Showing posts with label cinema. Show all posts
Showing posts with label cinema. Show all posts

Tuesday, August 05, 2014

My return to Movie Mezzanine

0 comments Posted by Katina at 7:30 PM

When I wrote my review for Charlie's Country last week I ended up expanding on it as I thought I might, looking at it in a bit more depth in the form of an essay.

And with that I'm back on the Movie Mezzanine bandwagon!

It's been a while since I've been able to write for the site, but now being back from my holiday I'm really keen to get stuck into writing some great film articles on a regular basis.

For now, take a look at this if you'd like an idea of how Rolf de Heer's look at the life of an indigenous man relates to what's going on in Australia right now.

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Tuesday, July 29, 2014

Review of the Week: Charlie's Country

0 comments Posted by Katina at 8:00 PM

While I'm about to return to my commitment of writing for the Darwin Sun, this review isn't getting a proper run - but I thought I'd share it with you anyway. I'm glad to have gotten back into the swing of things by writing something, and am going to make a conscious effort to return to past glory with regular musings. I'll admit Darwin has so far been a more difficult place to keep cinema visits up.

My views on Charlie's Country may soon pop up in an essay as an expansion of what I've written here, so watch this space. For now, I strongly encourage Australians to watch this film so have a squiz as to why I think you should.

Charlie's Country (M)


THE DIFFICULTIES indigenous Australians face in their communities are primarily documented in the media by reports on violence and alcoholism. They are indeed problems, and highlight the need to look at how governments handle future population placement.

There are few directors that regularly champion the stories of indigenous Australians, and within those none quite like Rolf de Heer. The Dutch-born director, now boasting three collaborations with veteran talent David Gulpilil, explores traditional and modern values within the most simple of interactions and stories.

Charlie (Gulpilil) is a man who does not know where traditional values end and modern ones begin. He feels trapped in his community, wanting the same privileges as the white man and bemoaning the lack of general opportunity.

He is a larrikin, helping the police catch criminals and then turning on them. He clings on to the past, and can't see a fulfilling future. A decision to go bush in an effort to find food and return to his roots sets Charlie on a path of discovery, changing the way he sees his homeland and his situation.

Each of the film's three undefined chapters change the tone of Charlie's story dramatically. His time in the community is laced with wit and establishes human connections, while his walkabout brings a complete alienation from the world. Charlie's return to society, taking him to Darwin, brings his story full-circle as he reconnects.


Stark contrasts make for a shift in attitude for Charlie, a man who refuses to lose his humour; happy to talk to himself and keep preoccupied. Gulpilil's depth as an actor is revealed to us beautifully, de Heer knowing his star and using his talent in an almost haunting way. The use of facial expression in this one-man show is extremely powerful, Gulpilil showing the complexities of Charlie with ease.

Shot on location across the Northern Territory, including Darwin, we are privy to both the run-down areas of closed communities and the natural beauty of Arnhem Land. The latter is a beautiful part of Australia rarely seen in cinema, de Heer exploiting it for our benefit.

The film is let down by the second half, where the pace is slowed right down to drag things along. But this third collaboration between de Heer and Gulpilil, after The Tracker and Ten Canoes, was rightly a Cannes Film Festival hit. Gulpilil's Un Certain Regard Best Actor win affirmed the strength of their professional relationship as well as a great individual performance

It is a film Australians should make an effort to see, not only to understand the difficulties faced in indigenous communities, but see our country's film-making talent at its finest.

Rating: 4/5

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Tuesday, May 06, 2014

Katina's Week That Was: New Star Wars cast, confusion and sixth sense

0 comments Posted by Katina at 10:16 PM

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Saturday, July 21, 2012

Review of the Week: The Dark Knight Rises

0 comments Posted by Katina at 8:00 PM

***I'd written this before learning about the Aurora Massacre and on learning about it through seeing the CBS Evening News broadcast on Sky News, I cried. The Batman legacy is not there for people to think it's OK to dress up in a mask and shoot people. That's not what he's about at all. He's about being a symbol to stop corruption by targeting the bad guys, not the innocents. The claim he called himself The Joker is possibly the scariest part of all... true issues. It's heartbreaking that even a cinema can be a target now.

No classic review this week because I stuffed up and left my USB at work with no backup on my laptop. Slight fail, but I think it's fittind this review stands alone. Christopher Nolan is a freakin' genius.

The Dark Knight Rises (M)

Christopher Nolan is not a superstitious man, or one to let things happen by chance. His films are a constant symbol of that, with methodical plots and characters often combining to form an ambiguous story where he lets you be the one to define the ending. In the case of the Batman trilogy which we find ourselves at the end of after seven years, he asks that of us again. He dares us to define how we ultimately want to see the Caped Crusader.

The end of The Dark Knight left Gotham City in a dark place, and for Bruce Wayne (Christian Bale) at least, that hasn’t changed eight years later. The man is a shadow of his former selves – Batman has been relegated to the cave as Wayne leaves himself with what little money his corporation has left to rot as a recluse. It’s only the threat of mercenary Bane (Tom Hardy), a mysterious newcomer threatening the existence of the city once more, which forces Batman to rise.

Pain and anguish from Wayne’s losses have rendered him weak, and while support remains at hand from Lucius Fox (Morgan Freeman) and Wayne Enterprises board member Miranda Tate (Marion Cotillard) he loses the only true stability he, or the Batman story in general, has known. Shutting Alfred (Michael Caine) out is a sad prelude to the dark shadows fast approaching them all.

Dread fills the air on and off the screen as Bane’s intentions slowly come to light. His assuredness in taking Gotham is chilling, not because for much of the film his identity is a mystery, but that his conviction in following a destructive path is passed off with such ease. Hardy is electrifying as Bane, wanting every bit of your attention as much as that of his nemesis.

But he is only one piece of Nolan’s meticulously-designed puzzle. The people of Gotham are beginning to figure out who “the Batman” is, and Wayne sees both sides of the coin; most are hopeful that he returns to don the suit and save them, but when that information falls into the wrong hands he feels the repercussions.

The saying that the design is in the detail is no truer than with this film. But as Nolan, his brother Jonathan and David S. Goyer have shown us to near perfection already, that doesn’t necessarily mean it’s always on display. Officer John Blake (Joseph Gordon-Levitt) is the perfect exemplary, always seeking answers as new help to Commissioner Gordon (Gary Oldman).

Nolan makes us question what identity is and what it means to be human, with or without a mask. Selina Kyle/Catwoman (Anne Hathaway) is as torn as Wayne about the boundaries of right and wrong, and as their relationship develops so too does the corrupt, instable nature Bane has created on their doorstep.

At 165 minutes, overcrowding the story is impossible. But the feeling of impending doom for Gotham seems more relevant and real than ever and consistently holds you. There are references to financial crises, no doubt a highlight of the world’s current situation as well as acknowledging Wayne’s history. There is such trust in the cast from Nolan, many having worked with him outside of the trilogy in Inception. And then there’s the surprise ending that leaves you with more questions than answers.
Rating: 5/5
*Published in the Daily Liberal (Dubbo), Western Advocate (Bathurst), Parkes Champion Post and Midstate Observer (Orange) from Saturday 21/6/2012

MISSED LAST WEEK'S REVIEWS? See what I thought of Ted and Spartacus.

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Wednesday, December 21, 2011

Gritty cinema

0 comments Posted by Katina at 7:00 PM

One thing I promised I would do when moving to Dubbo was make more time to relax and do things I wouldn't normally give myself time to do. Like lazing around for an entire day. Safe to say I don't feel AS bad about doing that now...

Also gives me a chance to start seeing some of the films on my 'I need to really get onto that' list.

So this week I rented The Godfather and Animal Kingdom. Finally, I know.

Watching The Godfather made me draw immediate comparisons to Luchino Visconti's epic Il Gattopardo (The Leopard). Now, I know some of my readers will have never heard of that film - basically the Cannes winner is perhaps one of Italy's most significant films, a three-hour-plus epic about Sicilian nobles in the aftermath of the Risorgimento movement in the 1860.

That film is amazing and Coppola no doubt drew from Visconti's grandeur, particularly in the scenes where Michael (Al Pacino) hides out in Italy. Stunning.

As good as The Godfather is (and I do understand why a lot of the world loves it so much, it's crafted very well), half the time my mind wandered because I just couldn't help but marvel at how good-looking Pacino was in his early years. Don't judge me! But he really was good in this film. They all were.

Animal Kingdom also deserved every accolade it got. That film was frickin' intense. Gutsy, gritty and just magnificent. Go Australian cinema!

I was on the edge of my seat for a large part of this, not knowing where it was heading and enjoying the freaky ride. Ben Mendelsohn was incredibly creepy, but all were brilliant. Wondered exactly how the Academy considered Jacki Weaver's role to be so special for a nomination - then with what, 20 minutes of the film to go, I got it. What a star turn. Wow.

Two 'about time' films off the list, one a classic and the other with potential to be so, at least within Australian cinema history. Good to have made progress in this department.

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Thursday, October 13, 2011

Dubbo is pretty chilled.

0 comments Posted by Katina at 5:07 PM

The main thing I heard about Dubbo before the move from so many people it was ridiculous was ‘oh, they’ve got a good zoo there’. So I knew it was worth a visit – but have I visited Taronga Western Plains Zoo yet? Drove into the grounds for the first time on Tuesday for a story and the only animal I saw was a bird (pelican maybe?).

Besides the zoo, I’ve been in Dubbo for a month today and finally feel settled. So much that I’ve already taken two weeks off in February/March to roam around New Zealand. Funny how that works. But the first 30 days have proven less stressful than I thought they’d be. Sure, getting a place to live was a big deal and I had more than one call that came right down to the wire. But I believe more with every day that passes that life has a way of working itself out. I live a 30 second walk from the city’s hotspot and cheapest schnitties ($6.50 on wed/sat nights, take that Hackney Hotel!)… nuff said. Oh and below is my amazing and really easy green chicken curry that Dad thought was at a Thai restaurant. I'm learning!


To events in the Central West, and there’s a lot going on. The inaugural DREAM Festival is giving locals a huge chance to get out in the community and I for one can’t wait to see Rocky Horror at the Old Dubbo Gaol’s open air cinema tomorrow night. I visited the gaol doing my touristy thing and it managed to scare the bejeebuz out of me in broad daylight. The place has a lot of history. and it’s quite exciting finding out what else is going on around the region – hoping to see the Reds play Newcastle in Bathurst in January, and doing weekend trips around the place.

As they say, it's time to smile in Dubbo!
It’s cool here, and pretty importantly work is going well (doing a few film-related and front page stories so soon has been unexpected and pretty great). I’m proud to finally say I’m a journalist and that I’m learning every day… I’m not sad about being away from Adelaide 99 per cent of the time – except for getting a Facebook invite informing me SoTiri’s performing there soon. Devastated I can’t seen ‘Avgolemono’ and his goat live.

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Sunday, July 05, 2009

major movie swampage.

1 comments Posted by Katina at 4:52 PM

Audrey Tautou is not the only young French actress around. This is Virginie Ledoyen. So I saw three films of hers this week unexpectedly and as she has been at the forefront of well, everything, I've found out that she's one classy actress.

Oddly enough, not one of these three films was 'The Beach' (yes, the one with Leo DiCaprio). I will watch that one day though, if only for the reason of seeing how All Saints' 'Pure Shores' is used in it...

Tuesday: went to the media screening of My Friends, My Loves for CPR and didn't realise who she was until she popped up on screen. The frustration of her character was good, but I also saw a hint of a comedic side.

Thursday: saw Shall We Kiss? because I had free tickets (boo-yah! Thanks AFI!)... it's a screwball comedy, but she played it so straight! So so cool was she, seems to have a down-to-earth elegance about her, even if her hair is sometimes not that great.

Thursday night/Friday: 8 Femmes happened to be on SBS, figured 'why not make it a hat-trick?'. Now, this film has a stellar cast including Catherine Deneuve and Isabelle Huppert, and is a very kooky musical-mystery, but Ledoyen just pulled it off, no dramas. She does serious in strange environments very well and comes off differently each time. Plus her singing turn is the highlight of the solos. Not necessarily voice-wise, but fun nonetheless.

Don't get me wrong. I love Audrey Tautou. And I can say now, having seen a decent amount of French cinema, that I enjoy their films for all its love-focused stories. But it's good to discover more, and Ledoyen is great. I don't like to use the word 'classy' too much, but she really is. Think I said in one of my reviews that she typifies the strong-yet-fragile Frenchwoman. Still stand by that.

The French will probably think I'm stupid for not knowing this already, but hey, to Australia it's foreign cinema and we don't get too much of it -but we do get more French films than any other non-English countries...

I'm all Frenched out for this week. Major movie swampage indeed. But I can never stay away for too long.

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