Look Both Ways

What a wonderful life-affirming film. Happy, sad, so bloody real. Brilliant filming, animation and first class performances. It is good to be truly moved by a film without feeling like you have been manipulated, to see good acting without any 'star performances' overwhelming the whole thing, and to find yourself talking and thinking about it for days afterward with delight. This has re-ignited my belief in the strength of Australian filmmakers. I fervently hope that Sara (who gets a particularly moving performance from her husband in this movie), goes on to make more feature length movies. (Apparently her previous films have all been animated shorts). She has that great ability to tell a universal human story with an artists eye, through all those perfect little details of scenery, set, facial expression, props - all memorably enhanced by her unusual touch in using animation to convey thoughts and emotions. Go see it.

With life inevitably comes death and the characters here bring the fear, longing and love of life to us in the most normal, everyday way. This doesn't stop you from walking from the cinema feeling you have just witnessed brilliance. Subtle. Real. Everyday. Normal .... but engaging, wonderful and more than just another movie. This is real life drama without twee, without corn, without a sledgehammer. Running like a railway track throughout the movie is the reality of death which may be around the corner, or a century away, no one knows their final hour, yet everyone finally becomes more aware of its inevitability at some point. The difference lay in how we all deal with this reality. Sara Watt has managed to show us all this and more not only in the dialogue of the movie but in subtle looks, scenes and nuances. It's a rare treat to be considered an intelligent audience.

I don't give it a 10, because the style is not totally agreeable to me (I'm too old). But this film was a shocking surprise for all its richness. When my friend said "Australian film", I immediately said, "Yes, it's been too long since I've seen one. I always like their films".

I had recently watched the older American film , Grand Canyon, and found apt comparisons. But here's what my companion and I loved about "Look Both Ways" - the characters were real, the scenery real, the main topic (death) made us squirm, but we recognized the reality that we would rather avoid. THe acting was superb, I especially believed Justine Clark as Meryl - her face IS the person who conjures those troubling cartoons. The film, the actors, the scenery was so unpretentious that we could believe it all. The cartoon flashes are peculiar, but we loved the artwork - can we buy copies? Loved the soundtrack too.

Grand Canyon, by contrast, is too clearly a story by a screenwriter, it has the production values of Hollywood (the better side of Hollywood, but still slick), it has well-known, attractive and very good actors. The story flows so well ... but you KNOW you're watching a fictional story that is acted and produced by world class talent. In other words, you cannot mistake it for reality.

I concur with Mia-38's comment. This is an absorbing film, tastefully executed and rewarding to watch. Death is a daily topic in all media, part of which is shown in the film by the short animated sequences. This film takes us to what happens in our lives before that final event, death. One question raised is whether a particular death is accidental or possibly suicide. It has often been said that movies are a reactive medium. This film is sparse in dialog and much is told through expressions of some really fine acting. I believe this film will become a classic with time and be honored by many critics who on review will begin to appreciate the finesse and delicate technique of its creator. Please see this film and in so doing you will support a courageous distributor and a talented movie maker. Jim

Death is a touchy subject to broach regardless of the medium in which you choose to expose it. It's uncomfortable to even think about yet touches us all on many levels, and that is why LOOK BOTH WAYS succeeds.

Building on death in thought-provoking, sad, and often hilarious terms, Look Both Ways binds a small Australian community together after the death of a man upon the local railroad tracks. Meryl (Justine Clarke, DANNY DECKCHAIR) witnesses the horrible event and summons the authorities. The local media shows up, including photojournalist Nick (William McInnes, IRRESISTIBLE) who's just been diagnosed with a rapidly spreading cancer. Also on the scene is Nick's newspaper partner Andy (Anthony Hayes, NED KELLY) and eventually the deceased's wife Julia (Daniella Farinacci, BROTHERS).

Meryl sees the event as just another death, something that fill her thoughts and her paintings on a daily basis. Her vivid imagination surrounding death is illustrated (literally) via laughingly silly animated sequences that are sure to tickle your dark funny bone. Photojournalist Nick sees himself on the railroad tracks, having just received a medical death sentence of metastatic testicular cancer. Newspaper writer Andy battles to understand life and death while struggling to be a good father to his divorced children, and the discovery that his new girlfriend is pregnant with an unwanted child. Widow Julia tries to understand the seemingly meaninglessness of her husband's death as flowers flow into her home and she's forced to come to grips with such a sudden loss.

Where Look Both Ways succeeds is in its delivery. Each person views death under their own unique umbrella, but are bound together by this one tragic event. Meryl and Nick become oddball lovers during a one night stand, while newsman Andy tries to sort through his chaotic and merciless lifestyle. Widow Julia and the engineer who was driving the train are two of the more interesting cases within the story, as they have no speaking parts until the very end, but are given ample screen time which speaks volumes on its own.

The message of the flick is simple but not forced: look at death both ways. See it as a necessity but don't dwell on it. There is hope and fear within it, operating not at opposite ends of the spectrum, but as a gauge on how to live life without death looming ever present on one's mind.

Meryl, the one who the film is mostly about, learns this lesson the hard way, coming to terms with her own fate, and that of Nick who's cancerous life is destined to plow into hers with the force of a padded sledgehammer.