July 2nd
Melbourne Documentary Film Festival
Herself
Perfumes
Cruella
Little Joe
For lovers of documentaries, the Melbourne Documentary Film Festival should be the highlight this week. Mind you, finally catching up with Cruella really gave me a buzz. Three other very diverse films, one Irish, one semi sci-fi and one French comedy, are in the mix this week.
Melbourne Documentary Film Festival
1-31 July online
21-31 July select films in cinemas
MDFF is now in its sixth year, and is the leading showcase for documentary film-making, with films that are local, as well as others sourced from many of the leading doco festivals throughout the world. Many of the films will be exclusively available online with a variety of ticketing packages to choose from. Later in the festival, selected films will be on the big screen at Cinema Nova. Among them are fascinating docos on the Beatles in India, Anthony Hopkins playing Hannibal Lecter, the resurgence of vinyl records, cryptocurrency and heaps more fascinating subjects. As always I've previewed several, and hope to add a few more over the next weeks. This selection of reviews focuses mainly upon environmental films critical to our understanding the danger our ecosystems are in.
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| © MDFF |
Australia Burns . . . Silence of the Land: This is a disturbing overview of the horrific bushfire season of 2019-2020, with focus upon the NSW fires and their devastating affects upon the environment, people's lives, and the local wildlife. The film examines not only the nightmarish experiences of the firefighters and locals, but also the role climate change has played in creating this havoc. Many people speak compellingly in support of the critical importance of our unique wildlife, and why something must be done on a governmental level to protect our country better. This is an excellently made doco, and all climate change deniers should see it.
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| © Potential - MDFF |
Wild Things: This doco traces a year on the front line of environmental activism in Australia. Among other campaigns, it focuses on the fight to oppose logging and save the Tarkine wilderness in Tasmania, the efforts to stop Adani from building a coalmine in Queensland, and the school strikes aimed at getting government to take action against climate change. The film features excellent archival footage that retraces Bob Brown's successful opposition to the damming of the Franklin River, combined with profiles of those dedicated people who today are putting their freedom on the line to oppose Adani and Tassie loggers. I hope this film will not just preach to the converted, but be seen by skeptics who need a wake-up call.
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| © MDFF |
Cry of the Forests: Yet another hugely important and disturbing film, looking at the magnificent forests of in the south of Western Australia, where the old growth jarrah and karri trees are being demolished for wood chips, firewood and charcoal. We meet traditional owners, farmers, and other activists all trying desperately to stop this senseless destruction, which of course only contributes to global warming and environmental degradation. The visual contrast of the magnificent forests and the post-logging destruction may well bring you to tears.
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| © MDFF |
Finding Creativity: The film-maker interviews four people about what it is that inspires their creativity: the chef at Melbourne Turkish restaurant Tulim, a successful glass artist, a young singer songwriter, and a social entrepreneur. All talk in depth about their art, especially the work required beyond the light-bulb moments. Creativity researcher Dr Tim Patston adds his viewpoint that creativity is not innate but can be taught and learned. Despite the talking heads, much of the film itself is beautifully creative with some splendid cinematography, showing well known parts of Melbourne from a new angle.
Herself
Dir: Phyllida Lloyd
Length: 97 mins
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© Madman - domestic violence and rebuilding
a life in the spotlight |
Sandra (Claire Dunne) is the mother of two small children, and the wife of an abusive man Gary (Ian Lloyd Anderson). When she manages to escape the marriage she finds herself at the mercy of the Irish public housing system, until she gets the idea to self-build a small house, with the help of a compassionate builder, Aido (Conleth Hill) and a crew of willing volunteers. Could this be the answer to rebuilding her life? Among its sometimes predictable feel-good moments, this modest but moving film tackles a most prescient topic - that of domestic violence and its horrendous effect upon women and children, and how "the system" so often stands in the way, along with courts which compound the trauma of custody disputes. Dunne and Anderson really make the conflict feel real, while the little girls playing the daughters are pitch perfect. Veteran actor Harriet Walter shines as no-nonsense Peggy who is instrumental in extending a helping hand to Sandra, while the character of Aido is the perfect gruff guy with a heart of gold.4 - highly recommended
Perfumes
Dir: Gregory Magne
Length: 100 mins
Releasing in Sydney July 29th
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© Arcadia - what happens when
"the nose" loses it? |
Anne Walberg (Emmanuelle Devos) was once a leading creator of top-shelf French perfumes, but after suffering a temporary loss of her sense of smell, her reputation is damaged. Now she does more prosaic jobs like masking factory odours. Furthermore, she is troublesome, haughty, and lacks people skills. Chauffeur Guillaume Favre (Gregory Montel) is desperate for work, a requisite for custody of his daughter. When he is allotted to Anne, an unlikely friendship is formed, one that may solve both their problems. This is a delightful film on many levels. The platonic chemistry between Anne and Guillaume follows an engagingly unexpected arc, while the scenes featuring the process of creating perfumes lends the film a fascinating technical frisson.3.5 - well recommended
Cruella
Dir: Craig Gillespie
Length: 134 mins
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© Disney - fun and fine acting
by the bucketload |
Those familiar with the 1961 animation 101 Dalmatians know the leading bad lady, fashion obsessed Cruella de Vil, who kidnaps dozens of the spotted pups, hoping to turn them into a coat. So this "prequel" looks at what turned the once wilful, but sweet, Estella (Emma Stone), into what she is today. After the tragic death of her mother, orphaned Estella lands up with a pair of warm-hearted Dickensian type crims Jasper (Joel Fry) and Horace (Paul Walter Hauser), running scams. But her obsession with fashion leads her to land a job at the house of The Baroness (Emma Thompson), an overbearing, autocratic, thoroughly obnoxious woman. When Estella discovers some shocking truths from the past, she brings the Cruella side of her personality to the fore, making it her mission to destroy The Baroness. This is fun with a capital F! Stylish, witty, fabulously designed, with stunning fashions from go to whoa. But the absolute drawcard is the two Emmas who give mesmerising performances, and the scenes of them together are nothing less than brilliant. Though a trifle long, this is a film to delight everyone. 4 - highly recommended
Little Joe
Dir: Jessica Hausner
Length: 105 mins
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| © Rialto - not the pretty things they seem! |
Alice (Emily Beecham) and her team of botanical scientists have genetically engineered a plant which has the ability to make its owner happy. But when she gives one to her teenage son Joe (Kit Connor), she starts to notice odd changes in the lad. Soon, other scientists at the lab who have inhaled the pollen begin to display personality changes. This film starts off with great promise in its opening scenes, grabbing attention with its intense color palette, and the creepy percussive music generating an increasingly ominous feeling. Unfortunately for me it never lives up to its start, although the plot premise is rich with possibility. Interestingly it has won a best actress for Beecham at prestigious Cannes, plus a host of other awards. It seems viewers and critics who love their sci-fi to be mannered and off-kilter have also perceived social commentary in the idea of the fast-fix for happiness, along with the hazards of genetic tampering. Maybe I've missed something, but I experienced the film as stiltedly theatrical, lacking punch, and despite a terrific perf from the young lead, along with a great visual styling, it ultimately left me unconvinced. 2.5 - maybe
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