have is in the work's length—at nearly three hours long, I couldn't help but make mental notes along the way of portions that should have been cut.
But I'll forgive an artist as great as Luhrman for seeing his vision through to the end. Despite its flaws, the movie is still a suspense-filled visual marvel, and for that reason alone, audiences should see it on the big screen.
Monday, June 30, 2008
Ganja Queen
Tonight I saw the documentary Ganja Queen about the gross injustice that's happened to Australian Schappelle Corby.
In 2004, 27-year-old Schappelle had begun caring for her father who was ill with cancer and was preparing for some upcoming rough treatments that he would endure. Because the family realized how difficult this was for her, they helped her pay for a short vacation to take in the weeks prior.
The destination was Bali, Indonesia and she would travel with a few friends to take advantage of the beautiful beaches and natural amenities of the area. In her luggage was a boogie board, which was packed by her and her friend. The only thing in the bag when they arrived at the Brisbane airport was the boogie board.
Upon their arrival in Bali, her bag was searched and 4.2 kilos of hydroponic marijuana was discovered. Schappelle was stunned and immediately claimed she had no idea where it came from.
She was then arrested and interrogated in the Bali customs unit, with her friends by her side also claiming her (and their) innocence.
There was no DNA testing of the plastic bag containing the drugs, or the drugs themselves, and there was evidence of a drug sting back in the Australian airport that same day (traffickers were paying baggage handlers to set up mules). But that didn't matter—they still held Schappele for seven months before putting her on trial.
I won't reveal the outcome of the verdict, but I will say it's not good news and documentaries like this make me want to crawl into a hole and never come out.
But for people like her, we have to continue having hope.
UPDATE: Chapelle is almost free ...
```
In 2004, 27-year-old Schappelle had begun caring for her father who was ill with cancer and was preparing for some upcoming rough treatments that he would endure. Because the family realized how difficult this was for her, they helped her pay for a short vacation to take in the weeks prior.
The destination was Bali, Indonesia and she would travel with a few friends to take advantage of the beautiful beaches and natural amenities of the area. In her luggage was a boogie board, which was packed by her and her friend. The only thing in the bag when they arrived at the Brisbane airport was the boogie board.
Upon their arrival in Bali, her bag was searched and 4.2 kilos of hydroponic marijuana was discovered. Schappelle was stunned and immediately claimed she had no idea where it came from.
She was then arrested and interrogated in the Bali customs unit, with her friends by her side also claiming her (and their) innocence.
There was no DNA testing of the plastic bag containing the drugs, or the drugs themselves, and there was evidence of a drug sting back in the Australian airport that same day (traffickers were paying baggage handlers to set up mules). But that didn't matter—they still held Schappele for seven months before putting her on trial.
I won't reveal the outcome of the verdict, but I will say it's not good news and documentaries like this make me want to crawl into a hole and never come out.
But for people like her, we have to continue having hope.
UPDATE: Chapelle is almost free ...
```
Sunday, June 03, 2007
Jindabyne
Today I saw Jindabyne, starring Laura Linney and Gabriel Byrne.
This is one of those films that will probably linger in my head for a while, but I'm not completely sure why.
The story tells of an already dysfunctional marriage between Claire (Linney) and Stewart (Byrne) that is disrupted further by a discovery Stewart and his friends make on a fishing trip. They find the body of a murdered woman and don't report it until the end of their stay at the river. This brings shame from the townspeople and anger from their partners as the crime gets investigated.
As the tale is based on a short story by Raymond Carver, I can see why they left many things a mystery, but I'm not sure it worked in this context.
What we do know is that Claire is Stewart's second wife, she left her husband once, her mother-in-law is a meddling nightmare, and their best friends apparently lost their adult daughter. We also know who the killer is and how he preyed upon his victim.
What we don't know is why Claire left Stewart (though all signs point to post-partum depression), how exactly their friend's daughter passed, why the killer kills and why the Irish Stewart and the American Claire are living in Australia in the first place.
As the film progresses, you think you may get the answers to some of these questions, but you don't. I guess that's the biggest problem I had with this film—too many stones left unturned.
But to call it boring wouldn't be fair.
The performances are good, the pace is fine and the subject matter is interesting, if not exciting.
This is one of those films that will probably linger in my head for a while, but I'm not completely sure why.
The story tells of an already dysfunctional marriage between Claire (Linney) and Stewart (Byrne) that is disrupted further by a discovery Stewart and his friends make on a fishing trip. They find the body of a murdered woman and don't report it until the end of their stay at the river. This brings shame from the townspeople and anger from their partners as the crime gets investigated.
As the tale is based on a short story by Raymond Carver, I can see why they left many things a mystery, but I'm not sure it worked in this context.
What we do know is that Claire is Stewart's second wife, she left her husband once, her mother-in-law is a meddling nightmare, and their best friends apparently lost their adult daughter. We also know who the killer is and how he preyed upon his victim.
What we don't know is why Claire left Stewart (though all signs point to post-partum depression), how exactly their friend's daughter passed, why the killer kills and why the Irish Stewart and the American Claire are living in Australia in the first place.
As the film progresses, you think you may get the answers to some of these questions, but you don't. I guess that's the biggest problem I had with this film—too many stones left unturned.
But to call it boring wouldn't be fair.
The performances are good, the pace is fine and the subject matter is interesting, if not exciting.
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