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Connecting people through photography.
these are the four main characters in my novel "Guns and Daughters". the main player is Ivy shes the amputee second to the left. dont be fooled shes a firecracker. i did this in photoshop. let me know what you think.
Well, just about, I'm a tad knackered at the moment!
G’day, I’ve been a wee bit quiet for the past few weeks as I reviewed movies at this year’s 2007 Melbourne (Australia) International Film Festival. I broadcast the reviews over about two and a half hours all up on my show, Zero-G: Science Fiction, Fantasy & Historical Radio, on 3RRR FM. (rrr.org.au)
The above picture is the sign on the Erwin Rado Theatre at 211 Johnson Street, Fitzroy, where the MIFF has its headquarters. The building's nothing much to look at from outside, really! But the sign...well, THAT has character!
Below the MIFF offices, the theatre, named after the director of the Film Festival from 1957 - 1983, has a charming old 69 seat cinema that can screen 16mm and 35mm film as well as DVD, LaserDisc, VHS, Data and MiniDV.
The MIFF’s access to the theatre expired at the end of 2007 and, ideally, it really should have its own dedicated screening facility, as other major city’s film festivals have. Still, the office itself has now moved to a more central location in Melbourne, which is handy!
To find out more about the MIFF go here:
Anyway, I thought I’d post some of reviews here, inspired by films that I particularly enjoyed at this year’s event.
The full transcripts can be found at:
This continuously violent South Korean animated adult feature presents a future where human excrement is an energy source. Citizens have a monitoring chip attached to their arses and particularly productive individuals are rewarded with addictive drug laced munchies called Juicy Bars.
The story begins with a roadwarrior highway battle as the swarming blue mutant Diaper Gang (!) attempts to truckjack a cargo of Juicy Bars, only to encounter a devastatingly lethal cyborg enforcer who makes Judge Dredd look like a human rights campaigner.
Headshot bodies fall at a rate that would impress Aeon Flux and Samurai Jack combined as the repressive government, assorted roving bands of bandits and con men, including the title characters Aachi and Ssipak (pronounced ‘she-pock’) along with a feisty would-be actress, all compete for the Juicy Bars.
Given the outrageous level of mayhem and the giggling concept that lies at the, er, bottom of the plot, it’s hardly worth noting that the animators cheerfully raid pop culture for many sequences, including the films Aliens and Indiana Jones & The Temple Of Doom. The latter is extensively overmined for one tunnel chase set up.
The animation is quite stylistically vigorous while the off the wall social commentary reminds me a little of the kind of thing that animator Ralph Bakshi attempted in his Fritz The Cat days, well before the likes of South Park and its shock-anime kin. There’s also something to be said for the biting political satire that runs through the narrative, which results in the government and gang leader being merely two opposite sides of the same ruthless coin.
People with kids could have pointless fun banning them from seeing this film, but apparently MTV’s thinking of doing a telly series based on it anyway, so, futile or what?
Subtle it isn’t, but it is a species of wicked fun that will gather bums on seats!
The first film directed by screenwriter Santiago Amigorena, A Few Days In September
(Quelques Jours en Septembre), is a laid back but quite charming French spy thriller that makes espionage a family affair...and a realistically bickering family at that.
Elliot, mostly alluded to or played as an off screen voiceover by Nick Nolte until near the film’s conclusion, is an ex-CIA agent with knowledge about the upcoming 911 attacks. He hopes to trade the information for a stake that will enable him to reunite and live with his biological daughter and step-son, legacies of two seperate cover identity marriages in France and the U.S.
Much sought after by various factions, Elliot entrusts his grown up children, Orlando (Sara Forestier) and David (British actor Tom Riley) to the capable care of Irène, a cool, experienced French secret agent who used to be Elliot’s colleague. The potentially overwhelming meta-story takes a back seat to the character relationships, which makes a nice change to the usual breathless adventures that would normally puff up this kind of story into a by-the-numbers action thriller.
Juliette Binoche brings marvelous, stylish depth to her role as world wise spy Irène, providing a wryly sophisticated setting for her charges’ inevitable romance. (What IS it with the French anyway? After Irène’s arm is injured she turns up wearing a chic scarf as a sling, but of course!) Always gorgeous, the actress pitches the character as being adept enough at her deadly trade so that she can afford to enjoy herself while she works. Forestier is all sharp edged, angry eyed angst as she works through father/daughter issues while Riley nervously cooks (his character worked in a restaurant) for the two formidable women who have abruptly complicated his life with their Amazonian expertise with firearms. I also very much enjoyed the arch Franco/American banter between Orlando and David.
Seeking Elliot through the medium of his children is William Pound, a whacko ‘wet work’ assassin who has a penchant for poetry, drives a florist’s delivery van and has a mobile phone plagued by the world’s most annoying ringtone. Pound’s character is tightly wound by John Turturro, who played one of the convicts in O Brother, Where Art Thou? and also an equally obsessive relative of the title character in the television series Monk.
A Few Days In September benefits from first rate cinematography, including some playful soft focus shots that whimsically render Venice and Paris, cheekily explained by Irène’s habit of removing her glasses to ‘see things differently’. There’s also a cracking good shot through the dark framed doorway of a Venetian Chapel which reminded me of a signature frame from a John Ford Western, only instead of Mesas and sagebrush we get the Venice Lagoon and a passing ocean liner.
Although this film lingers perhaps a little too lovingly on the wrangling entanglements of its main characters I still found it pleasant and rewardable viewing. Amigorena certainly knows how to inject off-beat life into his characters.
Director/Screenwriter Santiago Amigorena
When down on her luck small town waitress Agnes White (played by Ashley Judd) invites eccentric drifter Peter Evans into her seedy motel room she receives much more than she bug-aned for!
Director William Friedkin (The Exorcist, & The French Connection) gets almost unbearably psychological in this cross genre movie that wisely adds no excess fat to the one set, pressure cooker Tracy Lett’s play that it’s adapted from. As the two main characters’ relationship slowly emerges from a far too tightly spun chrysalis the film builds to one of the most intensely wound paranoic conclusions seen on screen.
Michael Shannon is gauntly convincing as Evans, a role that he pioneered in the original stage play and intially at least, reminds me a little of a young Steve McQueen or perhaps, Joachim Phoenix. Harry Connick Junior has a supporting part in the film as Agne’s ex-convict, ex-husband.
Bug’s maddeningly paced escalating tension is supported by an appropriately chittering score, composed by Brian Tyler, who also gave us soundtracks for the films Constantine, Bubba Ho-Tep, the Children of Dune miniseries, as well as episodes of Star Trek: Enterprise and the upcoming Aliens Versus Predator 2: Survival Of The Fittest. Speaking of Star Trek, Ashley Judd also played Ensign Robin Lefler in Star Trek: Next Generation.
Bug is a film that creeps up on you and by its final scuttling rush will definitely get under your skin...one way or another.
El Topo (“The Mole”) was director Alejandro Jodorowsky's third film. The infamous Mexican allergorically surreal Eastern/Western is presented at the festival in a very fine new restoration (a bit of a shock for those used to seeing it in its customary raddled grindhouse/cult prints!) along with its natural companion piece, The Holy Mountain.
This comprehensively startling but compelling film begins, not unlike the Lone Wolf And Cub Samurai series, with the black clad, flute playing gunslinger El Topo (played by the director himself) riding across the wastelands in company with a taciturn child companion. After a blood drenched encounter with drunkenly bestial bandits El Topo replaces the boy with a seductively manipulative woman who urges him to become the greatest shootist in the world by seeking out and defeating four master gunfighters.
As with the wuxia martial arts films that this story frequently references the quest for the masters proves dangerous, difficult, baffling and wonderous.
The gunslinger’s odyssey to achieve enlightment and mastery is populated with exotic encounters and inventive, symbolically charged imagery. Deflating balloons signal the start of duels, capering outlaws with shoe fetishes rape feminised sand paintings and carve bananas with sabres, civilised townsfolk prove more depraved and debauched than the wasteland bandits, herds of rabbits mysteriously die at El Topo’s feet, incestuously deformed trogalytes living in oil drums tunnel to escape their underground prison, and live bullets are caught and deflected by butterfly nets.
This visual melange is supported by Jodorowskys and Nacho Méndezs evocative music which, by turns soothing or jarring, echoes across the many desert based sequences and permeates the locations, which frequently read more like artistic installations than sets grounded in any kind of mundane reality. In fact, there is a timeless anachronistic feel to the desert that makes you question whether this is nominally a period Western or indeed set in some kind of post-apocalyptic Stephen King future.
El Topo is rendered even stranger by its renowned mid-film gear change, one of several enigmatic transformations that can be interpreted as Buddhist inspired reincarnations of the title character.
Just imagine what might have been if Jodorowsky had pulled off his mid-70s adaptation of Frank Herbert's Dune, with its intended cast of Salvidor Dali as the Emperor, Mick Jagger playing Feyd Rautha and Orson Welles as Baron Harkonnen? As it is the Acid Western tradition at least got another outing in Jim Jarmusch's more recent film, Dead Man, which, for all its many remarkable charms, by comparison to El Topo is cast into monochrome shade.
A bizarre chimera even by Zero-G's notoriously unhinged standards El Topo is a cult classic given gloriously grotesque new life by its own recent transfiguring restoration.
Director/Screenwriter Alejandro Jodorowsky
Fido fiendishly expands upon the gag featured in Shaun of the Dead (amongst other films) that zombies could be domesticated to perform simple tasks. Zombies helping in the kitchen? Uh-oh, better make sure they keep those rotting fingers are kept hygenically away from food preparation surfaces with a pair of crisp, clean white cotton gloves....
In an alternate 1950s the all encompassing ZomCom, which apparently helped win the Zombie War, protects and serves the walled small towns of America. Now, we all know that the only reason to provide zombies with clever electronic control collars is so that the gadgets can malfunction; cue zombie outbreak! It’s the slyly subversive juxtaposition of wholesome mom and apple-pie Leave It To Beaver sitcom with Zombie killing procedural that lends this consistently bemusing film a wicked Addams Family style where Pop naturally reads Death Magazine and scenes shot in cars are filmed using good old fashioned rear screen projection.
Not that we’re talking Black and White telly, nosirree Bob! Fido is filmed in full, glorious technicolour, complete with ginormous finned automobiles, two toned shoes and compliant Stepford housewives who wait at the front door for their patriarchal hubbies to take the martini from their submissive, manicured hands. Happily, Carrie Anne-Moss in one of the main roles, as Helen Robinson, is more of a buddingly feisty Desperate Housewife after the armed and dangerous example of Bree Hodge. (From The Matrix to a zombie packed Pleasantville is indeed an ironic career path!) It’s not long before Helen kicks over the domestic traces following the example of her young son, Timmy (knowingly played by the intriguingly named K’Sun Ray) and his new pet zombie, the Fido of the title, embodied by Billy Connolly. Connolly plays the long suffering Fido with toothy glee, moaning and groaning and lurching in the throes of what could easily double as a hangover of fatally heroic proportions.
Keep an eye out (easy to do in a zombie film) for Dylan Baker, as the nervously cheerful Bill Robinson. Baker has had the sleeper part of Doctor Curt Connors in the Spider-Man films and, as comic book fans anticipate, should eventually get to mutate into the super-villain, The Lizard.
Fido is my genre pic of the Festival, in the tradition of another year’s shambling B-schlock spoof, The Lost Skeleton Of Cadavra. I ask you, how can I not enjoy sinking my teeth into a film where a pet zombie is addressed with a line like: “What’s that Fido? Timmy’s in trouble?”
It’s enough to make Lassie dig her way out of her grave!
Screenwriters- Robert Chomiak, Andrew Currie, Dennis Heaton
If you go down to the woods today.....you’d better take your copy of the Brothers Grimm Cookbook For Baking Independent Elderly Female Cannibal Sorceresses.
German director Anne Wild and screenwriter Peter Schwindt settle for a straightforward retelling of the classic rural ‘stranger danger’ story wherein the devious Gretel proves the most resourceful of two deliberately lost children who end up on the menu of the obligatory member of the local Guild of Almagamated Wicked Witches & Confectioners.
Deliberately lost? How do you think the kids got to be wandering around in Blair Witchburg in the first place? Sometimes tactfully omitted from modern retellings of this familiar story is the neglected element of child abandonment, a practice forced upon starving families in situations of plague, famine, wars and other social upheavals. In this case, it’s the pragmatic step-mother who pushes her more sentimental but nontheless compliant woodcutter husband into cutting loose the kids.
In early versions of the story it’s usually just the natural mother who suggests jettisoning the offspring...a much more useful cautionary tale for parents to use as and Awful Threat when disciplining naughty anklebiters.
Leaving aside observations about how Hansel and Gretel underlines the historical distrust of skilled single women of independent means this is actually a moderately creepily staged film. The woods are suitably threatening, and the witch herself, though certainly not up to Buffy The Vampire Slayer standards is a reasonably nasty albeit dimwitted piece of work...
I never can figure out quite why witchy poo needed to go Hannibal Lector on kiddies when she was capable of whipping up enough food to fatten a small army, not to mention all that square footage of gingerbread real estate. Let’s just assume it’s an alternative lifestyle choice, along the lines of supergenius Wile. E. Coyote yearning after Roadrunner drumsticks in spite of the fact that he had enough credit to order truckloads of expensive gadgets from the ACME Corporation.
(On the subject of ghoulish folks developing a fondness for ‘long pig’ just what DID those darling children do with the oven fired witch after they fried her arse?)
We all know how this ends, after making off with the witch’s portable property the kids, in a remarkable act of forgiveness, share their taxfree windfall with their deadbeat dad...though their step mother has obligingly dropped dead in the meanwhile.
Hmm, did anyone actually see step-mama and Ms Witch in the same room at the same time?
Don’t expect a Post-Modern fractured fairytale from Hansel and Gretel and you won’t be led astray by what’s essentially a traditionally told, moderately unsettling film.
If you thought Alejandro Jodorowsky’s third film, El Topo, was weird...well, no caca Sherlock!
Wait until you get a load of this....
His next surreally allegorical outing, 1973’s The Holy Mountain, scales even more whackily experimental heights. Like El Topo, The Holy Mountain has also been recently, lovingly restored, all the better to trip out on the eye bulging psychedelic imagery!
Again, as with El Topo, the nominal protagonist is on a messianic quest to achieve enlightment. Even more ironically symbolic in this case since the central thief character bears a strong and exploitable resemblance to the traditional representation of Jesus Christ.
Horácio Salinas plays the hapless thief, leaving Jodorowsky himself the catalytic role of a tower dwelling alchemist who charges him to accompany seven influential but materialistic powerbrokers to Lotus Island where they will achieve eternal life once they have climbed the eponymous Holy Mountain.
Initially the dialogue is thin on the ground but soon ramps up to cheerfully inexplicable levels where a line like “hypersexed brown native vampires” can pass without comment or indeed comprehension. Politics, art, sexuality, and filmmaking, amongst many other subjects, all cop a satirical hiding in this extraordinary film which relies heavily upon fantasy imagery drawn from tarot cards, astrology and religion.
Just listing a few of the oddball ideas gives you an idea of the unique scope of Jorodowsky’s fevered imagination.
Curvy Spread
Outdoor Finger
Porn Milf Riding